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Jorge De La Vega

Argentina (1930 -  1971 ) Wikipedia® : Jorge De La Vega
de LA VEGA Jorge Untitled

Christie's
May 23, 2018
Find artworks, auction results, sale prices and pictures of Jorge De La Vega at auctions worldwide.
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Variants on Artist's name :

Vega De La Jorge

 

Along with Jorge De La Vega, our clients also searched for the following authors:
David Alfaro Siqueiros, Remedios Lizarraga Varo, Pedro Figari, Julio Galan, Hélio Oiticica, Carlos Merida, Sergio De Camargo
Artworks in Arcadja
28

Some works of Jorge De La Vega

Extracted between 28 works in the catalog of Arcadja
Jorge De La Vega - Untitled

Jorge De La Vega - Untitled

Original 1966
Estimate:

Price:

Lot number: 47
Other WORKS AT AUCTION
Description:
Jorge de la Vega (1930-1971) Untitled signed and dated 'de la Vega 66' (on the reverse) oil, collage, and acrylic beads on canvas 30 x 45 in. (76.2 x 114.3 cm.) Painted in 1966. Provenance Collection of Mrs. Jane Squier and the late Prof. Jack Squier, Ithaca, New York (gift from the artist in the mid-1960s). Acquired from the above by the present owners.
Jorge De La Vega - Usted Es Hippie?

Jorge De La Vega - Usted Es Hippie?

Original 2005
Estimate:
Starting price:

Price: Not disclosed
Lot number: 12
Other WORKS AT AUCTION
Description:
Jorge Dela Vega (1930 - 1971) Lot 12: DE LA VEGA, Jorge / USTED ES HIPPIE? Description: Mixed media on paper. Firmada y fechada "68" al centro, a la derecha. Dimensions: 28 x 21 cm Notes: Ref: with certificate of authenticity issued by curators Mercedes casanegra and Marcelo Pacheco, January 3rd, 2005.
Jorge De La Vega - Untitled

Jorge De La Vega - Untitled

Original 1966
Estimate:

Price:

Gross Price
Lot number: 190
Other WORKS AT AUCTION
Description:
Jorge de la Vega

(1930-1971)

UNTITLED

signed and dated 66 lower right

ink on heavy paper

17 by 14 in.

43 by 35.6 cm

Read Condition Report Read Condition Report

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Saleroom Notice

Provenance

Private Collection, Connecticut

This work is in generally good condition overall taking its age into account. The paper is affixed to the mat. Slight yellowing of the paper has occurred overall due to age/time, particularly to the extreme edges. A small spot of brown soiling is present under the eye of the male figure in the upper right quadrant. A small gray smudge is present in the cheeck of the female figure in the lower center. The medium is stable overall. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Jorge De La Vega - La Pata Roja

Jorge De La Vega - La Pata Roja

Original 1964
Estimate:

Price:

Gross Price
Lot number: 51
Other WORKS AT AUCTION
Description:
Jorge de la Vega
(1930-1971)
LA PATA ROJA
signed and dated 64 on the reverse; also signed, titled and dated 1964 on the stretcher
oil and mixed media collage on canvas
31 5/8 by 39 1/4 in.
80.3 by 99.7 cm
This work is in very good condition overall. The canvas is unlined and well-stretched. The collage elements are secure. The surface/paint layer is stable overall. As seen in the catalogue illustration, handling marks are visible along all edges of the canvas. Additionally, there is rubbing/minor frame abrasion to the corners of the canvas. Under ultraviolet inspection, fluorescing occurs; however, this is inherent to the paint/materials selected by the artist.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Jorge De La Vega - Rompecabezas

Jorge De La Vega - Rompecabezas

Original 1969
Estimate:

Price:

