5 Standout Shows to See at Small Galleries This October https://ift.tt/NAcxTr1

Blond Birches, 2024
Simone Haack
Galerie Droste

Visite et réception chez l'oncle Hemeni, 2024
Victorien Bazo
Bwo Art Gallery

In this monthly roundup, we shine a spotlight on five stellar exhibitions taking place at small and rising galleries.

Liz Cohen, “Avenida de los Mártires”

Diablo Rosso, Panama City, Panama

Through Nov. 3

La Cuatro de Julio: La Quebrada, 1997-1999
Liz Cohen
Diablo Rosso

La Cuatro de Julio: El Vacio, 1997-1999
Liz Cohen
Diablo Rosso

After graduating from the School of the Museum of Fine Arts in Boston in 1996, Liz Cohen left to visit her Colombian grandmother in Panama. From 1997 to 1999, Cohen returned to Panama several times, increasingly fascinated by the lives of people in the Panama Canal Zone, particularly the lives of transgender sex workers. These compelling images form her “CANAL” series, now featured for the first time in Panama in her solo exhibition at Diablo Rosso, titled “Avenida de los Mártires.”

At the heart of the “CANAL” series is a body of photographs taken on a night when a Panamanian sex worker named Linette dressed Cohen and brought her out for the night. Many of these images capture Cohen’s personal experience while also portraying the broader narrative of identity, resilience, and struggle faced by transgender individuals in the Panama Canal Zone.

In 2000, Cohen received her MFA in photography from the California College of the Arts. Living and working in her hometown of Phoenix, Cohen teaches at the School of Art at Arizona State University. Her varied practice spans performance, automotive design, and photography, for which she was recognized with a Guggenheim Fellowship in 2020.

Victorien Bazo, “Fragments d’origines : Une odyssée ancestrale”

Bwo Art Gallery, Douala, Cameroon

Through Oct. 26

Devant l'arbre sacré, 2024
Victorien Bazo
Bwo Art Gallery

An MFA graduate from the Institute of Fine Arts at the University of Douala in Cameroon, Victorien Bazo developed his love for art while reading comics and manga at a young age. As he pursued painting, Bazo approached his work like a comic artist, layering his canvases with multiple perspectives and dynamic scenography that drew inspiration from his real life and cultural traditions. These figurative works are the subject of the artist’s solo show “Fragments d’origines: Une odyssée ancestrale,” on view at Bwo Art Gallery in Douala, Cameroon.

One standout piece, Visite et réception chez l’oncle Hemeni (2024), demonstrates Bazo’s graphic storytelling techniques. The painting is made up of panel-type images within a single canvas: A central scene depicts a family dinner, and on either side are two other domestic depictions. The show explores these multifaceted scenes of Cameroonian life, along with symbols of the region’s cultural heritage.

The 37-year-old artist presented his work in a solo exhibition earlier this year at the French Institute of Douala. In 2021, Bazo won the Barthélémy Toguo Prize, which is awarded each year to an emerging young Cameroonian artist.

Simone Haack, “Helix of Realism”

Galerie Droste, Paris

Through Oct. 19

La Forêt secrète, 2024
Simone Haack
Galerie Droste

This month, Simone Haack is giving visitors of Galerie Droste a sneak peek into her dreams. For her first solo exhibition in Paris, “Helix of Realism,” Haack presents her dream notebooks—a practice she began during her studies with Pat Andrea at the École Nationale Supérieure des Beaux-Arts in Paris—alongside a selection of new paintings. These notebooks feature written accounts of her dreams and drawings that have influenced her abstract paintings.

Her detailed works all build upon a singular visual motif: hair. Paintings like Waves (4) (all works 2024) resemble flowing strands of brunette and strawberry blond hair, while Blond Birches portrays a densely threaded pattern woven from expanses of curled blond strands. Building on this theme, La Forêt secrète extends these textural explorations into a lush, forested setting where trees and terrain mimic the weight and flow of hair. Here, the world takes on the characteristics of blond tresses, creating a fantastical, ethereal landscape.

