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全球拍卖首页 > 888 Auctions Inc. > 现代艺术、精美绘画及亚洲古董艺术品拍卖 > Lot 152
Amelia Pelaez 1896-1968 Cuban Gouache on Paper
加拿大 北京时间
2019年03月29日 开拍
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拍品描述 翻译
Gouache on paper, framed a still life scene of a vase with flowers. Signed A. Pelaez on the lower right corner. Attributed to Amelia Pelaez (1896-1968, Cuban). Featuring a 34.5 x 24.5 cm (41.5 x 31 cm). Amelia Peláez del Casal was an important Cuban painter of the Avant-garde generation. Amelia Peláez was born in 1896 in Yaguajay, in the former Cuban province of Las Villas (now Sancti Spíritus Province). In 1915, her family moved to Havana, to the La Víbora district, and this gave her the opportunity to enter the Escuela Nacional de Bellas Artes "San Alejandro" at the rather late age of 20 years (students at this academy usually start at 12–13 years of age). She was among Leopoldo Roma?ach's favourite students. In 1924 she graduated from San Alejandro, and exhibited her paintings for the first time, along with another Cuban female painter, María Pepa Lamarque, at the Association of Painters and Sculptors in Havana. Receiving a small government grant, she travelled to New York City in the Summer of 1924 and began six months of study at the Art Students' League. In 1927, after being awarded a larger grant, she began studying in France, while paying short visits to Spain, Italy, and other countries. In Paris, she took drawing and art history courses at the Académie de la Grande Chaumière, the école Nationale Supérieure des Beaux-Arts, and the école du Louvre. In 1931 she began studying with Russian painter Alexandra Exter, whose classes in color theory and design were an important influence.[3] Galerie Zak hosted an exhibition of her paintings in 1933, and the following year she returned to Cuba. Peláez received a prize in the National Exposition of Painters and Sculptors in 1938, and collaborated on several art magazines in Cuba, such as Orígenes, Nadie Parecía, and Espuela de Plata. In 1950 she opened a workshop at San Antonio de los Ba?os, a small city near Havana, where she dedicated herself, until 1962, to her favourite pastime of pottery. She sent her paintings to the S?o Paulo Art Biennial in 1951 and 1957, and participated in 1952's Venice Biennale. In 1958 she was a guest of honour and jury member at the First Inter-American Biennial of Painting and Printmaking in Mexico City,[1] although she pulled out of the raucous and controversial jury discussions based on what she reported to be “an openly Communist bias in the decisions.” The works of Peláez are held in the Museo Nacional de Bellas Artes de La Habana and the Museum of Modern Art, New York. PROVENANCE: Southern Ontario estate
品相报告
All lots that do not carry established documented provenance nor any past record of auction history record are described in the catalog as attributed.

All authorship of items in this catalog are described according to the following terms:

Signed [Artist Name]: In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.

By [Artist Name]: The work is by the artist.

Attributed to [Artist Name]: The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name]: The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name]: The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name]: A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).

American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

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