Eloge du rouge par Alain Truong

13 mai 2012

Du vent au Vatican!

535268_3516834610942_1574285425_2620982_1350939090_n

Posté par Alain Truong à 20:35 - - Commentaires [0] - Permalien [#]


Tenture brodée, Indochine, vers 1930

tenture_brodee_chine_ou_indochine_1335799285106498

Tenture brodée, Indochine, vers 1930.  Photo Coutau-Begarie - Paris

satin rouge brodé soie polychrome de grues dans un marécage et de chrysanthèmes surdimensionnés ; large bordure de glycine, d'insectes, volatiles et bouquets aux écoinçons, (bel état), 220 x 178 cm. Lot 278 - Estimation : 250 / 350 €

Coutau-Begarie - Paris. Mercredi 16 mai 2012. Drouot Richelieu - Salle 4. Tél. pendant l’exposition et la vente : 01 48 00 20 04

Posté par Alain Truong à 10:11 - - Commentaires [0] - Permalien [#]

Le rouge est mis

405ca3f4_99df_11e1_911f_49f5765342a4_800x532

Le rouge est mis. Pour célébrer dignement leurs mariages, ces 130 couples venus de toute laChine, rêvaient de vivre cette cérémonie comme au temps de la dynastie des Han. Impossible, inimaginable même, il y a une dizaine d'années, leur souhait estdevenu réalité le 1er mai dernier à Xi'an, dans la province du Shaanxi. Le choix de Xi'an n'est pas un hasard, puisque cette ville abrite le célèbre mausolée du fondateur de la Chine moderne, l'empereur Qin,enterré avec ses milliers de guerriers d'argile. Un tombeau démesuré construit vers 210 avant notre ère. Vêtus de rouge, couleur du bonheur en Chine, ces jeunes mariés répètent,comme au théâtre, les gestes millénaires des nobles des temps anciens.Une nouvelle Révolution culturelle, conservatrice cette fois. Crédits photo : China Daily/Reuters/REUTERS

Posté par Alain Truong à 08:00 - - Commentaires [0] - Permalien [#]

05 mai 2012

Anish Kapoor (B.1954), Untitled

ANISH_KAPOOR

Anish Kapoor (B.1954), Untitled. Photo Sotheby's

signed and dated 2000 on the reverse; ink and gouache on paper; 22 1/2 by 30 in. 57.2 by 76.2 cm. Lot 439. Estimate 40,000-60,000 USD

PROVENANCE: Regen Projects, Los Angeles
Acquired by the present owner from the above in 2001

Sotheby's. Contemporary Art Day Auction. New York | 10 mai 2012, 10:00 AM www.sothebys.com 

Posté par Alain Truong à 14:52 - - Commentaires [0] - Permalien [#]

A carved cinnabar lacquer stembowl. Ming Dynasty, 16th century

A_CARVED_CINNABAR_LACQUER_STEMBOWL

A carved cinnabar lacquer stembowl.  Ming Dynasty, 16th century. Photo Sotheby's

the rounded bowl deeply carved on the exterior with a continuous scene of figures in a landscape, on one side an official surrounded by his entourage stands next to a crouching tiger, set in an garden just outside a half-open door with mountains in the distance, the reverse with a group of soldiers, officials and flag bearers walking towards a narrow path with mountains in the background, set between a band of key-fret below the rim and upright lappets containing stylised cicadas, the interior lacquered in brown, all supported on a tall splayed stem foot collared by further key-fret and a band of interlinking 'C'-scrolls, the base sealed with a thin sheet of copper; diameter 14.5 cm., 5 3/4 in. Estimtion 400,000-600,000 HKD. Lot 3148 unsold