Now living in Berlin, Haack has presented solo exhibitions across Germany at leading galleries such as Galerie Moderne Silkeborg in 2024 and Galerie Gebr. Lehmann in Dresden in 2023.

Federico Miró, “Contrast”

Proyecto H / Galería Hispánica, Mexico City

Through Nov. 2

Untitled, 2024
Federico Miró
Proyecto H / Galería Hispánica

The paintings of Spanish artist Federico Miró at Mexico City’s Proyecto H / Galería Hispánica echo the traditional landscape work of Edo period artists such as Katsushika Hokusai. For his work featured in “Contrast,” Miró combines these classic Japanese landscapes with diverse elements, such as pre-Hispanic Mexican textile patterns and scenes from Madrid’s street markets. For instance, Miró depicts an Edo-esque landscape with trees emerging from the water and a Torii gate in the background for his two-panel painting Untitled (2024). As if creating a cross-cultural collage, he then frames the scene with a black and gray pattern inspired by Mexican textile works.

Now 33, Miró earned a BA in fine arts at the University of Málaga in 2013 and a master’s degree at the Complutense University of Madrid in 2014. His work has been exhibited in solo shows at several Spanish galleries, such as Galería Javier Marín, F2 Galería, and Galería Marta Cervera.

Lucas Recchia, “Elemental Echoes”

Bossa, New York

Through Oct. 27

Lucas Recchia makes furniture from broken glass. The 32-year-old Brazilian designer’s innovative approach repurposes these discarded fragments to create the elegant tables of his collection “Caco,” meaning “shard” in Portuguese. It’s a testament to his sustainable philosophy, where “a broken object goes from being to becoming something else,” as he puts it in the exhibition text.

The “Caco” collection is part of Recchia’s New York solo show at Bossa, “Elemental Echoes.” His designs are often inspired by the possibilities of raw materials, such as bronze and natural stones. For instance, his “Janela” collection features a series of tables made from rare Brazilian quartzites, while his “Eche” collection features a sofa, a chaise longue, and an armchair with cast bronze bases. Many of his pieces are “made to order,” as in his “Material Distortion” collection. Here, the artist uses four basic ring shapes in bronze or aluminum to assemble a range of furniture and decorative items, each tailored to the space and preference of his client.

Recchia currently works from his atelier in downtown São Paulo. Since his debut solo show at São Paulo’s Firma Casa in 2018, the artist has presented his work at KURA Arte in São Paulo, Rossana Orlandi in Milan, and Gallery Correctional in Dubai, among others.

from Artsy News https://ift.tt/t704rxw

2024 Macarthur Fellowships awarded to four visual artists. https://ift.tt/sPjScCx

The MacArthur Foundation has announced the 2024 MacArthur Fellowships, awarding 22 individuals across various fields the prestigious honor, commonly known as the “Genius Grant.” Among this year’s fellows are four visual artists: Wendy Red Star, Ebony G. Patterson, Tony Cokes, and Justin Vivian Bond, each recognized for their groundbreaking contributions to contemporary art.

Wendy Red Star, an Apsáalooke (Crow) artist, was honored for her work that engages with archival materials to challenge historical colonial narratives. Through her multidisciplinary practice, Red Star reinterprets objects from museums, archives, and her own family’s history, offering a fresh perspective on Native American identity and heritage.

Ebony G. Patterson, a Jamaican-born multimedia artist, was recognized for her lush, embellished works that explore themes of visibility, postcolonial identity, and mourning. Patterson’s work incorporates vibrant textiles, beads, and found objects to create immersive installations that invite viewers to engage with the histories she examines. She was also featured in the Artsy Vanguard 2019.

