Martin Tovar Y Tovar

Venezuela (18271902 ) - Artworks
TOVAR Y TOVAR Martin Portrait Of A Young Girl

Sotheby's /May 27, 2010
202,445.54 - 283,423.76
315,384.00

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Some works of Martin Tovar Y Tovar

Extracted between 4 works in the catalog of Arcadja
Martin Tovar Y Tovar - Estudio De Tovar Y Tovar Para Junín

Martin Tovar Y Tovar - Estudio De Tovar Y Tovar Para Junín

Original 1884
Estimate:

Price:

Lot number: 50
Other WORKS AT AUCTION
Description:
Martín Tovar y Tovar (Venezuelan 1827-1902) Estudio de Tovar y Tovar para Junín inscribed 'Estudio de Tovar y Tovar para Junín' (lower right) oil on canvas 77¼ x 59¼ in. (196.2 x 150 cm.) Painted circa 1884. Provenance Gift from the artist to Luis Romero Zuloaga (artist'sgrand-nephew). By descent to Carlota Reverón de Romero. By descent to Carlos Romero Reverón Zuloaga. By descent to Ana Teresa Machado de Romero. By descent to Carlos Luis Romero Machado. Private collection, Boca Ratón. Martín Tovar y Tovar was one of the most distinguishedVenezuelan painters of the 19th century, who was commissioned tocreate art works for the new seat of political power: the NationalCapitol. There he portrayed a series of military victories from theWars of Independence. This canvas is a study for one of his mostimportant works, The Battle of Junín, a mural done for theCapitol. Born in Caracas, Tovar y Tovar took his first art classes (1839-40)under Antonio José Carranza and in 1841 under Carmelo Fernández andCelestino Martínez at the Colegio La Paz, Caracas. Like other SouthAmerican artists of his generation, he went to Spain to study atMadrid's renown Real Academia de San Fernando (Royal Academy of SanFernando) in 1850. From there he went to Paris, where studied atthe Ecole des Beaux Arts, observed the masterpieces of the Louvreand elsewhere, and surely partook of the local café life. He wasback in Caracas sometime in 1855, but perhaps not before heattended the Paris Universal Exhibition. These experiences made himone of the best trained and most cosmopolitan painters in SouthAmerica at the time, alongside Peruvian Francisco Laso. Back homehe taught drawing and painted portraits. By the early 1870s Tovar yTovar was making a name for himself, showing his work in successiveexhibitions beginning with the first Exposición Anual de BellasArtes held in Caracas in 1872. His became the official painter forthe government of President Antonio Guzmán Blanco (1829-1899), anavid Francophile who must have found the artist's Parisianbackground simpatico.(1) During Guzmán Blanco's reign as dictator of Venezuela from 1870 to1888, art and public works flourished with the construction of anOpera House, Pantheon, and a new National Capitol consisting of atwo- building complex: Presidential Palace and Seat of Congress.Art became the means to strengthen feelings of national unity andidentity with the military victories from the Wars of Independenceas the ideal subject. Tovar y Tovar created public art celebratingthe heroes and events of Venezuelan Independence. After 1883, theCentennial of Caracas-born Símon Bolívar's birth, he began work onthe Capitol's famous Salón Elíptico, an oval hall surmounted by anextraordinary