Items Similar to Francisco Bores, Sur la plage
Want more images or videos?
Request additional images or videos from the seller
1 of 11
Francisco BoresFrancisco Bores, Sur la plage1929
1929
About the Item
FRANCISCO BORES
Spanish, 1898 - 1972
SUR LA PLAGE
signed and dated "Borès / 29" (middle centre)
oil on canvas
21-1/3 x 25-1/2 inches (54 x 65 cm.)
framed: 26-1/5 x 30-1/2 inches (66.5 x 77.5 cm.)
NOTE:
THIS WORK IS ACCOMPANIED BY A CERTIFICATE OF AUTHENTICITY ISSUED BY “ARCHIVO FRANCISCO BORES”.
PROVENANCE
Private Collection, Madrid
Francisco Bores López (Madrid, May 5, 1898 - Paris, May 10, 1972) was a Spanish painter of the so-called New School of Paris.
His artistic training originated both in the Cecilio Pla painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz or Joaquín Peinado, and in the literary gatherings in Madrid related to ultraism.
At this time he made engravings and woodcuts for a large number of magazines such as Horizonte, Cruz y Raya, Index, Revista de Occidente. In 1922 he participated in the National Exhibition of Fine Arts.
In 1925 he participated in the first exhibition of the Iberian Artists Society. The limited success of this exhibition pushes him to go to Paris. In this city he shared a studio with the Spanish painter Pancho Cossío and also met Picasso and Juan Gris.
In 1927 he held his first solo exhibition in Paris. From this moment on, Bores integrates himself into the Parisian artistic environment where he will live practically his entire life. In 1928, his first exhibition in a gallery in the United States, in 1930 he exhibited again, within a group exhibition at the Museum of Modern Art in New York.
In the following years, he continued exhibiting in different galleries in Paris, such as the Georges Petit Gallery, the Bernheim Gallery and the Vavin Raspail Gallery. He also participates in several group exhibitions, highlighting the Exhibition of Contemporary Spanish Art at the Jeu de Paume Museum in Paris, he also illustrates books and art magazines such as Minotauro.
Contracts with the Zwemmer Galleries in London and Galerie Simon in Paris. Exhibitions in the United States, at the Buchholz Gallery in New York. He spent the Second World War in Saint Jean de Luz where he resumed his friendship with Matisse.
In 1947 the French State acquired, for the first time, a work by Bores, in 1949 it was the Museum of Modern Art in New York that acquired his paintings. Its exhibition activity is resumed throughout Europe: France, Germany, Denmark, Italy. His inclusion in the painters of the Louis Carré Gallery, one of the most prestigious in Paris, and therefore in the world, in those years (1954) stands out.
He continues, sporadically, to illustrate books (five linocuts "The Cry for the Death of Ignacio Sánchez Mejias" by Federico García Lorca, lithographs to illustrate the complete works of Albert Camus published by the French Imprimerie nationale in 1962). In 1969, he exhibited at the Theo Gallery in Madrid what his approach to the Spanish public represented, which was practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again in this same Theo Gallery, passing away in Paris in 1972.