Tony Cokes, a media artist known for his stark text-based video works, was also awarded the fellowship. Cokes’s work interrogates the relationship between media, culture, and power, using text, music, and found footage. His work critiques dominant narratives and explores issues of race, politics, and global capitalism.

Lastly, Justin Vivian Bond, a performer and cabaret artist, was acknowledged for their genre-defying performances that weave together history, activism, and queer identity. Bond's work transcends traditional boundaries, celebrating LGBTQ+ communities while challenging societal norms through humor and poignant storytelling.

The MacArthur Fellowship, awarded annually, includes a no-strings-attached $800,000 stipend to support the recipients’ creative work. The Macrthur 2023 fellows included artists ​​Maria Magdalena Campos-Pons, Raven Chacon, Carolyn Lazard, and Dyani White Hawk.

from Artsy News https://ift.tt/u6pYWy3

Pioneering Textile Artist Tina Girouard Is Finally Getting Her Due https://ift.tt/OgnyNBC

At just 25, Tina Girouard was already in the heart (or perhaps the stomach) of New York’s avant-garde. FOOD—the artist-run restaurant tucked away in SoHo that she founded in 1971 with fellow artists Gordon Matta-Clark, Carol Gooden, and Suzanne Harris—fed the whole spectrum of artists living in Lower Manhattan at the time, including those at the forefront of Post-Minimalism, Anarchitecture, and the feminist Pattern and Decoration Movement (P&D). The space transformed dining into a performative art, with culinary contributions celebrated by artists like Donald Judd, Robert Rauschenberg, and John Cage. “Pretty much the whole art community was coming in there at one point,” Girouard once told the New York Times.

Around this time, Girouard contributed to the beginning of 112 Greene Street, the experimental performance studio that became known as White Columns in 1979. Yet, despite her integral role at FOOD and 112 Greene Street, her legacy has rarely been spotlit, perhaps due to her departure from New York in 1978 after a devastating studio fire. Returning to Louisiana, she continued making art on the margins until her passing in 2020 at 73.

Now, for the first time ever, Girouard’s pioneering work in performance, textile, text-based, and video art will be the subject of a comprehensive retrospective in New York at the Center for Art, Research, and Alliances (CARA). “SIGN-IN,” first staged at the Ogden Museum of Southern Art this summer, is curated by the New Orleans–based Rivers Institute for Contemporary Art & Thought and will be on view until January 12, 2025. Meanwhile, two New York gallery shows are running concurrently: “I Want You to Have a Good Time” at Anat Ebgi, on view until October 19th, and “Conflicting Evidence” at Magenta Plains, on view until October 26th.

Girouard’s early life

Born in DeQuincey, Louisiana, in 1946, Girouard earned a BFA in fine art from the University of Southwest Louisiana (now the University of Louisiana–Lafayette) in 1968. It was there that she met the Louisiana-born saxophonist Dickie Landry, whom she would later marry in 1971. Growing up in rural Louisiana, Girouard never strayed far from her hometown.

“Her commitment to the notion and the idea of maintenance is so foundational and fundamental to everything she’s doing,” said Andrea Andersson, founding director of the River Institute. Often, these experiences guided her performance pieces, such as her “Maintenance” video series (1970–76), where she performed daily domestic tasks such as cutting her hair or doing laundry.

“Frankly, it’s a rural imperative. You don’t just toss it out—you sew it, you mend it, you put it back into circulation,” said Andersson. “That was Tina’s operation across her practice: to take care of something and give it perpetually new life.”

Girouard’s social scene in New York City

A pair of newly minted college graduates, Girouard and Landry moved to New York in 1969, settling into an apartment in Chinatown with painter Mary Heilmann. Their loft quickly became a hub for avant-garde artists, musicians, and performers, particularly attracting a community of Louisiana-born artists, including Lynda Benglis and Keith Sonnier.

