Maria JL Hierro

MONEY

2022

The series They fly are twelve works, six in Spanish and six in English. In it, six concepts are represented in both languages: time, opportunities, children, imagination, news and money. All of them related to sayings, proverbs and popular expressions that make them fly. Time flies. Opportunities fly. Children fly. Imagination flies. The news flies. Money flies. The series They fly represent these concepts literally by flocks of starlings. For each concept a textual work is created (a visual poetry, a concrete...

The series They fly are twelve works, six in Spanish and six in English. In it, six concepts are represented in both languages: time, opportunities, children, imagination, news and money. All of them related to sayings, proverbs and popular expressions that make them fly. Time flies. Opportunities fly. Children fly. Imagination flies. The news flies. Money flies. The series They fly represent these concepts literally by flocks of starlings. For each concept a textual work is created (a visual poetry, a concrete...

The series They fly are twelve works, six in Spanish and six in English. In it, six concepts are represented in both languages: time, opportunities, children, imagination, news and money. All of them related to sayings, proverbs and popular expressions that make them fly. Time flies. Opportunities fly. Children fly. Imagination flies. The news flies. Money flies. The series They fly represent these concepts literally by flocks of starlings. For each concept a textual work is created (a visual poetry, a concrete...

The series They fly are twelve works, six in Spanish and six in English. In it, six concepts are represented in both languages: time, opportunities, children, imagination, news and money. All of them related to sayings, proverbs and popular expressions that make them fly. Time flies. Opportunities fly. Children fly. Imagination flies. The news flies. Money flies. The series They fly represent these concepts literally by flocks of starlings. For each concept a textual work is created (a visual poetry, a concrete...

The series They fly are twelve works, six in Spanish and six in English. In it, six concepts are represented in both languages: time, opportunities, children, imagination, news and money. All of them related to sayings, proverbs and popular expressions that make them fly. Time flies. Opportunities fly. Children fly. Imagination flies. The news flies. Money flies. The series They fly represent these concepts literally by flocks of starlings. For each concept a textual work is created (a visual poetry, a concrete...

The series They fly are twelve works, six in Spanish and six in English. In it, six concepts are represented in both languages: time, opportunities, children, imagination, news and money. All of them related to sayings, proverbs and popular expressions that make them fly. Time flies. Opportunities fly. Children fly. Imagination flies. The news flies. Money flies. The series They fly represent these concepts literally by flocks of starlings. For each concept a textual work is created (a visual poetry, a concrete...

This widely referenced pair of paintings is one of Francesco Conti’s most successful productions. Francesco Conti is one of the finest painters of 18th-century Florence. In the shimmering colors typical of his best work, he represents two opposite characters from the Bible: the virtuous Judith, whose courage saves her people by cutting off the head of the invader Holofernes, and the depraved Salome, who under the influence of her mother becomes responsible for the beheading of the prophet John the Baptist. The artist's talent lies in his ability to treat these two macabre subjects with a light touch, presenting us with two attractive women who seem to twirl with glee amidst the severed heads... 1. Francesco Conti, the “Florentine Tiepolo” Francesco Conti is a major painter of the Florentine school of the 18th century; he can even probably be considered, along with Giovanni Domenico Ferretti (1692-1768), as one of the two main painters of the second quarter of the Florentine 18th century. Born in Florence in 1682, Francesco Conti began his apprenticeship in the workshop of Simone Pignoni (1611 - 1698), a disciple of Francesco Furini; he was also influenced by the Venetian Sebastiano Ricci. A protégé of Marquis Riccardi, he accompanied him to Rome between 1699 and 1705, where he frequented Carlo Maratta's studio. He settled permanently in Florence in 1705. Painted exclusively on canvas, the majority of his work consists of religious subjects, altarpieces or private devotional works. It is likely that Conti himself was a devout churchgoer, as evidenced by his affiliation, in the third decade of the eighteenth century, to the Society of the Disciples of Saint-John-the-Baptist, and his entry, at the end of his life, into the fraternity of the Venerable Society of the Holy Trinity. In Florence, Conti worked for the Grand Duchy's major patrons, including the last Medici - in particular Giangastone and Annamaria Luisa, Electress Palatine - and confirmed his role as a reference painter under the Lorraine Regency, as master of the Public Drawing School, which was closely linked to the institute responsible for the manufacture of semi-precious stone mosaics, then located in the Uffizi complex. Matteo Marangoni, an art critic of the early 20th century, praised his "brushwork full of elegance and true spirit of the 18th century", pointing out that Conti was "probably one of the best colorists" of the Florentine school of his time. These two characteristics led the art historian Paolo dal Poggetto to nickname him the "Florentine Tiepolo". 2. Judith and Salome, two biblical characters opposing each other These two paintings form a pair presenting two biblical episodes, which have in common the depiction of a "heroine" carrying the severed head of a man. While the Salome episode might at first appear to be an echo of the Old Testament story of Judith, each character is the exact opposite of the other. Judith, whose story is told in the Book of Judith, is a beautiful young widow from Bethulia who, accompanied by her maid, went into the camp of the invading Assyrians and won the confidence of Holofernes, the general commanding the enemy army. Invited to a great feast on the fourth evening, she took advantage of Holofernes' drunkenness to cut off his head. “She went up to the bedpost near Holofernes’ head, and took down his sword that hung there. She came close to his bed, took hold of the hair of his head, and said, “Give me strength today, O Lord God of Israel!” Then she struck his neck twice with all her might, and cut off his head. Next she rolled his body off the bed and pulled down the canopy from the posts. Soon afterward she went out and gave Holofernes’ head to her maid, who placed it in her food bag...

