Christie's /Dec 8, 2010
€58,671.69 - €82,140.36
Artworks in Arcadja84
Some works of Hermenegildo Anglada CamarasaExtracted between 84 works in the catalog of Arcadja
Auction: Christie's -Oct 28, 2013 - New YorkLot number: 56
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Hermenegildo Anglada Camarasa (Spanish, 1872-1959) Pinos de Formentor signed, inscribed and dated 'H. Anglada Camarasa/Puerto de Pollensa/-1925.' (lower right) oil on canvas 34½ x 42¼ in. (87.6 x 107.3 cm.) Col. Wentworth G. Field, Philadelphia, 23 June 1925, acquired directly from the artist. Thence by descent to the present owner. PROPERTY FROM A FLORIDA COLLECTION H. Hutchinson, The Art of Anglada Camarasa: A Study in Modern Art, London, 1929, pp. 41-42. H. Hutchinson, 'The Art of Anglada Camarasa,' The Weekly Palma Post, (Palma de Mallorca), 22-28 January 1934, n.p. R. Rabassa, Anglada Camarasa (A propósito de un centenario), Revista Balear, (Palma de Mallorca) 1er trimestre 1974, nos. 34-35. F. Fontbona & F. Miralles, Anglada Camarasa, Barcelona, 1981, pp. 138, 270, no. 265, cat. D57, illustrated. Anglada-Camarasa spent his formative artistic years immersed in the vivacious cultural milieu of Barcelona. There he met other young and aspiring avant-garde artists such as Pablo Picasso and Santiago Ruisñol who introduced him to the city's burgeoning Modernisme group, Els Quatre Gats. As was de rigueur in the fin de siècle, he later ventured to Paris and there encountered the city's demi monde who became his primary subject while in the City of Light. Beginning in 1914, however, Anglada-Camarasa changed the focus of his work. With the outbreak of World War I, he returned to Spain, settling in Mallorca and centering his attention on the island's lush verdant landscapes. Mallorca's olive and pine groves became the principal protagonists of his work, replacing the flamboyant cabaret dancers and spectators of his Parisian period. Enlivening the serenity of these Mallorcan works are the artist's undulating, energetic brushstrokes and vibrant color juxtapositions, clearly expressed in the present painting. This period also marked a change in technique for the artist - rather than building up his canvases with glazes he instead applied paint thickly on to the canvas, directly from the tube, creating heavy layers of pigment seen here in the trunks of the trees. By 1925, the year that Anglada-Camarasa executed Pinos de Formentor, he was enjoying widespread international success, having had well-received exhibitions in Munich, Vienna, Berlin, Buenos Aires and various cities in the United States. His reputation was further solidified that year when he was asked to serve on the selection committee for the Carnegie Institute's International, one of the most important venues for viewing contemporary art in the United States in the early 20th century.
Auction: Christie's -Jun 12, 2012 - LondonLot number: 56
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Lot Description Hermenegildo Anglada Camarasa (Spanish, 1872-1959) La Chumbera signed 'H.Anglada-Camarasa' (lower left) oil on panel 14 5/8 x 20 in. (37.2 x 50.7 cm.) Painted circa 1925-30. Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance Private collection, Madrid. Pre-Lot Text THE PROPERTY OF A SPANISH COLLECTOR Literature J.A. Gaya Nuo, La pintura española del siglo XX, Madrid, 1970, p. 59 (illustrated). J.M. Garrut, Dos siglos de pintura catalana, Madrid, 1974, p. 254. J.M. Gol, Del Arte Figurativo en Cataluña desde 1900 hasta la Segunda Guerra Mundial, Barcelona, 1978, pp. 28-34, no. 22. L. Rodríguez Alcalde, Maestros del impresionismo español, Madrid, 1978, p. 218. F. Fontbona y F. Miralles, Anglada-Camarasa, Barcelona, 1981, p. 273, D83 (illustrated). Exhibited Córdoba, Diputación Provincial de Córdoba, Paisaje, 1998.