In Bores's work, the critic Joaquín de la Puente points out several periods:
Renewed classicism (1923-1925)
Neo cubism (1925-1929)
Painting-Fruit (1929-1933)
Interior scenes (1934-1949)
Style in white (1949-1969)
Exhibitions
Athenaeum of Madrid, 1922
Galerie Georges Bernheim, Paris 1931
Galerie Vavin-Raspail, Paris, 1933
Zwemmer Gallery, London 1935
Buchholz Gallery, New York 1939
Galerie de France, Paris 1949
Galerie Louis Carré, Paris 1954
Svensk-Franska konstgalleriet, Stockholm 1954
Galerie Louis Carré, Paris 1956
Albert Loeb gallery, New York 1960
Galerie Louis Carré, Paris 1962
Galerie Villand et Galanis, Paris 1966
Theo Gallery, Madrid, November 1971
Museums
Musée de Grenoble, France
Musée d'Art moderne de la Ville de Paris
Musée national d'Art moderne - Center Georges Pompidou, Paris
Reina Sofía National Art Center Museum, Madrid - Bores Donation
Museum of Fine Arts, Bilbao - Spain
Kunsthaus Zürich - Switzerland
Wadsworth Atheneum, Hartford, Connecticut - USA
Santander Central Hispano Foundation, Madrid - Spain
Scottish National Gallery of Modern Art, Edinburgh - Scotland
Institut Valenciá d'Art Modern, Generalitat Valenciana - Spain
Moderna Museet, Stockholm - Sweden
The Museum of Modern Art, MoMA, New York
Art and Technology Foundation, Telefónica, Madrid
- Creator:Francisco Bores (1989 - 1972, Spanish)
- Creation Year:1929
- Dimensions:Height: 21.26 in (54 cm)Width: 25.6 in (65 cm)
- More Editions & Sizes:54 x 65 cm.Price: $15,505
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Madrid, ES
- Reference Number:1stDibs: LU1281114065792
Francisco Bores
Francisco Bores López (Madrid, May 5, 1898 - Paris, May 10, 1972) was a Spanish painter of the so-called New School of Paris. His artistic training originated both in the Cecilio Pla painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz or Joaquín Peinado, and in the literary gatherings in Madrid related to ultraism. At this time he made engravings and woodcuts for a large number of magazines such as Horizonte, Cruz y Raya, Index, Revista de Occidente. In 1922 he participated in the National Exhibition of Fine Arts. In 1925 he participated in the first exhibition of the Iberian Artists Society. The limited success of this exhibition pushes him to go to Paris. In this city he shared a studio with the Spanish painter Pancho Cossío and also met Picasso and Juan Gris. In 1927 he held his first solo exhibition in Paris. From this moment on, Bores integrates himself into the Parisian artistic environment where he will live practically his entire life. In 1928, his first exhibition in a gallery in the United States, in 1930 he exhibited again, within a group exhibition at the Museum of Modern Art in New York. In the following years, he continued exhibiting in different galleries in Paris, such as the Georges Petit Gallery, the Bernheim Gallery and the Vavin Raspail Gallery. He also participates in several group exhibitions, highlighting the Exhibition of Contemporary Spanish Art at the Jeu de Paume Museum in Paris, he also illustrates books and art magazines such as Minotauro. Contracts with the Zwemmer Galleries in London and Galerie Simon in Paris. Exhibitions in the United States, at the Buchholz Gallery in New York. He spent the Second World War in Saint Jean de Luz where he resumed his friendship with Matisse. In 1947 the French State acquired, for the first time, a work by Bores, in 1949 it was the Museum of Modern Art in New York that acquired his paintings. Its exhibition activity is resumed throughout Europe: France, Germany, Denmark, Italy. His inclusion in the painters of the Louis Carré Gallery, one of the most prestigious in Paris, and therefore in the world, in those years (1954) stands out. He continues, sporadically, to illustrate books (five linocuts "The Cry for the Death of Ignacio Sánchez Mejias" by Federico García Lorca, lithographs to illustrate the complete works of Albert Camus published by the French Imprimerie nationale in 1962). In 1969, he exhibited at the Theo Gallery in Madrid what his approach to the Spanish public represented, which was practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again in this same Theo Gallery, passing away in Paris in 1972. In Bores's work, the critic Joaquín de la Puente points out several periods: Renewed classicism (1923-1925)
Neo cubism (1925-1929)
Painting-Fruit (1929-1933)
Interior scenes (1934-1949)
Style in white (1949-1969)
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 1977
1stDibs seller since 2019
21 sales on 1stDibs
Typical response time: 2 hours
- ShippingRetrieving quote...Ships From: Madrid, Spain
- Return PolicyA return for this item may be initiated within 14 days of delivery.