domed ceiling covered by his mural of the Battle ofCarabobo (1888). Two adjoining halls round out the series of imagesthat amount to a national Book of Genesis: in the Salón Rojo hepainted The Battle of Boyacá while the Salón Amarillo has on itsceiling a depiction of The Battle of Junín. This latter scenedepicts the moment on August 6, 1824 when Liberator Símon Bolívarand his trusted lieutenant Antonio José de Sucre sent the mightSpanish army in retreat at the Lake of Junín, high in the PeruvianAndes. This victory set the stage for the Battle of Ayacucho, whereanother stunning patriot victory assured freedom for Peru and allof South America.(2) Adhering to the academic training he received in Paris, Tovar yTovar made many sketches and studies in preparation for this hugemulti-figured ceiling painting including this Estudio para Batallade Junín, of Bolívar on horseback. Only a child at the time ofBolívar's death, the artist had to rely on likenesses by others forhis portrait in military attire, some of which he could have seenin the government buildings of Caracas, and others widelycirculated in prints and coins. In collaboration with hisgovernment patron, Tovar y Tovar modeled his Bolívar after a printof The Equestrian Portrait of Napoleon I (1810; Museo Napoleonico,Rome) by Joseph Chabord.(3) Both depict the military leader on hiswhite horse at the edge of the battlefield, and position thehorse's head and leg similarly, with only the left front hoofraised: according to military symbolism, the sign that the sittersurvived the battle.(4) Tovar y Tovar provides a naturalisticrendering of the figure in sunlight, with the shadows consistentlyrendered. He also demonstrated knowledge of the heterogeneoustopography of the Junín region where the battle was fought, rimmingthe picture with the Andean peaks. Another specific detail is thesaber, absent from Napoleon, which hangs at Bolívar's side. For theVictory at Junín was the last true cavalry charge in the westernworld, where no shot was fired and only sabers used. PortrayingBolívar for Guzmán Blanco's new Venezuela via Napoleonic imperialimagery, the artist's chain of associations between the leaderspast and present would not have been lost on contemporary viewers.This painting and its companion pieces comprise their joint legacywhich initiated Venezuela's epic historical tradition, perpetuatedby Arturo Michelena and Tito Salas. Katherine E. Manthorne, Professor of Modern Art of the Americas,The Graduate Center, CUNY. 1) This information is derived from the standard biographicsources: E. Planchart, Don Martín Tovar y Tovar 1828 [sic]-1902,Caracas, 1952, and J. Calzadilla, Martín Tovar y Tovar, Caracas,1977. 2) N. Leonardini, ed. La Pintura de la independencia en el artelationamericano del siglo XIX, Lima: Universidad Nacional Mayor deSan Marcos, Vicerrectorado de Investigación, 2009, providesinteresting discussions of the relation of art to the events ofindependence. 3) Tovar y Tovar's composition repeats Chabord's in reverse,suggesting that he was working from a print source. 4) A. Boime, Art in the Age of Bonapartism, 1800-1815, Chicago,University of Chicago Press, 1990, pp.35 ff.
Martin Tovar Y Tovar - Estudio De Tovar Y Tovar Para Junín

