By Women For Tomorrow's Women: A Benefit Auction For Miss Porter's School
signed, titled, dated 2014 and numbered 23/30 on the reverse
17 by 12¾ in. (43.2 by 32.4 cm.)
Executed in 2014, this work is number 23 from an edition of 30.
This work is in very good condition overall. There is minor wear to the lower right corner, visible upon close inspection. Framed under Plexiglas.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Courtesy of the artist and James Cohan Gallery, New York
Beatriz Milhazes is a Brazilian artist best known for her vibrantly colored, kaleidoscopic collages. By merging color harmonies and geometric abstraction, she represents both indigenous Brazilian and Modernist European traditions in her works. Milhazes’ love for painting and her unique technique retain an organic feel in her geometric, arabesque, and floral patterns.
Born in Rio de Janeiro in 1960, Milhazes was raised by a well-respected lawyer and an art historian. Milhazes initially pursued journalism and communications at the Faculdades Integradas Hélio Alonso University in 1978, but two years later switched her focus to study fine arts at the Escola de Artes Visuais do Parque Lage.
Since the 1990’s, Milhazes has embraced a distinctive method of collaging paint, which still remains her signature technique. First, she paints a vibrant, abstract, and intricate pattern onto a transparent sheet of paper. While the paint is still wet, she adheres the sheet of paper onto the canvas and then peels it off, leaving a layer of paint imprinted on the canvas. Milhazes repeats this process numerous times, creating multi-layered yet flat works of art that seem to be merging together with time. With their balance and harmony, combined with the technicolor palette, her work reveals the influence of Matisse, Kandinsky, and Mondrian.
Milhazes had her first major exhibition at the Ikon Gallery in Birmingham, England, in 2001. Two years later, in 2003, she represented Brazil at the Venice Biennale. Her works have been included in various prestigious international collections, including The Solomon R. Guggenheim Museum, The Metropolitan Museum of Art, The Museum of Modern Art, Museo Nacional Centro de Arte Reina Sofia, 21st Century Museum of Contemporary Art, and more. In addition, Milhazes has created several public art projects including Peace and Love (2005-06), in London, Maracolouco (2008), in Tokyo, and Bailinho (2008), in São Paolo.
Milhazes currently lives and works in Rio de Janeiro, Brazil.