While in New York, Girouard performed in projects for artists such as Richard Serra, Lawrence Weiner, and Laurie Anderson. Meanwhile, she started a series of installations she called “houses”—the first of which was Hung House (1971), first shown in her apartment and then at 112 Greene Street. This installation featured a two-story sculptural arrangement of detritus and abandoned belongings gathered from the building, emphasizing how the most modest materials can still create spaces where people can gather.

All the while, Girouard was working on her “Wallpaper and Test Pattern” textile series, challenging traditions around domestic labor and materials traditionally associated with women’s lives. Works from these series, such as the quadrant textile work Screen 4 (1974–75), are on view at the CARA.

Then, in 1972, she mounted her first solo exhibition at 112 Greene Street, “Four Stages.” A standout piece from this exhibition, Air Space Stage (1972), which is currently on view at CARA, involved four sheets of patterned fabric suspended from the ceiling. Performers interacted spontaneously with the movable pieces, adjusting and manipulating them. In this work, Girouard applied innovative performance techniques to decorative textile work reminiscent of P&D founders Valerie Jaudon and Joyce Kozloff, with an architectural sensibility that echoed her close collaborator Matta-Clark’s explorations of space and structure.

An underrecognized performance artist

Girouard was at the forefront of performance art from the moment she stepped into New York. One early example, Sound Loop (1970), featured a single performer speaking into a microphone to record sequences of numbers, words, and phrases on a tape loop. The recording process continued as the multiple rerecordings were progressively layered on top of each other until they merged into an indistinguishable density of sound. An archival video is currently on view at Anat Ebgi, which will be restaging the performance during the show.

“It’s not necessarily about this performance that exists only at that moment…but rather the structure—creating this idea of something that can be mutated, something that can shift, something that can be reperformed, something that can fundamentally change within parameters,” said Stefano Di Paola, partner and director at Anat Ebgi.

It is perhaps Pinwheel (1977) that best captures Girouard’s ritualistic approach to performance art. Originally performed in 1977 in New Orleans and restaged in 2019 at Art Basel Miami Beach, Pinwheel features four performers who create a stagelike environment in four quadrants using numerous yards of decorative silk fabric. Each performer follows detailed instructions written by Girouard, directing them to perform set rituals or manipulate objects within their quadrant. “She is constantly feeding back into her system the new things that she learned, layering with the things that she was perhaps gifted by birth and family and culture and region, and then assimilating new knowledge,” said Andersson.

Late life, homecoming, and Haiti

A devastating fire destroyed much of Girouard’s studio in New York in 1978, prompting her and Landry to return to Louisiana. In the immediate years, Girouard staged her final show at Holly Solomon Gallery and performed at the Venice Biennale in 1980. She was honored with a mid-career retrospective at Museo Tamayo in Mexico City in 1983. Yet after these milestones, she received waning attention from the national art world, and she shifted to a more regionally focused practice.

In 1986, Girouard was instrumental in founding the Artists’ Alliance in Lafayette and established the Festival International de Louisiane. This international festival amalgamated music, dance, theater, visual, and culinary arts from francophone countries—including Haiti. Girouard developed an affinity for the textile work of Haitian artists, so she traveled to Port-au-Prince. There, she met Antoine Oleyant, with whom she would collaborate to create works from sequins and beads, such as Under a Spell (ca. 1990).

Tragically, Oleyant passed away in 1992, which, in turn, deepened Girouard’s ties to his community in Haiti. She kept a studio in Port-au-Prince until 1995, working alongside renowned sequin artists like George Valris and Edgar Jean-Louis, returning, in some ways, to the themes of her early P&D work.

A legacy on the periphery

In the year leading up to her death, Anat Ebgi presented “A Place That Has No Name: Early Works,” the first solo exhibition of Girouard’s work in Los Angeles—and the last presentation before her passing. Subsequently, she was featured in “With Pleasure: Pattern and Decoration in American Art 1972–1985,” originating at MOCA Los Angeles.

