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Leonora Carrington

Latin America
26.05.2015
Schätzpreis
200.000 $ - 300.000 $
Zuschlagspreis:
245.000 $
Auktionsarchiv: Los-Nr. 29

Leonora Carrington

Latin America
26.05.2015
Schätzpreis
200.000 $ - 300.000 $
Zuschlagspreis:
245.000 $
Beschreibung:

Leonora Carrington Bat-men (How true my love) 1950 tempera on panel 28 3/5 x 11 9/10 in. (72.6 x 30.2 cm) Signed "Leonora Carrington" lower right.
Provenance Worthing Art Gallery, Sussex Edward James Foundation, West Sussex Christie's, New York, Latin American Paintings, Drawings and Sculpture, November 21, 1988, lot 28 Christie's, New York, Modern Paintings and Drawings from the Edward James Collection, November 21, 1989, lot 89 Private Collection, Europe Sotheby's, Paris, Impressionist and Modern Art, December 3, 2008, lot 37 Acquired from the above by the present owner Exhibited Paris, Galerie Pierre Loeb, Leonora Carrington 1952 Sussex, Worthington Art Gallery, Impressionism to Surrealism, 1970 Catalogue Essay This exquisite painting by Leonora Carrington elucidates the artist’s ongoing preoccupation with gender and feminist issues. Moreover, it belongs to an important period within her oeuvre, during which she exhibited some of her most mature works both in Mexico and internationally. This unique and unorthodox Surrealist work, which features Carrington’s characteristic fantastical figures, challenges the viewer both visually and intellectually. Carrington was born to a wealthy family; her father, Harold Wild Carrington, was a textile tycoon, who later consolidated his wealth by selling the family company to the Imperial Chemical Industries. At a very early age Leonora, an avid reader, began drawing and writing stories and fables that she learned from her Irish nanny. This kindled Leonora's imagination and exerted an influence she would later reflect in her works. Rather than pursue marriage after being presented as a debutant, Leonora enrolled at the Chelsea School of Art in London despite her parent's strong opposition, who reacted by cutting off her financial support. This drastic change in her lifestyle proved to be a crucial decision, unleashing her potential to become an established Surrealist artist in the international art world. Carrington was greatly influenced by the famous Surrealist Max Ernst whom she met and with whom she later entered into a romantic relationship. Ernst’s influence can especially be seen in her use of the painting technique frottage and her interest in alchemy and fairy tales. Additionally Carrington experimented with automatism and cadavers exquis, which were typical artistic investigation processes of Surrealism. Carrington’s vision of Surrealism depicts a construction of both fantastical and believable worlds, which is an artistic language she shares with other Surrealist artists. Her works portray feminine intellectual aspects as well as spiritual authority, where the occult is of special interest. However, what distinguished her from other Surrealists was her unique approach to the occult which had a feminist perspective that reclaimed for women the central role within the surrealist tradition. Her artistic language - within the orthodox canon of Surrealism -was also unique in that she incorporated fairytale-like imagery into her paintings. The outbreak of World War II influenced Carrington’s work as she was only 23 and disowned by her family and her partner, Ernst, was interned repeatedly in concentration camps. As a result, Carrington suffered from a brief mental breakdown. Afterwards, Carrington published an account of her time spent at a mental asylum in Spain entitled Down Below. Ironically, this publication gave her much more notoriety amongst the Surrealist artists. Bretón and other Surrealists had always been interested in madness and other mental states so this account portrayed Carrington as though she was coming from the ‘other side’, which purportedly gave her a visionary power that she could incorporate into her works. After such a traumatic event in Spain, Carrington ended her relationship with Ernst and emigrated to Mexico. Although she was still emotionally and psychologically vulnerable, Mexico provided her the opportunity to change her life and re-focus on her work. Carrington quickly became a part of a Mexican community of renowned writers, actors and painters and her work was acquired by many Mexican collect

Auktionsarchiv: Los-Nr. 29
Auktion:
Datum:
26.05.2015
Auktionshaus:
Phillips
New York
Beschreibung:

Leonora Carrington Bat-men (How true my love) 1950 tempera on panel 28 3/5 x 11 9/10 in. (72.6 x 30.2 cm) Signed "Leonora Carrington" lower right.
Provenance Worthing Art Gallery, Sussex Edward James Foundation, West Sussex Christie's, New York, Latin American Paintings, Drawings and Sculpture, November 21, 1988, lot 28 Christie's, New York, Modern Paintings and Drawings from the Edward James Collection, November 21, 1989, lot 89 Private Collection, Europe Sotheby's, Paris, Impressionist and Modern Art, December 3, 2008, lot 37 Acquired from the above by the present owner Exhibited Paris, Galerie Pierre Loeb, Leonora Carrington 1952 Sussex, Worthington Art Gallery, Impressionism to Surrealism, 1970 Catalogue Essay This exquisite painting by Leonora Carrington elucidates the artist’s ongoing preoccupation with gender and feminist issues. Moreover, it belongs to an important period within her oeuvre, during which she exhibited some of her most mature works both in Mexico and internationally. This unique and unorthodox Surrealist work, which features Carrington’s characteristic fantastical figures, challenges the viewer both visually and intellectually. Carrington was born to a wealthy family; her father, Harold Wild Carrington, was a textile tycoon, who later consolidated his wealth by selling the family company to the Imperial Chemical Industries. At a very early age Leonora, an avid reader, began drawing and writing stories and fables that she learned from her Irish nanny. This kindled Leonora's imagination and exerted an influence she would later reflect in her works. Rather than pursue marriage after being presented as a debutant, Leonora enrolled at the Chelsea School of Art in London despite her parent's strong opposition, who reacted by cutting off her financial support. This drastic change in her lifestyle proved to be a crucial decision, unleashing her potential to become an established Surrealist artist in the international art world. Carrington was greatly influenced by the famous Surrealist Max Ernst whom she met and with whom she later entered into a romantic relationship. Ernst’s influence can especially be seen in her use of the painting technique frottage and her interest in alchemy and fairy tales. Additionally Carrington experimented with automatism and cadavers exquis, which were typical artistic investigation processes of Surrealism. Carrington’s vision of Surrealism depicts a construction of both fantastical and believable worlds, which is an artistic language she shares with other Surrealist artists. Her works portray feminine intellectual aspects as well as spiritual authority, where the occult is of special interest. However, what distinguished her from other Surrealists was her unique approach to the occult which had a feminist perspective that reclaimed for women the central role within the surrealist tradition. Her artistic language - within the orthodox canon of Surrealism -was also unique in that she incorporated fairytale-like imagery into her paintings. The outbreak of World War II influenced Carrington’s work as she was only 23 and disowned by her family and her partner, Ernst, was interned repeatedly in concentration camps. As a result, Carrington suffered from a brief mental breakdown. Afterwards, Carrington published an account of her time spent at a mental asylum in Spain entitled Down Below. Ironically, this publication gave her much more notoriety amongst the Surrealist artists. Bretón and other Surrealists had always been interested in madness and other mental states so this account portrayed Carrington as though she was coming from the ‘other side’, which purportedly gave her a visionary power that she could incorporate into her works. After such a traumatic event in Spain, Carrington ended her relationship with Ernst and emigrated to Mexico. Although she was still emotionally and psychologically vulnerable, Mexico provided her the opportunity to change her life and re-focus on her work. Carrington quickly became a part of a Mexican community of renowned writers, actors and painters and her work was acquired by many Mexican collect

Auktionsarchiv: Los-Nr. 29
Auktion:
Datum:
26.05.2015
Auktionshaus:
Phillips
New York
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