More From This SellerView All
- "Florence´s Bridge", 19th Century Oil on Canvas by Antonietta BrandeisBy Antonietta BrandeisLocated in Madrid, ESANTONIETTA BRANDEIS Czechoslovakian, 1848 - 1926 FLORENCE´S BRIDGE signed "ABrandeis" lower right oil on canvas 10-3/5 x 14-4/5 inches (27 x 37.5 cm.) unframed PROVENANCE Private Collection, Barcelona Antonietta Brandeis (also known as Antonie Brandeisová) (1848–1926), was a Czech-born Italian landscape, genre and portrait painter, as well as a painter of religious subjects for altarpieces. She was born on January 13, 1848, in Miskovice (near Kutná Hora) in Bohemia, Austria-Hungary.[2] The first bibliographical indication of Antonietta Brandeis dates from her teens, when she is mentioned as a pupil of the Czech artist Karel Javůrek of Prague.[3] After the death of Brandeis' father, her mother, Giuseppina Dravhozvall, married the Venetian Giovanni Nobile Scaramella; shortly afterward the family apparently moved to Venice. In the 1867 registry of the Venetian Academy of Fine Arts, Brandeis is listed as being enrolled as an art student. At this time, Brandeis would have been nineteen, and one of the first females to receive academic instruction in the fine arts in Italy. In fact, the Ministry granted women the legal right to instruction in the fine arts only in 1875, by which time Brandeis had finished her education at the Academy. Brandeis’s professors at the Venetian Academy of Fine Arts include Michelangelo Grigoletti and Napoleone Nani for life drawing, Domenico Bresolin for landscape, Pompeo Marino Molmenti for painting and Federico Moja for perspective. Already during her first years of study there is evidence of Brandeis' skill-in her first year she is awarded prizes and honors in Perspective and Life Drawing. Brandeis’ continuing excellence and diligence in her artistic studies during the five years she spends at the Academy is attested to in the lists of prize-winning students of the Academy “Elenco alunni premiati Accademia Venezia in Atti della Reale Accademia di Belle Arti in Venezia degli anni 1866-1872”.[4] It includes numerous mentions of prizes and high honours won by Brandeis in Art History, Perspective, Life Drawing, Landscape and Anatomical Drawing, Drawing of Sculpture, and “Class of Folds”. It is in Venice at the Academy that Brandeis perfected her skills as a meticulous landscape and cityscape painter, with intricate and luminous details in the tradition of the eighteenth-century “vedutisti”. In 1870, while still a student at the Academy, she participated in her first exhibition; that of the Società Veneta Promotrice di Belle Arti with the oil painting Cascina della Madonna di Monte Varese. She is documented as having exhibited eight paintings during the years 1872 to 1876 with the Società Veneta Promotrice di Belle Arti, both landscapes and genre scenes. In the exhibit of 1875 her landscape Palazzo, Marin Falier is sold to M. Hall of London for 320 lire, a first indication of the success Brandeis will achieve with foreign collectors of her work (particularly the English and German visitors to Italy on the Grand Tour circuit). During these same years, she showed two paintings in the Florentine exhibit Promotrice Fiorentina. The first painting, entitled “Gondola” is a subject which she repeats in new variations throughout her career with great success. The second, perhaps a genre painting, is entitled “Buon dì !” The two paintings remained unsold and were presented at the same exhibition the following year, together with two more genre scene paintings. In 1876 and 1877 she exhibited three landscapes of Venice at the Promotrice Veneta, which sold to foreign collectors. In November 1877 Brandeis showed the large painting Palazzo Cavalli a Venezia at the exhibition of the Hungarian Fine Arts Society in Budapest. In both Florence and Budapest, Brandeis showed her work under the name “Antonio Brandeis”. The biographer De Gubernatis offers the following explanation