Yet Girouard’s legacy has been tough to pin down, perhaps due to her work in varied media and ever-evolving performances. “[Girouard] will never quite fit into one little space, no matter how much people might want to do that to her,” said Di Paola. Throughout all the shifts in her life, one constant in Girouard’s work was its communal spirit. Her final years might have been spent on the periphery, away from the mainstream, yet her work is linked to some of the most experimental movements in performance and textiles of her time.

“[Her work] is both absolutely drenched in Louisiana cultural knowledge, and it is as rigorous and layered as all of her peers—as conceptual as Gordon Matta-Clark’s practice or Lawrence Weiner’s practice,” said Andersson. “All of her collaborators’ practices are layered with Tina’s knowledge. She was there.”

from Artsy News https://ift.tt/F3fWpGS

5 Artists on Our Radar This October https://ift.tt/M4bc2WS

“Artists on Our Radar” is a monthly series focused on five artists who have our attention. Utilizing our art expertise and Artsy data, we’ve determined which artists made an impact this past month through new gallery representation, exhibitions, auctions, art fairs, or fresh works on Artsy.

Stephen Buscemi

B. 1998, Long Island, New York. Lives and works in New York.

The Light That Covers Me, 2024
Stephen Buscemi
Harper's

Not to be confused with the perennial character actor, Stephen Buscemi is a painter whose figurative depictions are suffused with an uneasy sense of mystery. The artist’s shadowy, vaguely expository paintings often feature aspects of the male figure: a hand over a piano, or an obscured figure behind a microphone, for example. What unites all of the characters (perhaps they are the same character?) in the artist’s universe is the darkened hues with which they’re rendered and the sense of enigma that surrounds them.

In the artist’s current show, “In The Night When I Am Full,” on view at New York gallery Harper’s through October 26th, twilight scenes are once again the focus. Here, subjects include dancers and tattooed hands shrouded in misty environments in which small details—the sparkles on a jacket or the shine of a shoe—twinkle through the darkness.

2024, 2024
Stephen Buscemi
Monti8

The Garden, 2024
Stephen Buscemi
Harper's

The Gift, 2024
Stephen Buscemi
Harper's

One Hand Washes the Other (And Both Wash the Face), 2024
Stephen Buscemi
Harper's

Buscemi received his BFA in studio art from SUNY Cortland in 2021. His work has been presented at galleries including Carl Kostyál in Sicily, Giovanni’s Room in Los Angeles, and Blade Study in New York. In May, he had a solo exhibition, “Blue Star,” at Monti8 in Latina, Italy.

—Arun Kakar

Srijon Chowdhury

B. 1987, Dhaka, Bangladesh. Lives and works in Portland, Oregon.

Eye (Birth), 2022
Srijon Chowdhury
P.P.O.W

A giant, gaping mouth is the anchor of “Tapestry,” Srijon Chowdhury’s debut solo exhibition with New York gallery P.P.O.W. Painted across five linen panels that together take up some 30 feet of wall space, its meaty, sprawling lips open onto a scarlet inferno filled with cavorting skeletal figures. The monumental work, Mouth (Divine Dance) (2022), elicits fear in multiple forms: of damnation, yes, but also the day-to-day horrors of being alive in a human body.

Chowdhury’s paintings are striking and dense, laden with references to art history and the artist’s own past work. He frequently paints the body, rendering skin in sinewy swirls. These images are sometimes visceral but also harness moments of tenderness, rest, and natural wonder. For instance, one memorable work in “Tapestry” features an inflamed eye in which the iris is replaced by a tondo of childbirth. In short, the paintings reflect the messy breadth of human experience.

Mother and Son, 2024
Srijon Chowdhury
P.P.O.W

Dean Dreaming, 2024
Srijon Chowdhury
P.P.O.W

Back Hole, 2024
Srijon Chowdhury
P.P.O.W

Apple Tree, 2024
Srijon Chowdhury
P.P.O.W

An MFA graduate of the Otis College of Art and Design in Los Angeles, Chowdhury has been the subject of solo exhibitions at the Frye Art Museum in Seattle, Foxy Production in New York, Anat Ebgi in Los Angeles, and others. He is represented by P.P.O.W, and runs the exhibition space Chicken Coop Contemporary in Portland, Oregon.

