HOLIDAY Pile Tapestry Rug Esteben Vicente By Edward Fields - Art by Esteban Vicente
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Esteban Vicente
HOLIDAY Pile Tapestry Rug Esteben Vicente By Edward Fields

About

Very Rare Hand Woven Wool Tapestry Rug (edition called for 12 but this might have been the only one produced) Esteban Vicente carpet Tapestry produced by the Edward Fields workshops. This was written up in an article in New York magazine in the 1970s. In excellent condition this belonged to the Fields family. It is based on a torn paper collage. Related correspondence exists in the Esteban Vicente archives. (this is a pile weave not a flat weave like an Aubusson. A member of the first generation of New York School Abstract Expressionists, Esteban Vicente was part of the most influential circles of his generation. During the course of his long and lauded career, he closely studied shape, light, and the possibilities of pigment. Born in 1903 in Turégano, Spain, to a family that appreciated the arts, Vicente was raised in Madrid. He recalled being “bored” during visits to the Prado as a child. Vicente enrolled at the Real Academia de Bellas Artes in Madrid in 1921 intending to study sculpture. He completed his training in 1924. . During this period, the mid- and late 1920s, Vicente became fully immersed in Madrid’s cultural milieu, including the “Generation of ‘27”, a group of poets, artists, and other intellectuals interested in the avant-garde. His circle included Luis Buñuel, and he met Pablo Picasso and Michael Sonnabend. After exhibiting for several years in Paris, Barcelona, and Madrid, Vicente moved to New York in 1936. Vicente had ample time to continue with his art and had his first one-man show in New York at the Kleeman Gallery in 1937. After the fall of the Spanish Republic in 1939 he returned to New York City. During World War II he supported himself with portrait commissions and by teaching Spanish. A 1945 exhibition in Puerto Rico led in 1946 to a position at the University of Puerto Rico teaching painting. After his return to New York in 1947 he established relationships with most of the members of the nascent New York School, participating in their seminal exhibitions at the Kootz Gallery in 1950, in the 9th Street Art Exhibition in 1951 and in exhibitions at the Sidney Janis Gallery and Charles Egan Gallery. Subsequently he was represented by the Leo Castelli, André Emmerich and Berry-Hill Galleries in New York City. He was a founding member of the New York Studio School, where he taught for 36 years. Although he never exhibited in Spain during the rule of Francisco Franco, in 1998 the Spanish government opened the Esteban Vicente Museum of Contemporary Art in Segovia. During his first decade in New York, Vicente exhibited at the Kleeman Galleries, the Bonestell Gallery, and the Pennsylvania Academy of the Fine Arts, and developed friendships with critic Walter Pach and painter Joseph Stella. By the late 1940s, Vicente was committed to exploring abstraction, giving up his earlier representational style of painting. With extensive personal and professional connections and a commitment to pursuing avant-garde art, Vicente was centrally located in New York’s burgeoning postwar art scene. In the midst of the Abstract Expressionist movement, Vicente was a core member of the New York School, which included colleagues and friends Franz Kline, Jackson Pollock, Mark Rothko, and Barnett Newman. Vicente was a voting member of The Club, and shared a studio with Willem de Kooning. The influential galleries and critics of Abstract Expressionsim recognized Vicente’s bold, gestural work as of central importance to the era. He showed with Charles Egan, Leo Castelli, and Andre Emmerich, among others; friends included Harold Rosenberg and Thomas Hess. Clement Greenberg and Meyer Schapiro included him in the Kootz Gallery’s “Talent 1950” exhibition, and Vicente participated in the seminal “Ninth Street” exhibition the following year. From the 1960s on, Vicente refined his gestural style of painting and collage to reflect a more reductive approach that employed vibrant color harmonies and contrasts. He sought control and order in his work, rejecting the idea of the unconscious as an artistic guide, a notion embraced by some of his contemporaries. Instead, his carefully constructed mature compositions were evocative, dramatic, and nuanced. Thinly applied pigments and spare collage elements created works defined by light and structure. Poet and critic John Ashbery described Vicente as “known and admired as one of the best teachers of painting in America.” Among his many teaching positions were jobs at Black Mountain College, the University of California at Berkeley and Los Angeles, Yale University, Princeton University, and Columbia University. His students included Dorothea Rockburne, Chuck Close, and Brice Marden. Vicente continued to work and exhibited regularly well into his nineties. In 1991, King Juan Carlos and Queen Sofia awarded him the Gold Medal of Honor in the Fine Arts, Spain’s most important honor in the arts. Vicente died in Bridgehampton, New York, in 2001. In addition to the Museum de Arte Contemporaneo Esteban Vicente in Segovia, the artist’s work is held in most major museums in the United States, including the Metropolitan Museum of Art, the Museum of Modern Art, the Guggenheim Museum, the Los Angeles County Museum of Art, and the Art Institute of Chicago. In March 2011 the Grey Art Gallery at New York University exhibited Concrete Improvisations: Collages and Sculpture by Esteban Vicente. In addition to 60 paper collages, the exhibit included 20 of Vicente's small-scale assemblages called divertimentos (toys), composed from pieces of found wood and covered with white plaster, with others composed of plastic and wood with architectonic elements. He is represented by Ameringer Mcenery Yohe galleries

Details

  • Dimensions
    H 70.80 in. x W 60 in.H 179.84 cm x W 152.4 cm
  • Gallery Location
    Bal Harbour, FL
  • Reference Number
    LU382222002
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Located in Bal Harbour, FL
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