Gross Price
Lot number: 72
Other WORKS AT AUCTION
Description:
Jorge de la Vega (Argentinian 1930-1971) Rompecabezas (one panel) inscribed 'DE LA VEGA' and 'PROPIEDAD DE ERNESTO DEIRA' (on the back stretcher bar) acrylic on canvas 39 3/8 x 39 3/8 in. (100 x 100 cm.) Painted in 1969-70.
Ernesto Deira collection, Buenos Aires. Acquired from the above. Private collection, Buenos Aires. Acquired from the above.
PROPERTY FROM A NEW YORK COLLECTOR
M.E. Pacheco, Jorge de la Vega: Un artista contemporáneo, Buenos Aires, Editorial El Ateneo, 2003, p. 197 (illustrated). Exhibition catalogue, Jorge de la Vega: Obras 1961-1971, Museo de Arte Latinoamericano de Buenos Aires, Fundación Costantini, Buenos Aires, 2003-04, p. 104 (illustrated).
Buenos Aires, Galería Carmen Waugh, Rompecazas: Exposición- Concert de Jorge de la Vega, 17 September- 4 October 1970. Buenos Aires, Museo de Arte Latinoamericano de Buenos Aires, Fundación Costantini, Jorge de la Vega: Obras 1961-1971, 14 November 2003- 3 February 2004.
"If you don't do what you must in painting, then where are you going to do it?"[1] Poised at the crux of freedom and aesthetics, de la Vega's question epitomized the countercultural impulse that fueled the young Argentine avant-garde in the 1960s. Among the most remarkable artists of this generation, de la Vega improvised a highly idiosyncratic visual language based on transformation and anamorphosis, developing a new artistic syntax taken from the objects and symbols of the contemporary world--plastic tokens and children's toys, pop culture and psychedelia. De la Vega was a member of Argentina's Nueva Figuración group, active between 1961 and 1965, and alongside Luis Felipe Noé, Rómulo Macció, and Ernesto Deira he evolved an expressionist idiom rooted in new existential and (anti-)aesthetic freedoms.

The Rompecabezas series marked the culmination of de la Vega's work from the late 1960s, a time in which the expressive synergies of art and music reached their apotheosis in his practice. The project was originally intended for the X Bienal de São Paulo (1969), where the panels would have been shown alongside de la Vega's songs, but he withdrew from the Argentine envoy in the face of criticism over his selection and chosen presentational mode. The work was slightly reconceived, and it debuted in a solo exhibition in September 1970 at the Galería Carmen Waugh under the heading Exposición-Concert de Jorge de la Vega. Comprised of twenty-four interchangeable panels each measuring 100-cm. square, Rompecabezas was exhibited with a complementary "puzzle" of de la Vega's songs, which he performed three times a week. "I wanted to sing alongside my paintings," the artist explained during a monologue interwoven with the musical performance. "This is surely because when I paint, I sing, and when I sing, sometimes, I set about drawing or painting as well. And I wanted you to see me doing this, sharing these two things a little bit."[2]

The present work is one of the "puzzle pieces" that fit together to form Rompecabezas, and like the others it is painted in black-and-white acrylics and commingles the winsome, smiling faces of men and women alongside their sprawling, intertwining limbs. This panel is the only one of the set that portrays a couple; rendered in a happy, almost ecstatic embrace, they smile in defiance of the themes of maladjustment and isolation that course through de la Vega's songs. During one of his monologues, de la Vega drew a comparison between Rompecabezas and old-world cantastorie, theatrical performers who sang their stories while gesturing to images. "What they did was to sing inspired by a cartoon drawing of the most famous crime of the moment," he explained. "And seeing my own paintings, I think they could without a doubt tell a crime... Of course, what I'm going to give you in order to solve the puzzle is a puzzle of songs. That way there will be no other way to solve it, the problem, the mystery, if not by way of the absurd." [3]

Abby McEwen, Assistant Professor, University of Maryland, College Park
1) Jorge de la Vega, quoted in Luis Felipe Noé, "Anti-Aesthetics," Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde (New York: The Museum of Modern Art, 2004), 66.
2) De la Vega, "Rompecabezas Concert," in Jorge de la Vega: Obras 1961-1971 (Buenos Aires: MALBA, 2004), 185.
3) Ibid., 186.
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