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Auction archive: Lot number 16

Diego Rivera

Latin America
22 Nov 2016
Estimate
US$800,000 - US$1,200,000
Price realised:
US$970,000
Auction archive: Lot number 16

Diego Rivera

Latin America
22 Nov 2016
Estimate
US$800,000 - US$1,200,000
Price realised:
US$970,000
Beschreibung:

16 Property from the Collection of Natalie R. and Eugene S. Jones Diego Rivera Retrato de Marevna (Portrait of Marevna) oil on canvas 31 3/4 x 25 1/2 in. (80.6 x 64.8 cm) Painted in 1916.
Provenance Collection of Alice Warder Garrett, Evergreen Foundation, Baltimore (acquired directly from the artist in 1916) Sotheby Parke Bernet Inc., New York, Modern Paintings - Drawings - Sculpture, October 22, 1976, lot 374A Acquired from the above by the present owner Exhibited Phoenix Art Museum, Diego Rivera The Cubist Years (March 10 - April 29, 1984); then travelled to New York, IBM Gallery of Science and Art (June 13 - August 8, 1984); San Francisco Museum of Modern Art (September 27 - November 11, 1984); Mexico City, Museum of Modern Art, (December 6, 1984 - February 11, 1985) Literature Laura Cortés Gutiérrez, Diego Rivera Catálogo general de obra de caballete, Mexico City: Instituto Nacional de Bellas Artes, 1989, No. 32, p. 191 (illustrated in black and white) Diego Rivera The Cubist Years, exh. cat., Phoenix Art Museum, Phoenix, 1984, p. 128 (illustrated) We are grateful to Professor Luis-Martín Lozano for his kind assistance in cataloguing this work. Video Diego Rivera’s Cubist Affair Around 1916, Diego Rivera began to refine his Cubism toward a more purist abstraction of geometric shapes. 'Retrato de Marevna (Portrait of Marevna)', made that very year, is the second Cubist portrait of three portraits of Marie Bronislava Vorobyeva-Stebelska 'Marevna', with whom Rivera had a passionate affair. Our Latin Head of Sale Kaeli Deane elaborates on the incredible history of the work here. Catalogue Essay Between the years of 1912 and 1917, Mexican artist Diego Rivera enjoyed a fruitful career as a cubist painter in Paris. His serious work as a theorist and as an exponent of Cubism led him to emerge as a distinctive member of the vanguard movement and a contemporary of Pablo Picasso Jean Metzinger and Gino Severini After beginning his artistic studies at the Escuela Nacional de Bellas Artes in Mexico City as an academic painter well-versed in the Modernist and Post-Impressionist movements, Rivera perfected his studies in Spain between 1907 and 1909; briefly returning to Mexico and then back to Europe in 1911 to open his studio in Montparnasse, where he began experimenting with Divisionism under the influence of Georges Seurat Rivera conceived his first Cubist compositions during the winter of 1912, evolving from the Mannerist paintings of El Greco (Doménikos Theotokópoulus) and went on to exhibit some of these works at the autumn Salon in Paris. Rivera’s Cubism followed a path that led from the early influences of Robert Delaunay’s Orphism and Italian Futurism to his own characteristically complex formal language. He incorporated textures achieved with sand and cork and a rich Orphic chromatic palette which his detractors considered savage and primitive until it arrived at the conception of enveloping compositional spaces including extremely dynamic centrifugal and centripetal energies. Around the year 1916, Diego Rivera began to refine his Cubism towards a more purist abstraction of austere geometric shapes, as seen in this portrait, which was incorrectly catalogued as a portrait of Angeline Beloff for decades. In reality, this painting is a portrait of another Russian painter, Marie Bronislava Vorobyeva-Stebelska, “Marevna” (1892-1984), whom Riviera met around the year 1915 as a result of their mutual friendship with the poet Ilya Ehrenburg. Rivera had a passionate affair with Marvena, which although ephemeral, produced a daughter named Marika. On the other hand, Rivera maintained his romantic attachment with the painter Angeline Beloff (1879-1969) from the time he met her in 1909. With Beloff, who became his common-law wife, Rivera had a male child, Diegito, who died a few months after birth. This produced difficult moments of avoidance and rejection in his relationship with his stable romantic partner. It was within this period of instability that Rivera was briefly involved with Marevna, whose savage beauty and overflowing sexual energy the polar opposite of the serene and maternal presence of Angeline captiva

