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Auktionsarchiv: Los-Nr. 20

Leonora Carrington

Latin America
24.05.2017
Schätzpreis
500.000 $ - 700.000 $
Zuschlagspreis:
346.000 $
Auktionsarchiv: Los-Nr. 20

Leonora Carrington

Latin America
24.05.2017
Schätzpreis
500.000 $ - 700.000 $
Zuschlagspreis:
346.000 $
Beschreibung:

Leonora Carrington Pastoral signed "Leonora Carrington" lower left oil on canvas 21 x 29 in. (53.3 x 73.7 cm) Painted in 1950.
Provenance Manuela Amor de Hill, Mexico City Galería de Arte Mexicano, Mexico City Private Collection, Mexico City Exhibited Mexico City, Museo Nacional de Arte, Los surrealistas en México, 1986 Monterrey, Museo de Arte Contemporáneo de Monterrey, Leonora Carrington una retrospectiva (September 1994 - January 1995); then travelled to Mexico City, Museo de Arte Moderno de México - Instituto Nacional de Bellas Artes (1995) Tokyo Station Gallery, Leonora Carrington (October 14 - November 12, 1997); then travelled to Umeda Osaka, Dairu Museum (1997-1998); Takayama City, Hika Takayama Museum of Art (1998); Tsu, Mie Prefectural Art Museum (May 1998) Bunkamura Museum of Art, Women Surrealists in Mexico (July 19 - September 7, 2003); then travelled to Osaka, Suntory Museum (September 13 - October 19, 2003); Nagoya City, Nagoya City Art Museum (November 1 - December 21, 2003); Kochi, Kochi Museum of Art (January 4 - February 22, 2004) Literature Juan García Ponce, Leonora Carrington Mexico City, 1974, p. 22 (illustrated) Whitney Chadwick, Leonora Carrington La realidad y la imaginación, Mexico City, 1994, no. 23 (illustrated) Susan L. Aberth, Leonora Carrington Surrealism, Alchemy and Art, New York, 2010, p.77 (illustrated) This work will be included in the catalogue raisonné of Leonora Carrington's paintings, to be published by Dr. Salomon Grimberg. Catalogue Essay “I invite you to take a stroll through the House of Wild Beasts,” coaxes the precocious narrator to the mad queen in Carrington’s short story “The Royal Command” (1939), as she sets a Surrealist scene of leonine assassination. “We went down to the quiet garden,” she recounts, bid by a stern cypress tree to lead her queen toward the fateful lions’ cage. “In the dawn nothing breathed; it was the peaceful hour, all petrified, only light itself existed.” Such fantastical creatures and preternatural phenomena suffuse Carrington’s pictorial world, in which hybrid and anthropomorphic bodies wend through scenes of transformation and mystery. Raised on fairy tales and Celtic lore by her Irish mother, Carrington embraced the myriad enchantments of Mexico—styled the “Surrealist place, par excellence” by André Breton—upon her arrival in 1942, at the age of twenty-five, in the wake of a harrowing escape from war-torn France. The femme-enfant of the Surrealists, with whom she had been associated since 1938, she found emotional asylum in Mexico City as she recovered from the internment of her lover Max Ernst their separation and her subsequent flight to Spain, and the nervous breakdown that followed. Surrealism had preceded Carrington in Mexico, gaining visibility with the International Surrealist Exhibition, organized by Breton in 1940, and continuing to develop in the close-knit émigré community that welcomed her into its fold. She gravitated toward the circle around the poet Benjamin Péret, which included the photographer Kati Horna the photojournalist Emerico “Chiki” Weisz, whom she married in 1946, and the painter Remedios Varo a kindred spirit who became her confidante and co-adventurer into the world of the occult. Together, she and Varo explored painting as an alchemical practice, merging Mexico’s ritual traditions and history—the Popol Vuh, pre-Hispanic archaeology, herbs and foodstuffs sourced from local markets—with a host of divinatory arts, from Tarot and astrology to the I Ching and the Cabbala. Carrington returned to the public eye in the late 1940s with a breakthrough solo exhibition at Pierre Matisse Gallery in New York (1948); her acclaimed debut in Mexico followed two years later at Clardecor, a design showroom, and she soon had the instrumental backing of Inés Amor at the Galería de Arte Mexicano, which championed her work for decades to come. Carrington made animal studies at the zoo in Tuxtla Gutiérrez, in Chiapas, as she once had in London, and her drawings likely engendered the menagerie of magical beasts that grace the enchanted, twilit garden of Pastoral.