James Tissot was among the most successful and critically acclaimed artists of the Victorian era. Although the artist is celebrated for his elegant scenes of fashionable life in Paris and London, this work is a fascinating rarity within his oeuvre. In this monumental pastel, Tissot depicts a prehistoric woman draped in a tiger skin, presented with a striking pose and heroic air. His delicate portraiture, combined with his fascination with conveying texture, demonstrates why he was one of the most revered artists of his generation, and La femme préhistorique illustrates the remarkable technique for which he was renowned. This work was completed in preparation for a series of works exploring the Old Testament undertaken by Tissot from 1899-1902 that remained unfinished at the time of his death. A portion of this series focused on illustrations of Adam and Eve, and among these sketches were images of a nude Eve partially draped in animal furs. Towards the end of his life, following his conversion to Catholicism, biblical subjects became important to the artist. A few years before this work was completed, Tissot embarked upon a highly ambitious group of nearly 300 watercolors illustrating the New Testament, presenting the illustrated epic in its entirety at the Paris Salon of 1894. Both of these series were a critical artistic departure for the artist, stemming from a desire to create works separated from his typical images of modern society. This pastel imagines Eve as the prototype of womanhood in the guise of a prehistoric woman. Tissot rarely painted the nude, and his skill as a draftsman highlights the figure's natural beauty, contrasting it with the stark landscape surrounding her. Although a study, this monumental work is incredibly well-finished and highly engaging, with the statuesque model commanding the majority of the canvas. Her pose is strong and theatrical, and she addresses the viewer with a direct, confident gaze. The imagined historical subject of this drawing is grounded by Tissot’s exceptional attention to detail. A master of conjuring an array of textures, Tissot showcased this ability in this work by juxtaposing many types of fabrics and natural elements within one composition. The tiger skin with which the woman partially covers herself was a favorite studio prop of Tissot’s, appearing in many of his most influential works from the period, including several paintings of his partner and favorite model Kathleen Newton. It, in particular, showcases the artist’s understanding of texture, yet it also serves as an exotic element that elevates the sensuality of the scene when placed against the woman’s bare skin. Born in 1836 in the port town of Nantes, Tissot traveled to Paris at the age of 20 in order to join the studios of Hippolyte Flandrin and Louis Lamothe. During this period, he became close with James Abbott McNeill Whistler, Edgar Degas and Edouard Manet, and the impact of these friendships is reflected in his portraits of modern life. Having enjoyed considerable success in Paris during the 1860s, Tissot fought in the Siege of Paris, and after the fall of the Commune in 1871, he went to London, where he stayed for the next ten years. He was met with incredible success there, and he also met the love of his life, Kathleen Newton, a divorcée, with whom he lived from about 1876 until her death in 1882. Today he is regarded among the great masters of Belle Époque painting, and his works can be found in important collections worldwide, including the Metropolitan Museum of Art, the Brooklyn Museum, the National Gallery of Art, the Musée d’Orsay, the Tate Gallery and many others. This pastel remained in Tissot's private collection until his death in 1902 and is referenced in the posthumous 1902-3 valuation of Tissot's home at 64 avenue du Bois...

Original oil on canvas painting. Hand signed, titled and dated on verso by Roberto Matta. Frame size approx 38 x 46 inches. Artwork is in excellent condition. Certificate of A...

Medium: Oil on Canvas Signature: Signed Lower Right Saturday Evening Post Cover, April 19, 1930

Contemporary tempera on canvas painting by Polish artist Anna Wardega. Artwork depicts three women squatting to wet their hands in a reservoir. Women's clothing is very vibrant and i...

PROVENANCE Exhibited at Katarzyna Napiorkowska Gallery. The Gallery is a primary representative for this artist. The Gallery of Katarzyna Napiorkowska is one of the first private a...