NOTE DE CATALOGUE: A stembowl of this form and size, deeply carved with a scene of warriors on horses and foot soldiers engaged in battle within the compounds of an impressive city wall, illustrated in Sir Harry Garner, Chinese Lacquer, London, 1979, pp. 123-128, colour pl. C and pls. 60-63, and in Derek Clifford, Chinese Carved Lacquer, London, 1992, pl. 65, was sold at Christie's London, 16th November 1998, lot 13. Clifford, ibid., p. 91, notes that the 'miniature pictorial style, the freely drawn unconventional diapers, the elaboration of the theme, the strong diagonal, and linear detailing of the rocks all point directly to the Wang Ming atelier at Pingliang'. The close similarities in form, size and carving style of the two stembowls suggest that they may be the product of the same workshop, or were even possibly made by the same hand.

See also a pair of smaller stembowls decorated with a continuous landscape scene, included in the exhibition From Innovation to Conformity. Chinese Lacquer from the 13th to 16th Centuries, Bluett and Sons., London, 1989, cat. no. 24, offered in these rooms, 2nd November 1994, lot 259; and a finely carved cinnabar lacquer stembowl of related size and form, showing a lively battle scene, published in Lee Yu-Kuan, Oriental Lacquer Art, New York and Tokyo, 1972, pl. 123.

The carver may have been inspired by two earlier stembowls with scenes of playing children as the main design, in the National Palace Museum, Taipei, included in the museum's Special Exhibition of Lacquer Objects, National Palace Museum, Taipei, 1981, cat. nos. 13 and 14, both bearing Xuande reign marks and attributed to the period.

Sotheby's. Fine Chinese Ceramics & Works of Art. Hong Kong | 04 avr. 2012 www.sothebys.com

Posté par Alain Truong à 14:45 - - Commentaires [0] - Permalien [#]



Yan Pei-Ming, Exécution, Après Goya, 2008.

zwirner_1

Yan Pei-Ming, Exécution, Après Goya, 2008. Oil on canvas, 110 1/4 x 157 3/4 x 2 5/8 in. Photo: Courtesy the artist and David Zwirner, New York.

NEW YORK, NY.- David Zwirner presents an exhibition of recent work by Yan Pei-Ming, on view at the gallery’s 519 West 19th Street space. Born in Shanghai in 1960 and based in Dijon, France, Ming has gained international recognition for his large-sized, monochromatic portraits. His subjects, which range from historical figures, political leaders, and celebrities to anonymous soldiers, serial killers, female prisoners, orphans, and the artist himself, are typically presented face-on, with bold and expressive brushwork. The artist’s fluid yet precise technique and his use of shallow pictorial space combine to create iconic, monumental, and psychologically charged works. 

The paintings in this exhibition, Ming’s second at the gallery, relate to events in the recent and distant past. In a departure from previous work by the artist, they extend beyond the depiction of a singular subject to reference broad historical issues and, in the process, the gap that exists between the events and their visualization. Often taking a combination of mass media imagery and his own recollections of a motif as his starting point, Ming thus broadens a traditional understanding of the medium of painting: he refers to his large-scale canvases as “collages” of photographs and memories, while medium-specificity is further cast into question by the fluidity of the artist’s painterly technique, which at times resembles watercolor. 

Black Paintings is a title derived from a late series of wall paintings by Francisco Goya, since transferred to canvas. In these works, not originally intended for public view, the Spanish artist offers haunting visions of humanity’s darker side. 

Among the paintings on view in the present exhibition, one refers directly to a work by Goya. Exécution, Après Goya (2008) offers an interpretation of The Third of May 1808 (1814), which depicts the execution by firing squad of Spanish civilians who had taken part in an uprising against the French occupation of their country. Using blood red paint and bold brushstrokes with visible drips, Ming’s version of the subject matter dramatically isolates the figures from any background, thus separating the action from its historical context. The painting is the only one in the exhibition to use a color that is not black, white, or gray. 