for the change of name: “her first pictures received praise and criticism; she took the criticism, but when she was praised as a woman she was annoyed, and therefore exhibited under the name Antonio Brandeis.” During the years 1878 to 1893 Brandeis painted and exhibited numerous works, primarily scenes of Venice, and although she resided chiefly in that city she also traveled and painted in Verona, Bologna, Florence, and Rome. As well as in Venice and Florence, she exhibited in Turin, Milan, and Rome. In 1880 she was present at the International Exposition of Melbourne with three paintings: Palazzo Cavalli, A Balcony in Venice and The Buranella- native of Burano Island near Venice. Brandeis was a prolific painter, and often replicated her most popular subjects with only slight variations. She was represented in Venice at the photographer Naya’s studios in Piazza San Marco and in Campo San Maurizio and in Florence she collaborated with the picture dealer Giovanni Masini. During this period of intense activity painting landscapes en plein air and genre scenes, Brandeis also is documented in De Gubernatis as a painter of religious altarpieces. Several of these altarpieces can be found on the Island of Korcula in Croatia. Two are visible in the parish church of Smokvici and of in the church of St. Vitus in Blato. In the sacristy of the Cathedral of Korcula is a Madonna with Christ Child painted by Brandeis. For the same church she also painted a copy of the central panel of Giovanni Bellini’s triptych from the Venetian Church of Santa Maria dei Frari Gloriosa (1488). In 1899, for the main altar of the chapel of St. Luke in the Korcula town cemetery, Brandeis painted a St. Luke, which shows the sparkling colors and free impasto typical of her plein air oil paintings. On October 27th 1897 at the age of 49, Brandeis married the Venetian Antonio Zamboni, a knight and officer of the Italian Crown and knight of the Order of SS. Maurizio and Lazzaro. The couple continued to reside in Venice and Brandeis continued to show at Italian exhibitions in Venice, Florence, and Rome although more sporadically and with fewer works than before. Although she participated in the International Exposition of Watercolourists in Rome in 1906 with a “Study” and in the Società Promotrice delle Belle Arti in Florence in 1907 and 1908 with two oil paintings, De Gubernatis quotes Brandeis as saying in 1906, that even though she resides in Venice “I am a foreigner, and for some time I have not taken part in Italian Exhibitions, sending all my paintings to London.[3] Antonio Zamboni died 11...Category
1890s Realist Figurative Paintings
MaterialsOil, Canvas
- "Porte Saint-Denis, Paris", Early 20th Century Oil on Canvas by Joaquín PallaresLocated in Madrid, ESJOAQUÍN PALLARÉS ALLUSTANTE Spanish, 1853 - 1935 PORTE SAINT - DENIS signed "J. Pallares" (lower left) oil on canvas 10-1/2 x 15-3/4 inches (26.5 x 40...Category
Early 1900s Realist Figurative Paintings
MaterialsOil, Canvas
- "Forains sur la Plage", 20th Century Oil on Canvas by Artist Celso LagarBy Celso LagarLocated in Madrid, ESCELSO LAGAR Spanish, 1891 - 1966 FORAINS SUR LA PLAGE signed "Lagar" (lower right) oil on canvas 11-1/2 x 16-1/8 inches (29 x 41 cm.) PROVENANCE Private French Collector Celso Laga...Category
1950s Fauvist Landscape Paintings
MaterialsOil, Canvas
- "Plage de Trouville" Sept. 1953, 20th Century oil on canvas by Emilio Grau SalaBy Emilio Grau SalaLocated in Madrid, ESEMILIO GRAU SALA Spanish, 1911 - 1975 TROUVILLE, SEPTEMBRE 1953 signed Grau Sala (lower left) signed again, located & dated "Grau Sala, Trouville, Septembre 1953" on the reverse oil...Category
1950s Impressionist Landscape Paintings
MaterialsOil, Canvas
- "Saint Marks Square", 19th Century oil on canvas of Venice by Antonio ReynaBy Antonio Reyna ManescauLocated in Madrid, ESANTONIO REYNA MANESCAU Spanish, 1859 - 1937 SAINT MARKS SQUARE signed & located "A. Reyna, Venezia" (lower right) oil on canvas 15-1/2 x 21-3/8 ...Category
