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  • Cubist Still-Life with a Guitar, c. 1940

Mary, Guggenheim (1917 - 2001)

Cubist Still-Life with a Guitar, c. 1940

 Mary, Guggenheim - Cubist Still-Life with a Guitar, c. 1940 | 76th auction auction / 167 Lot
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41 x 26,5 cm
Oil, canvas, metal application
On the reverse: Mary Guggenheim

76th auction / 167. Lot (2024-12-10)
Starting price: 850 000 Ft / 2 324 EUR
Estimation: 1 200 000 Ft- 1 600 000 Ft
/ 3 280 EUR - 4 374 EUR

Attention! The values indicated in other currencies than HUF are for infomational purposes only. The basis of the exchange rate is always the one valid on the date of payment.

For this work of art, we provide certificate of origin!

76th auction

Date:

2024. December 10. 18:00 - 22:00

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Study

Két évvel az első világháború kitörése előtt egy igazán spanyolos motívum tűnt fel Picasso műtermében: a gitár. A formákat elemző kubizmus új fázisába lépett, az analitikus első korszak után eljött a szintetikus kubizmus ideje, amikor Braque és Picasso különféle anyagokat, mintás tapétát, újságokat vagy homokot ragasztott a képfelületre. Picasso – hogy visszavegye a kezdeményezést a kollázsokkal kísérletező Braque-tól – női sziluettet idéző papírgitárt épített, majd a hangszert beragasztotta festményekbe is. A gitár menthetetlenül a kubista stílusvilág emblematikus motívumává vált. A párizsi avantgárd iskolán felnőtt Mary Guggenheim nem véletlenül választotta a hangszerformát most vizsgált, félig absztrahált festményéhez. A vászon aljára applikált fa húrtartó és a belőle kiinduló két festett fekete vonal egyből gitárszerű alakzattá lényegíti át a mintás idomokat. Ezzel pedig megpendíti a bohém montmartre-i hangokat, az avantgárd szertelen futamait.

A festő, Mary Guggenheim kivételesen izgalmas pályaívet tudhatott magáénak. A múzeumalapító amerikai mágnás Guggenheimekkel ellentétben az ő családja nem Svájcból, hanem Németországból települt át az Egyesült Államokba. Apja sikeres orvosdoktor volt St. Louisban, Maryt Svájcban taníttatta. A legjobb amerikai egyetemekre járhatott volna, de inkább a művészetet választotta. A harmincas években festészettel, szobrászattal, írással és tánccal is foglalkozott. Elszegődött az Amerikában dolgozó orosz balett társulatához, majd francia–angol tolmácsként olyan értelmiségiekkel került jó barátságba, mint Jean-Paul Sartre vagy André Breton. Az ötvenes években Ausztriában újra festészetet tanult, ekkor már Oskar Kokoschkától, majd évtizedekig alkotott Párizsban, mielőtt – hosszú élete vége felé – visszaköltözött volna szülőhazájába.

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