Lot 32
  • 32

Luis Guevara Moreno (1926-2010)

Estimate
30,000 - 40,000 USD
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Description

  • Luis Guevara Moreno
  • Primer coplanal
  • signed and dated 1950-51 on the reverse
  • duco on wood
  • 18 by 28 1/2 in.
  • 45.7 by 72.4 cm

Provenance

Acquired from the artist circa 1980
Private Collection, New York

Exhibited

Caracas, Museo de Arte Contemporáneo de Caracas, Una Visión del arte contemporáneo Venezolano, 1995
Miami, The Patricia & Phillip Frost Art Museum, Florida International University, Embracing Modernity: Venezuelan Geometric Abstraction, October 13, 2010-January 2, 2011, p. 43, illustrated in color

Literature

José Antonio Navarrete, "Artistic Modernity in Venezuela: The Account of Embracing Modernity", Arte al Día, December 2010, p. 81, illustrated in color

Condition

This work is in perfect condition. Some visible hair-thin cracks can be perceived throughout the composition. The structure of the assemblage is sound. The coat of varnish may be a bit "heavy" to the eye but it has protected the artwork from possible damage. There is a 1/8 inch loss on the border of the yellow left corner.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

Painted in 1950-51, Primer coplanal is an important early work by Luis Guevera Moreno. Executed soon after his arrival in Paris to attend the École Nationale Supérieure des Beaux-Arts, the present painting marks the beginning of a meaningful period, one in which the artist internalized abstraction as an active member of both Los Disidentes and the Madi constructivist group. While short lived, Guevara Moreno would eventually return to figuration upon his return to Venezuela in 1954, the early 1950s proved to be fruitful and consequential years for his now recognized abstract production. Widely exhibited at key Parisian and international venues including: The Salon des Réalités Nouvelles from 1951 to 1953, Espacio Lumière in 1952, and at the Venice Biennial in 1956 and 1958, these works remain some of the most daring and visually exciting produced in this decade.