Auction archive: Lot number 16
Auction:
Datum:
22 Nov 2016
Auction house:
Phillips
New York
Beschreibung:

16 Property from the Collection of Natalie R. and Eugene S. Jones Diego Rivera Retrato de Marevna (Portrait of Marevna) oil on canvas 31 3/4 x 25 1/2 in. (80.6 x 64.8 cm) Painted in 1916.
Provenance Collection of Alice Warder Garrett, Evergreen Foundation, Baltimore (acquired directly from the artist in 1916) Sotheby Parke Bernet Inc., New York, Modern Paintings - Drawings - Sculpture, October 22, 1976, lot 374A Acquired from the above by the present owner Exhibited Phoenix Art Museum, Diego Rivera The Cubist Years (March 10 - April 29, 1984); then travelled to New York, IBM Gallery of Science and Art (June 13 - August 8, 1984); San Francisco Museum of Modern Art (September 27 - November 11, 1984); Mexico City, Museum of Modern Art, (December 6, 1984 - February 11, 1985) Literature Laura Cortés Gutiérrez, Diego Rivera Catálogo general de obra de caballete, Mexico City: Instituto Nacional de Bellas Artes, 1989, No. 32, p. 191 (illustrated in black and white) Diego Rivera The Cubist Years, exh. cat., Phoenix Art Museum, Phoenix, 1984, p. 128 (illustrated) We are grateful to Professor Luis-Martín Lozano for his kind assistance in cataloguing this work. Video Diego Rivera’s Cubist Affair Around 1916, Diego Rivera began to refine his Cubism toward a more purist abstraction of geometric shapes. 'Retrato de Marevna (Portrait of Marevna)', made that very year, is the second Cubist portrait of three portraits of Marie Bronislava Vorobyeva-Stebelska 'Marevna', with whom Rivera had a passionate affair. Our Latin Head of Sale Kaeli Deane elaborates on the incredible history of the work here. Catalogue Essay Between the years of 1912 and 1917, Mexican artist Diego Rivera enjoyed a fruitful career as a cubist painter in Paris. His serious work as a theorist and as an exponent of Cubism led him to emerge as a distinctive member of the vanguard movement and a contemporary of Pablo Picasso Jean Metzinger and Gino Severini After beginning his artistic studies at the Escuela Nacional de Bellas Artes in Mexico City as an academic painter well-versed in the Modernist and Post-Impressionist movements, Rivera perfected his studies in Spain between 1907 and 1909; briefly returning to Mexico and then back to Europe in 1911 to open his studio in Montparnasse, where he began experimenting with Divisionism under the influence of Georges Seurat Rivera conceived his first Cubist compositions during the winter of 1912, evolving from the Mannerist paintings of El Greco (Doménikos Theotokópoulus) and went on to exhibit some of these works at the autumn Salon in Paris. Rivera’s Cubism followed a path that led from the early influences of Robert Delaunay’s Orphism and Italian Futurism to his own characteristically complex formal language. He incorporated textures achieved with sand and cork and a rich Orphic chromatic palette which his detractors considered savage and primitive until it arrived at the conception of enveloping compositional spaces including extremely dynamic centrifugal and centripetal energies. Around the year 1916, Diego Rivera began to refine his Cubism towards a more purist abstraction of austere geometric shapes, as seen in this portrait, which was incorrectly catalogued as a portrait of Angeline Beloff for decades. In reality, this painting is a portrait of another Russian painter, Marie Bronislava Vorobyeva-Stebelska, “Marevna” (1892-1984), whom Riviera met around the year 1915 as a result of their mutual friendship with the poet Ilya Ehrenburg. Rivera had a passionate affair with Marvena, which although ephemeral, produced a daughter named Marika. On the other hand, Rivera maintained his romantic attachment with the painter Angeline Beloff (1879-1969) from the time he met her in 1909. With Beloff, who became his common-law wife, Rivera had a male child, Diegito, who died a few months after birth. This produced difficult moments of avoidance and rejection in his relationship with his stable romantic partner. It was within this period of instability that Rivera was briefly involved with Marevna, whose savage beauty and overflowing sexual energy the polar opposite of the serene and maternal presence of Angeline captiva

Auction archive: Lot number 16
Auction:
Datum:
22 Nov 2016
Auction house:
Phillips
New York
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