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Alfredo Guttero

Argentina (1882 -  1932 )
guttero  alfredo Fanciulla Seduta Sul Terrazzo

Cambi
Dec 6, 2012
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Along with Alfredo Guttero, our clients also searched for the following authors:
August Lohr, Joaquin Torres-Garcia, Diego Rivera, Conrad Wise Chapman, Jose Gurvich, Antonio Bandeira, Victor Patricio Landaluze
Artworks in Arcadja
12

Some works of Alfredo Guttero

Extracted between 12 works in the catalog of Arcadja
Alfredo Guttero - Untitled (portrait Of Miss Davis)

Alfredo Guttero - Untitled (portrait Of Miss Davis)

Original 1911
Estimate:

Price:

Gross Price
Lot number: 2
Other WORKS AT AUCTION
Description:
Alfredo Guttero (Argentinian 1882-1932)
Untitled (Portrait of Miss Davis)
signed, dated and inscribed 'Alfredo Guttero, 1911, Paris' (upper right)
oil on canvas
45 1/8 x 51 1/8 in. (114.6 x 129.9 cm.)
Painted in Paris in 1911.
Acquired from the artist. Eva Krebs collection, Geneva. By descent to Yvette Maier, Neuchâtel, Switzerland. By descent to the present owners, Neuchâtel, Switzerland.
Alfredo Guttero - Figura De Mujer

Alfredo Guttero - Figura De Mujer

Original 1924
Estimate:

Price:

Gross Price
Lot number: 18
Other WORKS AT AUCTION
Description:
Alfredo Guttero (Argentinian 1882-1932)

Figura de
mujer

signed and dated 'Guttero, 1924' (lower right)

oil on canvas

22 x 18 in. (56 x 46 cm.)

Painted in 1924.
Provenance
Acquired from the artist. Andrés Garmendia collection, Buenos
Aires. Acquired from the above by the present owner.
Lot Notes
This work is sold with a certificate of authenticity signed by
Dora Guttero. "I am surprised and have yet to find my way in Buenos
Aires," Alfredo Guttero wrote to his friend, the Argentine sculptor
Luis Falcini, in October 1927. "I cannot find anything familiar
here, and this means that I am in a state of perpetual surprise and
confusion, but this I can tell you: I am filled with awe at the
incredible progress and my expectations are high."(1) Guttero had
traveled to Argentina just weeks earlier for the occasion of his
first solo exhibition in Latin America, returning to the land of
his birth after twenty-three years spent abroad in France and in
Italy. He had intended to return to his studio in Genoa, but the
warmth of his reception by the emergent Argentine
avant-garde--among them Raquel Forner, Emilio Pettoruti, and Xul
Solar --and the appeal of their modernizing, progressive vision for
the national culture persuaded him to settle in Buenos Aires and
join their cause. The son of Italian immigrants, Guttero followed
the artistic path taken by many other Latin American artists in the
first half of the twentieth century, traveling to Europe at a young
age, immersing himself in the cultural avant-garde and then
returning to Argentina as an influential promoter of modern art.
His transatlantic experience was marked by continuous contact with
the Río de la Plata, however, and his contributions to the official
salons during his years abroad kept his work and its modern, social
values current in Argentina throughout the years of his absence. As
Marcelo E. Pacheco has remarked, Guttero's virtual
"duplication"--"acting in two separate spheres at the same time,
working in his European place of residence while making
long-distance contributions to his native country"--and his
synthetic "blend of styles, themes, techniques, meanings and
references, processing traditions and new trends here and there"
made him a natural leader and organizer of Argentine modernism upon
his return.(2) Between 1927 and his death in 1932, Guttero was a
leading figure on Argentina's cultural scene, pioneering traveling
exhibitions of "barracas desmontables" ("portable booths") that
brought art to local neighborhoods, collaborating with the
avant-garde Camuatí group and its magazine, and even taking on his
own students in the "Cursos Libres de Arte Plástico," inaugurated
in 1932. Guttero's tireless efforts as an advocate for
forward-looking art have in some ways overshadowed his own work,
but the stylized elegance of his painting is certainly emblematic
of the modern vision that he held for his country. "Exquisite in
color and admirable in the composition of his pictures, he could
mingle Spanish and French atmosphere and combine the emphatic art
of Michelangelo, the smooth surfaces of Donatello and the thinner
ecstasies of El Greco," Aubrey F. G. Bell has written. "The
influence of Cézanne, Ingres, the Cubist school and perhaps of
Rossetti may also be traced in the strangely attractive and, we
must insist, very original work" of Guttero and the Argentine
school.(3) The present Figura de mujer is one of many women that
the artist painted over the course of his career, in images that
range from intimate scenes at the toilette to social depictions of
the urban landscape and, particularly in his final years, to
devotional paintings of the Madonna. With her hand across her heart
and her eyes solemnly downcast, this Figura de mujer projects a
genteel demeanor and a serenely contemplative gaze. The wavy
highlights of her dark blonde hair and her gently pursed lips are
echoed in the warm color harmonies of the abstracted background,
whose flattened space harmoniously frames her portrait. A timeless
image of a woman in silent meditation, Figura de mujer is a refined
example of Guttero's mature painting and a testament not only to
his mastery of richly consonant color, but to the touching humanity
of his subjects as well. 1) A. Guttero, quoted in M. T. Constantin,
"Alfredo Guttero and the Industrial Landscape," in Alfredo Guttero:
un artista moderno en acción, Buenos Aires: Museo de Arte
Latinoamericano de Buenos Aires and Fundación Eduardo F.
Costantini, 2006, 200. 2) M. E. Pacheco, "Curatorial Practice and
Fields of Writing: The Case of Alfredo Guttero," in Alfredo
Guttero: un artista moderno en acción, 174. 3) A. F. G. Bell,
review of Alfredo Guttero, by J. E. Payró, Books Abroad 21, no. 1
(Winter 1947), 43.
Alfredo Guttero - Fanciulla Seduta Sul Terrazzo

Alfredo Guttero - Fanciulla Seduta Sul Terrazzo

Original -
Estimate:

Price:

Net Price
Lot number: 152
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