—Olivia Horn

Jess Cochrane

B. 1991, Canberra, Australia. Lives and works in London.

Poolside Conversation, 2024
Jess Cochrane
Gillian Jason Gallery

Souvenirs, 2024
Jess Cochrane
Gillian Jason Gallery

In paintings laden with thick, heavy brushstrokes, Jess Cochrane pays homage to the colors and compositions of Post-Impressionists such as Paul Cézanne, seamlessly blending 19th- and 20th-century painting styles with contemporary subject matter. Photography guides her practice, which draws on reference images of fleeting moments and popular aesthetic trends that she translates to canvas.

The London-based Australian artist was recently featured in a solo exhibition, “It Won’t Last Forever,” at Gillian Jason Gallery in London. Among the works on view was Bowl of Citrus on a Balcony Ledge (2024), a still life through which Cochrane examines ideas of consumption. Here, perfectly ripe oranges serve as a symbol of overindulgence, reflecting the negative influences of social media and digital advertising. Other works include sunny poolside scenes of everyday moments with friends. Dressed in classic triangle bikinis and Matrix-style sunglasses, her painted subjects evoke nostalgia for the Y2K era.

Post Sun, 2024
Jess Cochrane
Gillian Jason Gallery

Ancient History, 2023
Jess Cochrane
Gillian Jason Gallery

Bowl of Citrus on a Balcony Ledge, 2024
Jess Cochrane
Gillian Jason Gallery

Breakfast Scene, 2024
Jess Cochrane
Gillian Jason Gallery

Cochrane studied graphic design at the University of Canberra before pursuing art at the University of Wollongong in Australia. Her work has been featured in both solo and group exhibitions at Rhodes, The Edit Gallery, MK Contemporary LTD, and Gillian Jason Gallery.

—Adeola Gay

Anders Davidsen

B. 1987, Mariagerfjord, Denmark. Lives and works in Knebel, Denmark.

weaving an ossuary, 2024
Anders Davidsen
GRIMM

In paintings on linen and jute, Anders Davidsen melds the meditative quality of color field painting with the urgency of fresco. A warm, earthy brown gesso, applied as an undercoat, unifies many of his paintings, bringing a naturalistic quality to the otherworldly patterns and textures that dance across their surfaces. The resulting semi-abstract compositions suggest topographic maps of imaginary landscapes.

The strength of this work caught the attention of GRIMM, which announced its representation of the artist last month. The gallery is hosting Davidsen’s solo show “Sowing in half-light” through October 12th at its Amsterdam location. The exhibition features a series of works that suggest horizons or seascapes—but the main focus is Davidsen’s use of texture. In one work, weaving an ossuary (2024), the appearance of cracks in the painting’s surface contrast with the translucent layers of pigment that seem to hover above it like clouds of smoke. To create these dynamic finishes, the artist applies pigment directly from the tube in thin, dry layers, then scours the surface as it dries. Despite the technical demands and intricacies of his process, Davidsen’s paintings feel expansive and unified.

September, 2023
Anders Davidsen
M+B

pining moon, 2024
Anders Davidsen
GRIMM

flowering acrid, 2024
Anders Davidsen
GRIMM

time of fishes, 2024
Anders Davidsen
GRIMM

Davidsen has exhibited in solo shows at ADZ Gallery in Lisbon and online with Painters Painting Paintings, and in group shows at M+B in Los Angeles and Formation Gallery in Copenhagen. He received his BFA from the Danish Royal Academy in Copenhagen.