Martin Tovar Y Tovar - Estudio De Tovar Y Tovar Para Junín

Original 1884
Estimate:

Price:

Lot number: 50
Other WORKS AT AUCTION
Description:
Martín Tovar y Tovar (Venezuelan 1827-1902) Estudio de Tovar y Tovar para Junín inscribed 'Estudio de Tovar y Tovar para Junín' (lower right) oil on canvas 77¼ x 59¼ in. (196.2 x 150 cm.) Painted circa 1884. Provenance Gift from the artist to Luis Romero Zuloaga (artist'sgrand-nephew). By descent to Carlota Reverón de Romero. By descent to Carlos Romero Reverón Zuloaga. By descent to Ana Teresa Machado de Romero. By descent to Carlos Luis Romero Machado. Private collection, Boca Ratón. Martín Tovar y Tovar was one of the most distinguishedVenezuelan painters of the 19th century, who was commissioned tocreate art works for the new seat of political power: the NationalCapitol. There he portrayed a series of military victories from theWars of Independence. This canvas is a study for one of his mostimportant works, The Battle of Junín, a mural done for theCapitol. Born in Caracas, Tovar y Tovar took his first art classes (1839-40)under Antonio José Carranza and in 1841 under Carmelo Fernández andCelestino Martínez at the Colegio La Paz, Caracas. Like other SouthAmerican artists of his generation, he went to Spain to study atMadrid's renown Real Academia de San Fernando (Royal Academy of SanFernando) in 1850. From there he went to Paris, where studied atthe Ecole des Beaux Arts, observed the masterpieces of the Louvreand elsewhere, and surely partook of the local café life. He wasback in Caracas sometime in 1855, but perhaps not before heattended the Paris Universal Exhibition. These experiences made himone of the best trained and most cosmopolitan painters in SouthAmerica at the time, alongside Peruvian Francisco Laso. Back homehe taught drawing and painted portraits. By the early 1870s Tovar yTovar was making a name for himself, showing his work in successiveexhibitions beginning with the first Exposición Anual de BellasArtes held in Caracas in 1872. His became the official painter forthe government of President Antonio Guzmán Blanco (1829-1899), anavid Francophile who must have found the artist's Parisianbackground simpatico.(1) During Guzmán Blanco's reign as dictator of Venezuela from 1870 to1888, art and public works flourished with the construction of anOpera House, Pantheon, and a new National Capitol consisting of atwo- building complex: Presidential Palace and Seat of Congress.Art became the means to strengthen feelings of national unity andidentity with the military victories from the Wars of Independenceas the ideal subject. Tovar y Tovar created public art celebratingthe heroes and events of Venezuelan Independence. After 1883, theCentennial of Caracas-born Símon Bolívar's birth, he began work onthe Capitol's famous Salón Elíptico, an oval hall surmounted by anextraordinary domed ceiling covered by his mural of the Battle ofCarabobo (1888). Two adjoining halls round out the series of imagesthat amount to a national Book of Genesis: in the Salón Rojo hepainted The Battle of Boyacá while the Salón Amarillo has on itsceiling a depiction of The Battle of Junín. This latter scenedepicts the moment on August 6, 1824 when Liberator Símon Bolívarand his trusted lieutenant Antonio José de Sucre sent the mightSpanish army in retreat at the Lake of Junín, high in the PeruvianAndes. This victory set the stage for the Battle of Ayacucho, whereanother stunning patriot victory assured freedom for Peru and allof South America.(2) Adhering to the academic training he received in Paris, Tovar yTovar made many sketches and studies in preparation for this hugemulti-figured ceiling painting including this Estudio para Batallade Junín, of Bolívar on horseback. Only a child at the time ofBolívar's death, the artist had to rely on likenesses by others forhis portrait in military attire, some of which he could have seenin the government buildings of Caracas, and others widelycirculated in prints and coins. In collaboration with hisgovernment patron, Tovar y Tovar modeled his Bolívar after a printof The Equestrian Portrait of Napoleon I (1810; Museo Napoleonico,Rome) by Joseph Chabord.(3) Both depict the military leader on hiswhite horse at the edge of the battlefield, and position thehorse's head and leg similarly, with only the left front hoofraised: according to military symbolism, the sign that the sittersurvived the battle.(4) Tovar y Tovar provides a naturalisticrendering of the figure in sunlight, with the shadows consistentlyrendered. He also demonstrated knowledge of the heterogeneoustopography of the Junín region where the battle was fought, rimmingthe picture with the Andean peaks. Another specific detail is thesaber, absent from Napoleon, which hangs at Bolívar's side. For theVictory at Junín was the last true cavalry charge in the westernworld, where no shot was fired and only sabers used. PortrayingBolívar for Guzmán Blanco's new Venezuela via Napoleonic imperialimagery, the artist's chain of associations between the leaderspast and present would not have been lost on contemporary viewers.This painting and its companion pieces comprise their joint legacywhich initiated Venezuela's epic historical tradition, perpetuatedby Arturo Michelena and Tito Salas. Katherine E. Manthorne, Professor of Modern Art of the Americas,The Graduate Center, CUNY. 1) This information is derived from the standard biographicsources: E. Planchart, Don Martín Tovar y Tovar 1828 [sic]-1902,Caracas, 1952, and J. Calzadilla, Martín Tovar y Tovar, Caracas,1977. 2) N. Leonardini, ed. La Pintura de la independencia en el artelationamericano del siglo XIX, Lima: Universidad Nacional Mayor deSan Marcos, Vicerrectorado de Investigación, 2009, providesinteresting discussions of the relation of art to the events ofindependence. 3) Tovar y Tovar's composition repeats Chabord's in reverse,suggesting that he was working from a print source. 4) A. Boime, Art in the Age of Bonapartism, 1800-1815, Chicago,University of Chicago Press, 1990, pp.35 ff.
Martin Tovar Y Tovar - Portrait Of A Young Girl