Also on view is Pablo (2011), which shows a young Pablo Picasso kneeling before an unknown object or presence. The background is indeterminate and dark, and again provides no contextual setting. A somber, if ambiguous, mood is intensified by the boy’s downward gaze and the impossibility of telling whether his awkward pose is indicative of a religious act or perhaps signifies a punitive measure about to take place. By depicting arguably the most famous painter of the modern era as a humbled adolescent, Ming’s painting includes a reference to its own medium, while its black-and-white palette underscores a sense of nostalgia. 

A more recent history is evoked in Invisible Women (2011), a multiple portrait of burka-clad women. Standing closely together in a large group and looking straight ahead, the many pairs of eyes have a hypnotic quality and form a disquieting horizon. The subject matter may be a reference to the democratic undercurrents of the Arab Spring, which has led to an increased focus on women’s rights in the region. Although the title is borrowed from H.G. Wells’s famous novel The Invisible Man (1897), which told the story of a scientist whose experiments made him an invisible murderer, the women portrayed by Ming each have identifiable characteristics despite revealing little flesh. 

While the historical significance of Ming’s chosen subjects is readily apparent, his works resist the traditional heroic connotations of history paintings. The artist’s aforementioned reliance on often blurry mass media source material and personal memory combine to present a sense of elusiveness that is underscored by exaggerated brushwork. Rather than documenting separate events, the paintings suggest an ongoing history in flux. 

Yan Pei-Ming joined David Zwirner in 2006 and had his first New York solo exhibition at the gallery the following year. 

Over the past decade, the artist has had solo exhibitions at the Ullens Center for Contemporary Art, Beijing; Musée du Louvre, Paris; San Francisco Art Institute (all 2009); Musée d’art moderne de Saint-Étienne Métropole, Saint-Étienne, France (2006); Shanghai Art Museum; Guangdong Museum of Art, Guangzhou, China (both 2005); Kunsthalle Mannheim, Germany (2004); Musée des Beaux-Arts, Dijon, France; Musée des Beaux-Arts et d’Archéologie, Besançon, France; and the Musée d’Art et d’Histoire, Geneva (all 2003). 

Ming’s work was featured in several group exhibitions in 2011, including the Fonds régional d’art contemporain Auvergne, Clermont-Ferrand, France; Musée Anne-de-Beaujeu, Moulins, France; and the Musée des beaux-arts de Dôle, Dôle, France. He participated in the French Pavilion for Expo 2010 in Shanghai and other international group exhibitions include the Istanbul Biennial (2007); 2nd Seville Biennale, Spain (2006); Venice Biennale (2003 and 1995); and the Lyon Biennale, France (2000 and 1997). 

Work by the artist is represented in museum collections worldwide, including the Centre Georges Pompidou, Paris; Kunsthalle Mannheim, Germany; Musée d’Art Moderne de la Ville de Paris; Musée des Beaux-Arts, Dijon, France; Museum Ludwig, Cologne; National Museum of Modern Art, Tokyo; and the Shanghai Art Museum


Posté par Alain Truong à 14:41 - - Commentaires [0] - Permalien [#]

A fine peachbloom 'Bee-hive' waterpot, taibo zun. Mark and period of Kangxi.

A_FINE_PEACHBLOOM__BEE_HIVE__WATERPOT__TAIBO_ZUN

A fine peachbloom 'Bee-hive' waterpot, taibo zun. Mark and period of Kangxi. Photo Sotheby's

the hemispherical body contracting to a narrow waisted neck below an everted mouthrim, the exterior incised with three archaistic chilong roundels, glazed throughout in an mottled red of a rich crushed-strawberry tone with characteristic mushroom-coloured speckles at the neck, save for a white base inscribed in underglaze blue with a six-character reign mark written in three vertical lines, wood stand; 12.7 cm., 5 in. Lot 3101.Estimation: 700,000-900,000 HKDLot vendu: 1,940,000 HKD

PROVENANCE: An old Japanese collection.