—Isabelle Sakelaris

Xanthe Somers

B. 1992, ​​Harare, Zimbabwe. Lives and works in Harare and London.

Working Class Femininity, 2023
Xanthe Somers
Southern Guild

Sisters Toil III, 2024
Xanthe Somers
Galerie REVEL

Xanthe Somers’s bright sculptures evoke the traditional functional shapes of ceramics, and turn them on their heads. Her playful, vase-like objects are adorned with sculpted rings and flowers, as well as painted phrases and logos. These works, according to the artist, suggest the cheap, tatty leftovers of Western overconsumption and the eco-colonialist systems that have a deep effect on countries like Zimbabwe, where she is from.

In her current show at Southern Guild in Cape Town, on view through October 31st, Somers presents oversized, vibrant vessels that mimic the effect of woven fibers. In actuality, they are painstakingly hand-coiled by the artist using cranks and stoneware. The exhibition is titled “Invisible Hand” in reference to free market theory—drawing inspiration from domestic crafts, such as basket weaving, that have traditionally been undervalued by Western economics.

Weaver's Woe, 2024
Xanthe Somers
Galerie REVEL

Of Woof and Woe, 2024
Xanthe Somers
Southern Guild

Life's Good, 2024
Xanthe Somers
Galerie REVEL

The Weary Weaver, 2024
Xanthe Somers
Southern Guild

Somers graduated from Michaelis School of Fine Art in Cape Town and, more recently, Goldsmiths in London, where she completed an MA in postcolonial culture. She is represented by Southern Guild and Galerie REVEL, which recently showed the artist’s work at 1-54 New York and Collect. Her work has been collected by the Victoria and Albert Museum in London.

—Josie Thaddeus-Johns

from Artsy News https://ift.tt/6yNp0dJ

Painting discovered in a cellar claimed to be by Picasso, valued at $6.5 million. https://ift.tt/xq4aJis

Pablo Picasso, Villa California, 1957
René Burri
Atlas Gallery

A painting discovered by a junk dealer in 1962 is an original work by Pablo Picasso, Italian art experts have claimed. Luigi Lo Rosso found the work in Capri more than five decades ago and took it home to Pompei, where it hung on a wall.

In the top left-hand corner, the painting bears Picasso’s distinctive signature, but Lo Rosso was initially unaware of its significance and didn’t know the artist’s name at the time. According to The Guardian, it wasn’t until his son, Andrea—prompted by an art history encyclopedia from his aunt—began questioning its origins that the family grew suspicious. After extensive investigations led by art detective Maurizio Seracini and graphologist Cinzia Altieri from the Arcadia Foundation, it was confirmed that the signature was indeed Picasso’s. The experts valued the painting today at €6 million ($6.5 million), and The Arcadia Foundation will soon present its evidence to the Picasso Foundation.

“My father was from Capri and would collect junk to sell for next to nothing,” Andrea told The Guardian. “He found the painting before I was even born and didn’t have a clue who Picasso was. He wasn’t a very cultured person.I kept telling my father it was similar, but he didn’t understand. But as I grew up, I kept wondering.”

The portrait is believed to depict artist Dora Maar, Picasso’s mistress and muse. The rediscovered work shares similarities with the artist’s famous Buste de Femme (Dora Maar) (1938). Experts now believe this work predates the famous portrait of Maar, produced between 1930 and 1936—a period when Picasso vacationed in Capri frequently.

Similarly, Buste de Femme (Dora Maar) was once lost. The painting was stolen from a yacht in 1999 and circulated in the Dutch underworld for 20 years. In 2019, the art detective Arthur Brand found the work and estimated its value to be $28 million.

The current auction record for Picasso’s work was established at Christie’s in 2015 when Les femmes d’Alger (Version ‘O’) (1955) fetched $179.37 million. Last year, Femme à la montre (1932) sold for $139.36 million, becoming the second most expensive work by Picasso to be sold at auction—and the most expensive work to be sold at auction in 2023.

from Artsy News https://ift.tt/bcuQaCL