Auktionsarchiv: Los-Nr. 20
Auktion:
Datum:
24.05.2017
Auktionshaus:
Phillips
New York
Beschreibung:

Leonora Carrington Pastoral signed "Leonora Carrington" lower left oil on canvas 21 x 29 in. (53.3 x 73.7 cm) Painted in 1950.
Provenance Manuela Amor de Hill, Mexico City Galería de Arte Mexicano, Mexico City Private Collection, Mexico City Exhibited Mexico City, Museo Nacional de Arte, Los surrealistas en México, 1986 Monterrey, Museo de Arte Contemporáneo de Monterrey, Leonora Carrington una retrospectiva (September 1994 - January 1995); then travelled to Mexico City, Museo de Arte Moderno de México - Instituto Nacional de Bellas Artes (1995) Tokyo Station Gallery, Leonora Carrington (October 14 - November 12, 1997); then travelled to Umeda Osaka, Dairu Museum (1997-1998); Takayama City, Hika Takayama Museum of Art (1998); Tsu, Mie Prefectural Art Museum (May 1998) Bunkamura Museum of Art, Women Surrealists in Mexico (July 19 - September 7, 2003); then travelled to Osaka, Suntory Museum (September 13 - October 19, 2003); Nagoya City, Nagoya City Art Museum (November 1 - December 21, 2003); Kochi, Kochi Museum of Art (January 4 - February 22, 2004) Literature Juan García Ponce, Leonora Carrington Mexico City, 1974, p. 22 (illustrated) Whitney Chadwick, Leonora Carrington La realidad y la imaginación, Mexico City, 1994, no. 23 (illustrated) Susan L. Aberth, Leonora Carrington Surrealism, Alchemy and Art, New York, 2010, p.77 (illustrated) This work will be included in the catalogue raisonné of Leonora Carrington's paintings, to be published by Dr. Salomon Grimberg. Catalogue Essay “I invite you to take a stroll through the House of Wild Beasts,” coaxes the precocious narrator to the mad queen in Carrington’s short story “The Royal Command” (1939), as she sets a Surrealist scene of leonine assassination. “We went down to the quiet garden,” she recounts, bid by a stern cypress tree to lead her queen toward the fateful lions’ cage. “In the dawn nothing breathed; it was the peaceful hour, all petrified, only light itself existed.” Such fantastical creatures and preternatural phenomena suffuse Carrington’s pictorial world, in which hybrid and anthropomorphic bodies wend through scenes of transformation and mystery. Raised on fairy tales and Celtic lore by her Irish mother, Carrington embraced the myriad enchantments of Mexico—styled the “Surrealist place, par excellence” by André Breton—upon her arrival in 1942, at the age of twenty-five, in the wake of a harrowing escape from war-torn France. The femme-enfant of the Surrealists, with whom she had been associated since 1938, she found emotional asylum in Mexico City as she recovered from the internment of her lover Max Ernst their separation and her subsequent flight to Spain, and the nervous breakdown that followed. Surrealism had preceded Carrington in Mexico, gaining visibility with the International Surrealist Exhibition, organized by Breton in 1940, and continuing to develop in the close-knit émigré community that welcomed her into its fold. She gravitated toward the circle around the poet Benjamin Péret, which included the photographer Kati Horna the photojournalist Emerico “Chiki” Weisz, whom she married in 1946, and the painter Remedios Varo a kindred spirit who became her confidante and co-adventurer into the world of the occult. Together, she and Varo explored painting as an alchemical practice, merging Mexico’s ritual traditions and history—the Popol Vuh, pre-Hispanic archaeology, herbs and foodstuffs sourced from local markets—with a host of divinatory arts, from Tarot and astrology to the I Ching and the Cabbala. Carrington returned to the public eye in the late 1940s with a breakthrough solo exhibition at Pierre Matisse Gallery in New York (1948); her acclaimed debut in Mexico followed two years later at Clardecor, a design showroom, and she soon had the instrumental backing of Inés Amor at the Galería de Arte Mexicano, which championed her work for decades to come. Carrington made animal studies at the zoo in Tuxtla Gutiérrez, in Chiapas, as she once had in London, and her drawings likely engendered the menagerie of magical beasts that grace the enchanted, twilit garden of Pastoral.

Auktionsarchiv: Los-Nr. 20
Auktion:
Datum:
24.05.2017
Auktionshaus:
Phillips
New York
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