NOTE DE CATALOGUE: The Tang dynasty poet Li Taibo, known as a notorious drinker, is often depicted leaning against a wine jar of this form, for example, in a porcelain sculpture of the same period, showing the poet seated with closed eyes, a cup in his hand; see Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p.106, pl. 89, where a similar peachbloom vessel is illustrated p. 142, pl. 125; three examples of this form and glaze from the collections of Peter A.B. Widener and Harry G. Steele are in the National Gallery of Art, Washington, D.C., see Virginia Bower et al., The Collections of the National Gallery of Art. Systematic Catalogue: Decorative Arts, part I, Washington, 1998, pp. 69-71. Compare also an example in the Meiyintang Collection, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London 1994-2010, vol. 2, no. 821 (left), and vol. 4, p. 328.

Sotheby's. Fine Chinese Ceramics & Works of Art. Hong Kong | 04 avr. 2012www.sothebys.com

Posté par Alain Truong à 14:40 - - Commentaires [0] - Permalien [#]

Yan Pei-Ming (B. 1960), Vermillon de Chine

Nouveau_Dessin_OpenDocument

Yan Pei-Ming (B. 1960), Vermillon de Chine. Photo Sotheby's

signed, titled and dated 95 on the reverse; oil on canvas; 78 7/8 by 67 in. 200.3 by 170.2 cm. Lot 537. Estimation 400,000-600,000 USD

PROVENANCE: Galerie Rodolphe Janssen, Brussels
Acquired by the present owner from the above

NOTE DE CATALOGUE: "Art is about man. It speaks to people. Portrait is like a mirror, it reflects to us who we are, what we are. My work always orients towards human beings, it's the center, the fundamental element of my work. If you ask me to do abstract painting, I can't handle it. I am interested in human beings." - Yan Pei-Ming

Sotheby's. Contemporary Art Day Auction. New York | 10 mai 2012, 10:00 AM www.sothebys.com 

Posté par Alain Truong à 14:39 - - Commentaires [0] - Permalien [#]

29 avril 2012

A fine and extremely rare octagonal cinnabar lacquer 'guri' dish. Song Dynasty.

A_FINE_AND_EXTREMELY_RARE_OCTAGONAL_CINNABAR_LACQUER__GURI_

A fine and extremely rare octagonal cinnabar lacquer 'guri' dish. Song Dynasty. Photo Sotheby's

of eight-sided form with shallow rounded sides, deeply carved through thick layers of red lacquer and two fine black layers with robust guri pommels, the centre formed by four heads enclosing a four-pointed star, the cavetto carved with eight similar heads, one below each side of the facetted rim, the exterior similarly decorated with eight 'C'-shaped pommels set between the rim and the foot, the underside lacquered in black; 31 cm., 12 1/4 in. Estimation 1,000,000-1,500,000 HKD. Lot 3138 vendu: 2,780,000 HKD. 

NOTE DE CATALOGUE: Early guri lacquer trays of this octagonal form are unusual; the shape is better known from a small number of plain examples of the Song dynasty such as the tray included in the exhibition So Gen no bi, Nezu Institute of Fine Arts, Tokyo, 2004, cat. no. 21. No other guri lacquer tray of this form appears to be recorded. The tray is beautifully carved and displays much of the characteristics associated with early wares made in this attractive decorative technique. The technique, known by its Japanese name guri (or tixi in Chinese), is referred to in the Butsu-nichi-an kmotsu mokuroku, a catalogue of the significant objects of the Zen temple Enkaku-ji in Kamakura. Compiled in 1363, this important document mentions a group of Chinese carved lacquer dishes, bowls, incense burners and boxes preserved at the temple brought by the Chinese monk Xu Ziyuan in 1282. The guri design on the present dish is attractively laid out, with a gentle curvature giving a touch of softness to the high relief and deep cut.