Auction: Christie's -Nov 21, 2011 - LondonLot number: 9
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Hermenegildo Anglada Camarasa (Spanish, 1872-1959) The mountains above Pollensa, Majorca signed, dedicated and dated 'A mi buen amigo Antonio Llorente/P.E. Pollensa/1953/H. Anglada-Camarasa.' (lower right) oil on canvas 28¼ x 34 in. (71.5 x 86 cm.) F. Fontbona, F. Miralles, Anglada-Camarasa, Barcelona, 1981, p. 288, fig. 354, no. E10 (illustrated). Hermenegildo Anglada-Camarasa was one of the most influential and radical artists of his day, gaining fame internationally at the turn of the 20th century for his expressionistic paintings of folkloric subjects. His brilliant palette influenced artists such as Pablo Picasso and Wassily Kandinksy, who saw the Spaniard's work when he was studying at the Acadmie Julian in Paris. His landscapes bear comparison with those of contemporaries such as Gustav Klimt -- with whom he shared a Gold Medal at the 1911 International Exhibition in Rome -- and in his understanding of colour, of the decorative and of form, he was in the vanguard of artists such and Pierre Bonnard, Henri Matisse and Edouard Vuillard, with whom he shared the international limelight. As S. Hutchinson Harris wrote in the seminal English study of the artist: "Anglada uses colour as Wagner used instruments, in a manner which appeared extravagant in his day, but which gave a new impetus to music." (S. Hutchinson-Harris, The Art of H. Anglada-Camarasa: A Study in Modern Art, 2 vols, London, 1929, p. 14). In later life, Anglada devoted himself largely to landscape painting, continuing to use colour to emphasize the decorative rather than realist nature of his subject. This painting, depicts the mountains behind Pollensa in Majorca, where the artist spent the last 11 years of his life.
Auction: Christie's -Dec 8, 2010 - LondonLot number: 336
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Hermenegildo Anglada Camarasa (Spanish, 1872-1959) Puig Tomir, Mallorca oil on panel 14 1/8 x 19 7/8 in. (36 x 50.5 cm.) Anonymous sale; Sotheby's, London, 16 November 2004, lot 121,where acquired by the present owner. Gabriel Fuster Mayans, Anglada Camarasa, Palma de Mallorca,1958 Francesc Fontbona and Francesc Miralles, Anglada Camarasa:catalogue raisonné, Barcelona, 1981, p. 280, no. Da19. We are grateful to Francesc Fontbona for kindly confirming theauthenticity of this work.
Auction: Sotheby's -Nov 4, 2010 - New YorkLot number: 73
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HERMEN ANGLADA-CAMARASA SPANISH, 1871 - 1959 GRUPAS VALENCIANAS (VALENCIAN GIRLS) 500,000—700,000 USD 31 1/2 by 42 1/2 in. 80 by 108 cm signed H. Anglada-Camarasa and dated 1909 (lower right) oil on canvas Bou Collection, BarcelonaVall Collection, BarcelonaF. Godia, Barcelona (in 1976)Sampere Collection, BarcelonaPrivate Collection, SpainSale: Christie's, London, June 14, 2006, lot 68, illustratedAcquired at the above sale by the present owner Francesc Fontbona and Francesc Miralles, Anglada-Camarasa,Barcelona, 1981, p. 1960, no. C31, illustrated Anglada-Camarasa was one of the most influential and innovativeSpanish artists of the early twentieth century, his name oftenincluded among contemporary French vanguards like Pierre Bonnard,Henri Matisse, and Edouard Vuillard. His complex chromatic schemesand bold use of decorative patterns influenced a generation ofmodern artists such as Wassily Kandinksy and fellow Spaniard PabloPicasso. After his first local exhibition of realist landscapes in1894, the artist left Spain for study in Paris' Académie Julian andAcadémie Colarossi. Ten years later, Anglada-Camarasa departed"highly-civilized" Paris for a life-changing visit to Valencia --an ancient yet rapidly modernizing city, its culture influencedboth by its people's European and Middle Eastern heritage (the citywas once an important port of Arab trade routes). As S. HutchinsonHarris explains in his early monograph, the artist arrived in timeto see the city's festivals, "the last natural survival of thegorgeous pageantry of the medieval past. For them were brought outthe carefully preserved rich floral dresses, and the gay caparisonsof the horses... All these Anglada wove into decorative pictures"(S. Hutchinson Harris, The Art of H. Anglada-Camarasa: A Studyin Modern Art , London, 1929, p. 12). Grupas Valencianas is one of approximately fifteen masterworksof this era, painted not necessarily to record fading local ritualsbut to capture the brilliant colors of the elaborate costumes andposes of the participants. According to Hutchinson Harris, "InValencia [the artist] found his readiest subjects: Valencia stilltinged by the effects of Moorish occupation, and affording tracesof the quality of Orientalist art, gay with the prosperity derivedfrom the richness of its soil, fertilized by its bountifulsunshine, and bathed in the vivid colours of the Mediterraneanseaboard" (Hutchinson Harris, p. 12). As suggested by GrupasValencianas' impressive size, the artist did not work en plein airbut rather in his studio, where he could experiment with andobserve his attempts to capture the visual and emotional vibrancyof the festivals. His technique is highly complicated: layers ofglazes are applied onto the canvas, weaving color and line into thegeometric patterns of costumes' embroideries, the figuresoverlapping in a frieze-like procession, conveying the celebratorymovement of a fan or skirt raised in mid-step. AsAnglada-Camarasa's critics described the overall effect is one of a"tapestry" or a "mosaic," where a scene of daily life istransformed to an ornamental abstraction of visual splendor.