Martin Tovar Y Tovar - Portrait Of A Young Girl

Original 1858
Estimate:

Price:

Gross Price
Lot number: 50
Other WORKS AT AUCTION
Description:
LOT 50 MARTÍN TOVAR Y TOVAR (1827-1902) PORTRAIT OF A YOUNG GIRL 250,000—350,000 USD measurements measurements 39 3/8 by 31 3/8 in. alternate measurements 100 by 79.8 cm Description signed and dated Caracas 1858 lower right oil on canvas PROVENANCE Private Collection, Caracas CATALOGUE NOTE Tovar studied drawing in Caracas under Celestino Martínez andCarmelo Fernández. After some years as the head of a lithographicstudio, Tovar moved to Madrid to enroll at Academia San Fernando,where he studied under the well respected master José de Madrazoand his son Federico. In 1852 he travelled to Paris where hecontinued his studies under the guide of academic painter LéonCoignet and the German Society and Royal portraitist FranzWinterhalter. Tovar returned to Caracas in 1855 to find a country in extremepoverty, ravaged by internal wars. Despite these unpropitiouscircumstances for the development of his artistic career, Tovardedicated himself to painting portraits. Critics like don AlfredoBoulton and Juan Calzadilla agree that the portrait of his sisterDoña Ana Tovar Liendo de Zuloaga (Private Collection,Caracas) is perhaps the most important portrait in Venezuelanpainting for its aesthetic solutions and psychological depths. The recently discovered Retrato de una joven Caraqueña ,1858 exhibits the same artistic values of Doña Ana's majestic portrait. The standing Joven Caraqueña , perhaps ayounger family member, casually leans on a rock against a backdropof lush vegetation punctuated by a line of palm trees that ends inthe distance with the Caracas hills. Both portraits exhibit atheatrical and psychological mise en scene. While DoñaAna curiously stares at the viewer as if distracted for amoment from her meditation, heavily dressed in fashionable andelegant orange and brown silks, Joven Caraqueña stands stillas if resting during a walk in the countryside with a beautifulblue silk dress that echoes the sky, her left arm by the largewhite feathered straw hat that seems to bring light to thisotherwise dark place by a river. Her hands are playing with amorning glory vine that adds a touch of freshness and acts as aguide to the eye, perhaps as a delicate reminder of theimpermanence of youth and its capricious nonchalance and beauty.Joven Caraqueña also looks at the viewer but with concealingeyes and sensuous lips. This painting announces the favor of Venezuelans for all thingsFrench that will remain the norm in the national soul until theearly 20th century. Following Tovar y Tovar, painterslike Arturo Michelena and Cristóbal Rojas will be trained in Paris.Although academic in style and fashion, this painting also flirts –with a Romantic undertone- with the aesthetics brought to court byEmpress Eugénie de Montijo, the Spanish noble wife of Napoleon III.The pastoral character of the scene reminds us of Marie Antoinettein the gardens of Versailles and Franz Winterhalter's pastoralportrait of the Empress Eugénie now hanging at the Hillwood Museumin Wahington DC.
Martin Tovar Y Tovar - Virgen De La Soledad

Martin Tovar Y Tovar - Virgen De La Soledad

Original
Estimate:

Price:

Net Price
Lot number: 185
Other WORKS AT AUCTION
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