The world of the Visual Arts...

The prices at TEFAF...

04/18/24 - One of the most popular art fairs on the planet is TEFAF, which is held in the city of Maastricht (Netherlands). Why? Because of the number of galleries presenting artworks, the variety of works, objects and jewelry on display, the excellent organization, the exuberant setting of hanging natural flowers and fluffy carpets, everything that is offered to potential buyers and much more. In short, while the trays carrying food with all kinds of crustaceans and glasses of champagne circulate around, you can tour an area of hundreds of square meters that, depending on your footwear and fatigue, can take a whole day. In addition, TEFAF has a peculiarity that we rarely see at other fairs: the prices appear on the signs. Therefore, to find out how much a painting or sculpture is worth these days (and without the need to bother the gallery owners) we chose a couple of works at random, just for information.

For example, The Temptation of Saint Anthony, by an artist who is a follower of Hieronymos Bosch (It is not a work by the artist, but by another artist inspired by him), is listed at 320,000 euros.

The temptations of Saint Anthony, by a follower of Hieronymos Bosch

Technique: oil on panel / Measures: 33 x 46,5 cm

The sculpture Melancholia by Dutch artist Hanneke Beaumont (1947), in bronze, coming directly from the artist's studio, costs 195.000 euros (this is number 4 of an edition of 8).

Melancholia, by Hanneke Beaumont (2022)

Material: bronze and cast iron.

A portrait preserved in perfect condition by Paulus Moreelse (Utrecht, 1571-1638) of a young lady in a black dress with gold embroidery and a lace crown, is offered for 85,000 euros.

A Portrait of a Young Lady, by Paulus Moreelse (signed and dated “M.f. 1632”)

Material: oil on panel / Measures: 76 x 62,3 cm

A sculpture by the founder of Concrete Art, Max Bill (1908-1994), who was the architect of this movement in the 1950s, is listed for 18,500 euros. This renowned Bauhaus student expresses "the spatial construction of form" with this exhibited work. Considering everything that Max Bill contributed to the history of art, since he was one of those who kicked off Modern Art, the price does not seem excessive. But, it is not a unique piece, since 200 of it were produced and the one offered is number 128.

Double, by Max Bill (1969)

Material: cremated brass, Numbered 128/200.

This exhibition is mostly inspirational for all of us who would like to share our daily lives with these objects, which leave their mark beyond the walls or spaces that contain them

6:55 p.m.
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Satirizing romanticism...

Temporary Exhibitions

12:14 p.m.
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Flowers in Art...

19th Century

10:51 p.m.
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The portraits of John Sargent...

19th Century

03/25/24 - If there was an artist during the 19th century who portrayed women of upper social class, dressed in the best of the nascent Haute Couture in Paris and London, it was John Singer Sargent (Italy, 1856-1925). The exhibition currently on display at the Tate Britain in London is a testimony of this, not only due to the impeccable mounting of the artist's paintings, but also due to the pairing with the original outfits worn by the sitters.

La Carmencita (Carmen Dauset Moreno), by John Singer Sargent (1890)

Technique: oil on canvas

It is said that posing for the artist was like a one-on-one between two people trying to fulfill their own desires: an encounter between the idealization that the artist intended to impose on the image to be portrayed and the narcissistic attitude of the person posing. The result was based on this space of collaboration and, at times, tension. The crossing of personalities caused such dynamism in the portraits that it made the work extremely alive, which is still maintained despite the passing of the years. Thus, the portrait becomes, then, a visual artifact accepted by everyone, even by those least initiated in the history of art who turn out to be the most critical when it comes to accepting the permanence of a work.

Mrs Edward Darley Boit (Mary Louisa Cushing), by John Singer Sargent (1887)

Technique: oil on canvas

Miss Elsie Palmer, or Lady in White, by John Singer Sargent (1889-90)

Technique: oil on canvas

Both the black polka dots on the pink satin skirt and the white dress in the second portrait define an outfit that in those days was typical for afternoon tea or an informal day out. Both produce a hypnotic effect on whoever looks at them. But neither of these two has the attraction of Madame X. The work belongs to the permanent collection of the Metropolitan Museum of Art in New York and shows a woman dressed in black, a color that was considered exclusive for mourning. The pose of the sitter reminds us of that of a classical sculpture. Madame Gautreu, despite being born in the United States, was admired by Parisian social circles. She exaggerated not only what she wore but also the amount of white powder she covered her body with. The sign says that Sargent had to convince her to pose. The design of her velvet and satin dress could have belonged to the fashion house Maison Félix.

Madame X (Madame Pierre Gaultreau - Virginie Amélie Avegno), by John Singer Sargent (1883-4)

Técnica: óleo sobre tela.

As Georges Didi-Huberman wrote in Devant le Temps: "The image often has more memory and more future than the being that looks at it." Surely Madame X will transcend us and those to come.