Early 1900s Realist Landscape Paintings
MaterialsCanvas, Oil
- "Catalonia Landscape", Early 20th Century Oil on Canvas by Modest UrgellLocated in Madrid, ESMODEST URGELL Spanish, 1839 - 1919 CATALONIA LANDSCAPE signed “Urgell” (lower left) oil on canvas 27-1/4 x 51-1/4 in. (69 x 130 cm.) framed: 31-1/4 x 55-...Category
Early 1900s Naturalistic Landscape Paintings
MaterialsCanvas, Oil
You May Also Like
- Ice Blue, Original Abstract Painting, Bold Impressionist Art, Cubist InspiredBy Lucy PowellLocated in Deddington, GBIce Blue is an original painting by Lucy Powell. Lucy’s unique style effortlessly blends impressionism with cubism and the bold colours that she uses make a big statement. Lucy Powe...Category
2010s Abstract Impressionist Landscape Paintings
MaterialsCanvas, Oil
- Coral Drifters, Oil on Canvas, Light and Shadow, Underwater LandscapeBy Ellen HartLocated in Houston, TXCoral Drifters is part of the Light in the Deep Series by artist Ellen Hart. Coral Drifters investigates the ubiquitous patterns of light, shadow and reflection that we all experience daily, but that we rarely stop to notice. The works reflect a perceptual duality: a tangible, distinct moment and place when the source pattern is found, intertwined with the fleeting and ephemeral nature of time. As light and atmospheric conditions shift, my source patterns morph, move and change. LOOK FOR FREE SHIPPING AT CHECKOUT This can be seen as an underwater landscape...Category
2010s Abstract Impressionist Landscape Paintings
MaterialsCotton Canvas, Oil
- Lantern Fish, Oil/Canvas, Light and Shadow, Underwater Landscape, Texas ArtistBy Ellen HartLocated in Houston, TXLantern Fish is part of the Light in the Deep Series by artist Ellen Hart. Lantern Fish investigates the ubiquitous patterns of light, shadow and reflection that we all experience daily, but that we rarely stop to notice. The works reflect a perceptual duality: a tangible, distinct moment and place when the source pattern is found, intertwined with the fleeting and ephemeral nature of time. As light and atmospheric conditions shift, my source patterns morph, move and change. LOOK FOR FREE SHIPPING AT CHECKOUT Lantern Fish is a part of the Light is the Deep Series. It can be combined with any other paintings in the series shown here. This can be seen as an underwater landscape...Category
2010s Abstract Impressionist Landscape Paintings
MaterialsCotton Canvas, Oil
- Sea Shadow #103 Oil/Canvas, Light & Shadow, Underwater Landscape (Spiral Sun)By Ellen HartLocated in Houston, TXThis Underwater World series is inspired by the oceans. Most of the works are specifically inspired by a set of tidal pools I found at the edge of the Pacific Ocean on the west coas...Category
2010s Abstract Impressionist Landscape Paintings
MaterialsCotton Canvas, Oil
- Into the Woods I, Sold as One or Several Panels, Oil, Shadow Series, OrganicBy Ellen HartLocated in Houston, TXInto the Woods is a series of seven oil paintings by Houston artist Ellen Art also known as C.Ellen Hart. The size of the Into the Woods series is 20 x 16 x 1 inches. Each paintin...Category
2010s Abstract Impressionist Landscape Paintings
MaterialsCotton Canvas, Oil
- Atmos / 72 x 96 inches — oil on canvas - calm serenityBy Sophie DixonLocated in Burlingame, CA'Atmos' is appropriately titled light atmospheric quality. The oil paint is layered thinly in most places on the canvas. There is also linseed dipped charcoal drawn on and painted o...Category
21st Century and Contemporary Abstract Impressionist Abstract Paintings
MaterialsCanvas, Oil
Recently Viewed
View AllMore Ways To Browse
Antique Abstract
Abstract Art Antique
Antique Abstract Art
Pompidou Exhibition
Moderne Gallery
Madrid Antique
Fine Art Parisian Painting
Antique Abstract Paintings
Picasso 1929
Galerie Matisse
Abstract In Antique Frame
Moma Modern Abstract Painting
Picasso Foundation
Where Saints Go
Carre Paris
Matisse Spanish
Picasso 1933
Antique World Usa