Raw, uncensored, and fiercely magnificent, Untitled from 1982 is a virtually incomparable masterwork from Jean-Michel Basquiats revolutionary body of paintings, executed in the very first month of the pivotal year of 1982. Emblazoned upon the monumental canvas, the visceral impact of the artists painted searing visage is absolute and immediate, consuming the viewers gaze in an impenetrable maelstrom of violent gesture, chromatic radiance, and pure, unbridled electric charge. The overwhelming vis
John Richardson\nThe Eye of the Storm: Warhol and Picasso\n\nI arrived in New York for the first time in 1959 and within a year or two I met Andy. After that I saw a great deal of him. But nobody ever got to know Andy or, for that matter, Picasso: neither ever really opened up to anybody. Andy was often asking me about Picasso.\n\nI see Andy always at the Eye of the Storm. The Eye of the Storm where there is stillness, and all around is disaster. Here was Andy at the center of all this horror: t
Alberto Giacometti, L'HOMME QUI MARCHE I\nInscribed Alberto Giacometti, numbered 2/6 and with the foundry mark Susse Fondeur Paris\nBronze\nHeight: 183cm.\n72in.\nExecuted in 1960 and cast in bronze in a numbered edition of 6 plus 4 artist's proofs. The present work was cast in 1961 and is a life-time cast.
Giacometti's extraordinary Chariot is his masterpiece and ranks among the definitive achievements of 20th century art. With its painted surface and rich, golden patina, the present sculpture is perhaps the most important bronze that the artist created. His biographer James Lord, while discussing what is considered Giacometti’s "great period" of the late 1940s and early 1950s, identified Chariot as his finest accomplishment: "There are many extraordinary sculptures of 1949 and 1950," he wrote. "
Dora Maar au chat is one of Picasso’s most spectacular depictions of his mistress and artistic companion (see fig. 1). Picasso's love affair with Maar (1907-1997) was a partnership of intellectual exchange and intense passion that lasted nearly a decade, and Maar’s influence on the artist resulted in some of his most daring portraits of his career. Among the best of them are the oils completed during the war years, when Picasso's art resonated with the drama and emotional upheaval of the era
Francis Bacon (1909-1992)\nThree Studies for a Portrait of John Edwards\nsigned, titled, inscribed and dated '3 Studies for a Portrait of John Edwards Francis Bacon 1984 left panel' (on the reverse of the left panel); signed, titled, inscribed and dated '3 Studies for a Portrait of John Edwards Francis Bacon 1984 center panel' (on the reverse of the center panel); signed, titled, inscribed and dated '3 Studies for a Portrait of John Edwards Francis Bacon 1984 right panel' (on the reverse of the
“The progression of a painter’s work, as it travels in time from point to point, will be toward clarity: toward the elimination of all obstacles between the painter and the idea and between the idea and the observer… To achieve this clarity is, inevitably, to be understood”\nMark Rothko, cited in The Mark Rothko Foundation: 1976-86, p.1\n\n“Pictures must be miraculous: the instant one is completed, the intimacy between the creation and the creator is ended. He is an outsider. The picture must be
Picassos portraits of women his muses represent the most consistently innovative and expressive body of work in twentieth century art. From the cubist portraits of Fernande Olivier or neo-classical depictions of Olga Khokhlova, to the acclaimed 1930s paintings of Marie-Thérèse and the final great works depicting Jacqueline Roque, the women of Picassos life are the fulcrum of his creative genius. The formal experimentation and emotional intensity that characterise his most celebrated portraits