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Emiliano Di Cavalcanti

Brazil (1897 -  1976 ) Wikipedia® : Emiliano Di Cavalcanti
di CAVALCANTI Emiliano Untitled

Christie's
May 18, 2018
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Variants on Artist's name :

Di Cavalcanti Emiliano

 

Artworks in Arcadja
263

Some works of Emiliano Di Cavalcanti

Extracted between 263 works in the catalog of Arcadja
Emiliano Di Cavalcanti - Untitled

Emiliano Di Cavalcanti - Untitled

Original 1968
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Price:

Lot number: 355
Other WORKS AT AUCTION
Description:
Emiliano di Cavalcanti UNTITLED 1897 - 1976 Signed E. di Cavalcanti and dated 1968 (lower right); signed E. di Cavalcanti and dated 1968 (on the reverse) Oil on canvas 36 by 28 3/4 in. 91.5 by 68 cm Painted in 1968. Provenance Private Collection, Rio de Janeiro (acquired directly from the artist) Thence by descent to the present owner
Emiliano Di Cavalcanti - Untitled

Emiliano Di Cavalcanti - Untitled

Original 1962
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Gross Price
Lot number: 38
Other WORKS AT AUCTION
Description:
PROPERTY FROM A PRIVATE FRENCH COLLECTION Emiliano Di Cavalcanti (1897-1976) Untitled signed, dated, and dedicated 'E. DI CAVALCANTI 1962/ A mon ami/ Jacques Petit Jean/ avec ma gratitude/ Paris' (lower right) watercolor and ink on paper 14½ x 10¾ in. (36.9 x 27.3 cm.) Executed in 1962. Provenance The Jacques Petit Jean collection (acquired from the artist). By descent from the above. with Galerie Odile Oms, Céret, France. Acquired from the above by the present owner. Please note this lot is the property of a private individual.
Emiliano Di Cavalcanti -  Tres Mulheres

Emiliano Di Cavalcanti - Tres Mulheres

Original 1953
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Gross Price
Lot number: 14
Other WORKS AT AUCTION
Description:
Emiliano di Cavalcanti (1897-1976) Tres mulheres signed and dated 'E. di Cavalcanti 1953' (lower right) oil on canvas 25 5/8 x 21 ¼ in. (65 x 54 cm.) Painted in 1953. This work is accompanied by a certificate of authenticity signed by Elisabeth di Cavalcanti Veiga, dated 16 October, 2017. In 1953, Di Cavalcanti shared the prize for best Brazilian painter (with Alfredo Volpi) at the II Bienal de São Paulo and was further honored with a grand retrospective of his work the following year at the Museu de Arte Moderna in Rio de Janeiro. Among the luminaries of modern art in Brazil, Di Cavalcanti celebrated the local customs and culture of his country across more than five decades of painting, portraying his people in their everyday lives and traditions in vibrant colors. Di Cavalcanti played a leading role in launching Brazilian modernism in the 1920s as he was one of the key organizers of São Paulo\’s Semana de Arte Moderna with Anita Malfatti and Oswald de Andrade, among others. The present lot teems with Di Cavalcanti\’s women, in an estancia where they are center stage while multiple horsemen, who are noticeable in the background, help form a vivid scene against a dark blue sky. Conflating women and men in nature, recall encounters with the European avant-garde—Matisse, Braque, and above all Picasso—during earlier trips abroad, but no doubt they embody the Brazilian countryside. \“Brazilian art depends on Brazilian reality and at the same time reveals that reality.\” Di Cavalcanti encapsulates that palpable reality in this painting. (1) 1) F. Gullar et al, Di Cavalcanti—1987-1976: Pinturas, Disenhos, Jóias, Rio de Janeiro: Sindicato Nacional dos Editores de Livros, 2006, 21. Provenance Private collection, São Paulo (acquired directly from the artist), Christie's, New York, 16 May 1996, lot 108. Acquired from the above sale. Pre-Lot Text PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION Recommended features Studio visit: Pablo Atchugarry The Uruguayan sculptor talks Carrara marble and Michelangelo in his adopted home of Lecco on the shores of Lake Como Pedro Friedeberg: Inventor of alternative realities ​The Mexican artist discusses his influences, painting on mannequins and works offered in the Latin American Art sale 10 things to know about Fernando Botero An essential guide to arguably South America\’s most famous artist, whose work addresses everything from domestic life to bullfighting Antenna: Time to award yourself bronze A look at bronze highlights from Christie's autumn season, spanning the breadth of human history \‘Hunter and I got on instantly because we were so different\’ ​As original artwork for Fear and Loathing in Las Vegas comes to auction, its illustrator Ralph Steadman shares memories of Hunter S. Thompson Luxury Living: Homes with ornate interiors From a lavish 16th-century villa in Italy to the quintessential Paris apartment with all the (gilt) trimmings — all from Christie\’s International Real Estate
Emiliano Di Cavalcanti - Reclining Nude With Fish And Fruit

