Mario Bedini

Mover ficha - Óleo sobre tela - Año 1966

1966

INTERESANTE OBRA DEL PRESTIGIOSO ARTISTA MARIO BEDINI (Sacile, Italia, 1936 - Sant Celoni, Barcelona, 2011) SE TRATA DE UN OLEO SOBRE TELA COMO PUEDEN APRECIAR, LA OBRA VA FIRMADA ...

La obra va firmada en la parte inferior (Mario Bedini) En la parte trasera va nuevamente firmado, fechado del año 1976 y titulado "Urracas" Se presenta enmarcada la obra (leves...

Como pueden apreciar, la obra va firmada en la parte inferior y fechada del año 1969 En la parte trasera, va nuevamente firmado Se presenta enmarcada la pintura El estado de la ob...

Como pueden apreciar, la obra va firmada en la parte inferior y fechada del año 1972 En la parte trasera, va nuevamente firmado Se presenta enmarcada la pintura (el marco presenta ...

Kotlicki is a constantly searching artist. Treading his own path, aiming at defining himself, giving his work a clear identity, he came across the avant-garde. He would back off the way, though, reckoning that a particular style imposes some limitations, and the real art is the liberation from the clichés and guidelines. Following this line of thinking, he managed to remain the independent artist, creating plainly under the influence of his own feelings experienced in a certain moment, the influence of certain occurrences. Kotlicki’s works are texturally rich to great extent. Along with chiaroscuro, the author plays with contrasts, setting flat colour patches with a thick, uneven layer of paint, round shapes with angular ones, oil paint with pastel, realism with non-descriptive painting. In terms of colours, he rather remains dedicated to monochromatism. The different colour appearing at times is to strengthen the effect of the domineering colour scheme. Similarly like in the case of chiaroscuro - it is not a compulsory action, the author remains open for his creative train of thought. Born 1972 in Poland. Graduated from the Academy of Fine Arts in Łódź, Poland in 2000, painting diploma by Prof. Ryszard Hunger. Currently works as assistant at the National Film School in Łódź at The Film and Television Directing Department (PWSFTViT). In line with his background, his creative work is multimedia-oriented with an emphasis on painting. They have been displayed at: Ningbo Museum of Art (China), the National Gallery of Art in Warsaw, the Audio-visual & new media arts festival Madatac in Madrid (Spain), the MS Dockville Festival in Hamburg (Germany), the International Video Festival in Novi Sad...

Certificate of authenticity and artist catalogue are included. Bruno Paoli (1915-2005) Teaching the masters helped create this contemporary master. Bruno was a professor of art in F...

Oil on canvas by Edouard Goerg (1893-1969), France, 1958. Life is always the same. Acquired in 2017 from the personal collection of Edouard Goerg. Measurements : with frame : 62.5x53.4 cm - 24.6x21 inches, without frame : 55x46 cm - 21.7x18.1 inches, format 10F. Signed "E.Goerg" (see photo). Preserved by the painter, then by his family since his death in 1969, this painting appeared in 2017. Entitled "Always life begins again", it is a crepuscular work. Testamentary one could say, so much the statement which is made there is definitive. The fact that he kept it until his death tends to consolidate this vision. Far from the empty looks and death faces of the rebellious era of sarcastic expressionism, the terrifying and compassionate testimony of the Spanish war, and the post-WWII flower women, we are dealing here with a a form of reasonable abdication, but honest. This idea that although everything changes, nothing changes. Changed times, actors, ideas, the same comedy occupies the society. Having given up the idea of ​​changing the latter, Goerg accepts the fact that the only alternative is to stay there or get lost. But stay afloat with his values, completely independent, whatever the cost is. This work is similar to La Vie Recommence of 1935, reproduced on page 54 of Gaston Diehl's book devoted to the painter (Éditions de Clermont, 1947). On the latter, the artist depicts his vision of life, from birth to death, made of hope, fear, cruelty, resignation and fatality. 23 years later, Toujours La Vie Recommence shows us the road traveled by the painter. It is no longer a matter of denunciation, but ultimately of acceptance of reality and the difficulty of staying there yourself. The admirer of Hieronymus Bosch gives us an inspired composition. The hand of God, the only expression of physical beauty in this work, comes down from heaven to give life. Symbolically, it holds an egg that dispenses the element from which the human protagonists find their birth, and in which they move and tangle more than they impose. Beautiful allegory of society. Four characters, two women and two men evolve in this societal marigot. The man in the foreground, ruddy face, evolves with ease. His body is supple, flexible, adaptable. The woman on the left observes him with admiration. Obviously, this man is in his place and causes rapture. The right man with massive shoulders and wrapped, shows a physical maladjustment to the activity he is doing. He struggles to stay afloat, his face expresses effort, even exhaustion. But he assumes. He does with what he has, with what he is. The other woman shows him the greatest indifference. What is not the case of the demonic archangel (recurrent in the works of Bosch) with the stunted body, who leads the dance and holds this character, we understand the painter, under his control as to have fun. As this character cannot change bodies, Goerg cannot change values. He does it with. Had he not said to the critic Roger Brielle: "Independents, sensitive and just men, that's what we must strive to stay in this world in disarray". Goerg will have come to narrative expressionism to give us a balance sheet allegory of his deep self and his condition. Édouard Goerg is one of the major artists of his generation. Coming from a Champagne family, he was born in Sidney, Australia, in 1893, during a professional stay of his father. After passing through London, he arrives in Paris at the age of seven. At twenty, between 1913 and 1914, he studieds painting at the Académie Ranson with Maurice Denis and Paul Sérusier. He travels to Italy and India. Mobilized in 1914, he is sent to Artois, then to Argonne. From 1920, he exhibits at the Salon des Independants, then at the Salon d'Automne where he joins with Laboureur. At Berthe Weil, in 1924, he participates in the exhibitions of the Gromaire group, a prelude to a series of exhibitions in Paris (Berthe Weill, Bernheim Jeune), as in Brussels (Le Centaure). Goerg illustrates books including Table of the beyond by F.Boutet. In 1928, he meets Paul Guillaume who exhibits his works in Boston and the Art Institute of Chicago. He continues to show his works, satires of the bourgeois manners, at Bernheim Jeune, then at Lucie Krogh. In 1934, he travels to Belgium and Holland where he paints surrealist paintings that will be exhibited at Jeanne Castel. In 1935-1936, he meets Aragon, who opened the doors of the houses of the cultures created by the Association of Writers and Revolutionary Artists. The Spanish war and the Second World War mark it deeply. He must protect his daughter and his Jewish women...

Oil on canvas painting done in heavy impasto paint. Signed lower right. Has 2 patches that are much bigger than actual holes. Each repair is half the size of a dime and is not visible from the front of the painting. Original bill of sale from the Gallerie Ferrero in Geneve comes with the painting. Titled in French verso "La Cartomancienne" which translates to the fortune teller...