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PROPERTY FROM THE ESTATE OF BERNARD CHAPPARD

Armando Reverón
PUERTO CERCA DE LA GUAIRA
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219

PROPERTY FROM THE ESTATE OF BERNARD CHAPPARD

Armando Reverón
PUERTO CERCA DE LA GUAIRA
前往

拍品詳情

印象派及現代藝術日拍

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紐約

Armando Reverón
1889 - 1954
PUERTO CERCA DE LA GUAIRA
Signed Reverón and dated X40 (lower right) 
Oil and tempera on burlap mounted on metal
21 3/8 by 32 7/8 in.
54.3 by 83.5 cm
Painted in 1940.
參閱狀況報告 參閱狀況報告

We wish to thank Proyecto Reverón for their kind assistance in the cataloguing of this work. 

來源

Nat Weisblood, Malden (acquired directly from the artist circa 1940 and sold: Sotheby's, New York, December 3, 1981, lot 65)
Acquired at the above sale 

展覽

Caracas, Galería de Arte Nacional de Venezuela, Armando Reverón: Exposión iconográfica y documental en el centenario de su nacimiento, n.n., illustrated in color in the catalogue
Biarritz, Espace Bellevue, Passion et raison d'un esprit constructif: Une conquête de l'art d'Amérique Latine, oeuvres de la Fundación Daniela Chappard, 2006, no. 58, illustrated in color in the catalogue
Badajoz, Museo Extremeño e Iberoamericano de arte Contemporáneo de Badajoz, Explorando el sur. El universalismo constructivo y otras tendencias en América Latina, 2009, n.n., illustrated in color in the catalogue 

出版

Juan Calzadilla, Armando Reverón, Caracas, 1991, no. 247, illustrated p. 314 
Galería de Arte Nacional de Venezuela, Presencia y luz de Armando Reverón (exhibition catalogue), Caracas, 1994, illustrated in color p. 47 

相關資料

When I first met [the artist], Nov. 1941, I was working at the La Guaira Airport and living in Macuto, only a stone's throw from Reverón....

I could write pages on how Reverón and his mistress lived—his home was a combination zoo, museum and jungle....

Reverón firmly believed that canvases took away from a painting—the medium had to be a part of the painting—burlap depicted his feelings of La Guaira and the burlap itself became the major part of his painting, even the ocean and power house at Macuto consisted mostly of burlap—and I was fascinated how the burlap transposed and became a transition of dirt, land, and huts and ocean, waves, water, and land. 

His paintings produced a wistfulness and a mistiness that could only be appreciated by standing back 30 or more feet and studying for long intervals, his paintings under various forms of light—sunlight-shade-rainy-cloudy-and gloomy days—artificial light takes away from his paintings...

In the ten months I knew Ramón Reverón, I was the only one to secure two paintings ...my belief is—that very few of his paintings found their way to the public and only at the rate of 2 or 3 a year—Each painting was his  heart, his blood, his soul—his great love—and it was almost impossible to buy a painting. 

-Nat Weisblood, October 27, 1966 

印象派及現代藝術日拍

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紐約