Emiliano Di Cavalcanti - Reclining Nude With Fish And Fruit

Original 1956
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Gross Price
Lot number: 5
Other WORKS AT AUCTION
Description:
Emiliano di Cavalcanti (1897-1976) signed and dated 1956lower right oil on canvas 44 1/2 by 77 in. 113 by 196 cm Provenance Acquired from the artist Thence by descent Sale: Christie's, New York, Latin American Sale, November 21, 2000, lot 26, illustrated in color Acquired from the above by the present owner Catalogue Note A fundamental figure of Brazilian modernism and consummate Carioca, Emiliano Di Cavalcanti personifies the bold sensuality and exuberant spirit of his native Rio de Janeiro. One of the masterminds behind the Semana de Arte Moderna of 1922—arguably the single most influential event of the historical avant-garde in Latin America—Di Cavalcanti\’s canvases reveal the artist\’s affinity for the School of Paris, a pictorial framework he generously impregnated with unsurpassed brazilianness. Like many of his contemporaries, Cândido Portinari (1903 – 1962), Tarsila do Amaral (1886 – 1973), and Cicero Dias (1907-2003), Di Cavalcanti\’s artistic evolution was deeply influenced by the great French masters—artists who would inform his work beginning in the 1920s and throughout lengthy sojourns in Paris. Di Cavalcanti\’s majestic Reclining nude with fish and fruit (1956) epitomizes the longstanding tradition of associating the female body with classical ideals of beauty, fertility, and abundance. Unlike previous renditions from the Renaissance period through the nineteenth century—where mythological or allegorical attributes provide a context for the figure\’s nudity—the \“painter of mulatta women\” as Di Cavalcanti was fondly known, provocatively situates his Reclining Nude as an earthly being. Sleeping delicately, she is protected by the schematic figure of a dark horse while resting over a plethora of freshly captured fish that seem to carelessly spill over the foreground. As a giantess mother earth figure, the mulatta entrusts herself to her bountiful land. In so doing, she bears fruits upon her people. Seamlessly moving "between lyricism and sensuality, the real and the fantastic, she becomes the very embodiment of Di Cavalcanti\’s magic realism." (1) Like Fernand Léger, Di Cavalcanti embraced the Cubist notion of fracturing objects into geometric shapes, but retained an interest in depicting the illusion of three-dimensionality. Léger's unique brand of Cubism was also distinguished by his focus on cylindrical forms, a quality clearly visible in both Le corsage rouge (1922) (Fig. 1.) and Reclining nude with fish and fruit. Léger's modern interpretation of a classical theme portrays the elongated restful figures of two women in an interior space: a polished vision of elemental forms representing the human presence in the modern world. As in his most successful works, the painter emphasizes the flat surface of the composition, making use of the cubist vocabulary while maintaining a complete adherence to figural representation. He applies vibrant colors to provide balance and rhythm to the canvas. Unlike the French artist however, who used robot-like human figures to express harmony between men and machines, Di Cavalcanti\’s endorsement of the machine age was grounded on its promise to elicit progress, a modernist and utopian ideal he maintained until the end of his life. (1) Denise Mattar, Di Cavalcanti, um perfeito carioca, Caixa, 2006, p. 111. Emiliano di Cavalcanti Fig. 2 Fernand Léger, Le corsage rouge, 1922, oil on canvas, 60 by 92 cm © Artists Rights Society (ARS), New York / ADAGP, Paris Fig. 3 Emiliano di Cavalcanti, Onde eu Estaria Feliz, 1965, oil on canvas, 97 by 130 cm
Emiliano Di Cavalcanti - Untitled

Emiliano Di Cavalcanti - Untitled

Original -
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Gross Price
Lot number: 13
Other WORKS AT AUCTION
Description:
EMILIANO DI CAVALCANTI (1897-1976), BRAZILIAN UNTITLED (WOMEN ON A BALCONY WITH CAT (MULHERES COM GATO)
Colour block print; signed and numbered 8/99 in pencil to margin
Plate/Sheet 18.7" x 25.8" — 47.5 x 65.5 cm.; 20.5" x 27.2" — 52 x 69 cm.
Note:
Emanating the delights of the Modernist aesthetic,
UNTITLED (Woman on a Balcony with Cat)
is reminiscent of figurative works by the legendary Paul Cézanne, Pablo Picasso and Henri Matisse. The Brazilian artist, had the pleasure of interacting with the latter two impresarios over the course of his Parisian art training, showcasing the full breadth of the Post-Impressionistic influence in the early 20
th
century that spread to South America. This print offers a true slice of Picasso, an homage to Cubism in a most dazzling form.
UNTITLED
can be expressed as a tangent to
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