For later, Ming period, guri lacquer examples see a smaller eight-lobed dish sold in our London rooms, 15th December 1987, lot 8; and another slightly larger octagonal dish carved with alternating black and red layers of lacquer sold at Christie's New York, 26th March 2003, lot 6. An eight-lobed dish in the Nanjing Museum is illustrated in Zhongguo qiqi quanji, vol. 5, 1995, Fuzhou, pl. 38, together with a round dish in cinnabar lacquer, in the Palace Museum, Beijing, pl. 37, both attributed to the early Ming period

 Sotheby's. Fine Chinese Ceramics & Works of Art. Hong Kong | 04 avr. 2012 www.sothebys.com 

Posté par Alain Truong à 08:59 - - Commentaires [0] - Permalien [#]

28 avril 2012

An extremely rare and important Cinnabar Lacquer 'guri' dish, signed Pan Xin. Southern Song Dynasty, dated guihai year

AN_EXTREMELY_RARE_AND_IMPORTANT_CINNABAR_LACQUER__GURI__DISH_

An extremely rare and important  Cinnabar Lacquer 'guri' dish, signed  Pan Xin. Southern Song Dynasty, dated guihai year. Photo Sotheby's

the circular dish deeply carved through thick layers of red and black lacquer with three heart shaped guri pommels in the centre forming a star, encircled by six further ruyi-head shaped pommels, all below a thick rolled lip at the rim, the exterior similarly decorated with six further pommels, the layers of black lacquer appearing in two thin lines sandwiched between the red layers, all supported on a low tapered foot, the underside lacquered in brown and incised to the left side with the inscription guihai Pan Xin zao ('Made by Pan Xin in the guihai year'); 22.2 cm., 8 3/4 in. Estimation 2,500,000-3,000,000 HKD. Lot 3136 vendu: 3,140,000 HKD 

NOTE DE CATALOGUE: The present finely carved guri lacquer tray is noteworthy for the inscription on the back which dates the piece to the guihai year of the Song Dynasty, and records it being made by 'Pan Xin'. The tray appears to be the only dated guri lacquer piece known and recorded. During the Song dynasty, high quality lacquer products often bore inscriptions indicating the date, place of manufacture, the family name of the craftsman or the name of the workshop where he was employed. While the identity of Pan Xin remains unknown, the guihai year could correspond to the following years of the Southern Song Dynasty -1143, 1203, 1263. A number of important families and master craftsmen active in the production of lacquer ware came from Xiangzhou, Hangzhou, Suzhou and Wenzhou - cities that were renowned for their carving workshops and as centres of excellence in arts and crafts in China.

The tray displays much of the characteristics attributed to early guri lacquer, such as the sharply formed V-cut channels and edges that are left slightly rough to reveal the knife edge; and the walls of the ruyi motif which are particularly deep and display the many layers the carver has cut through to reach the base. The use of alternating black and red lacquer layers are exposed through the carving and is used as an attractive decorative element. While at first glance designs on guri lacquer pieces appear similar, there are no two that match. For related dishes of the Song period see a larger example, carved with two rows of ruyi designs and a different motif in the centre, included in the exhibition So Gen no bi, Nezu Institute of Fine Arts, Tokyo, 2004, cat. no. 68, together with two black lacquer dishes, one carved with three rows and the other with six rows of ruyi design, cat. nos. 63 and 64 respectively. 

Compare also a dish with a single row of ruyi units surrounding a butterfly-shaped pattern in the centre, included in the exhibition, 2000 Years of Chinese Lacquer, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1993, cat. no. 25.

A smaller cinnabar guri dish of this type, from the Lee Family collection and included in a number of important museum exhibitions such as the Dragon and Phoenix, The Museum of East Asian Art, Cologne, 1990, cat. no. 7, was sold at Christie's Hong Kong, 1st December 2009, lot 1808

Sotheby's. Fine Chinese Ceramics & Works of Art. Hong Kong | 04 avr. 2012 www.sothebys.com 

Posté par Alain Truong à 10:52 - - Commentaires [0] - Permalien [#]



Fin »