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About
Wifredo Lam
Untitled
WIFREDO LAM
Untitled, 1945
Thinned Oil on paper laid down on canvas
42 x 31 1/2 in
Provenance:
Private Collection, La Habana.
M. Rondelli Collection, Treviglio Italy.
Private Collection, Coral Gables.
Exhibited:
1992-1993: Wifredo Lam ou l’Eloge du Metissage. Roma, Villa Medicis. Milano, Palazzo della
Permanente. Illustrated on page 97 of the catalog.
2002-2003: Wifredo Lam, Cuba-Italia, Un percorso. Palazzo Sertoli and Museum of History and
Art at Palazzo Sassi De’Lavizzari. Illustrated on page 67 of the catalog.
Literature:
Dumas, R., Drot, J., M., Gaudibert, P., Joppolo, G., Jouffroy, A., Beauffet, J., & Upiglio, G. (1992).
Wifredo Lam ou l’Eloge du Metissage. Edizioni Carte Segrete. Illustrated on page 97 of the
catalog.
Caprile, L. (2002). Wifredo Lam, Cuba-Italia, Un percorso. Silvana Editoriale. Illustrated on page
67 of the catalog an numbered as 21.
LAM, Vol. I. Catalogue Raisonné of the Painted Work 1923–1960, Acatos, Paris, p. 382, no. 45.52,
illustrated in b&w.
COA by Eskil Lam
Fernando Botero
Bolombolo
Bolombolo, 1993
Oil on canvas
23 x 16 in / 58,4 x 40,6 cm
Provenance:
Fondation Veranneman, Kruishoutem
Campo & Campo, Antwerp
Ron Wilson Interiors, Los Angeles.
Private Collection, Los Angeles.
Bonhams, LA. Post War & Contemporary Art. March 12, 2025. Lot 4. Illustrated on
page 15 of the catalog.
Private Collection, Miami.
Exhibited:
Avignon, Palais des Papes, Botero en Avignon, 4 June-5 September 1993
Buenos Aires, Museo Nacional de Bellas Artes, Botero en Buenos Aires, April-May
1994
Kruishoutem, Fondation Veranneman, Fernando Botero, 25 years at the Foundation:
Paintings, Drawings, Watercolors, Sculptures, 20 May-15 July 1995
Literature:
Solange Auzias de Turenne, Botero en Avignon: Le Gai Savoir de Fernando Botero,
Avignon: Laffront-imprimeur, 1993, pp. 76-77, illustrated in color
Fernando Botero, Teresa de Anchorena and Museo Nacional de Bellas Artes, Botero
en Buenos Aires, Buenos Aires: Electa, 1994, pp. 91, 151, illustrated in color
Fondation Veranneman, Fernando Botero 25 years at the Foundation: Paintings,
Drawings, Watercolors, Sculptures, Kruishoutem: Stichting Veranneman, 1995, pp.
22-23, illustrated in color [titled Bolombolo]
Untitled, 1945
Thinned Oil on paper laid down on canvas
42 x 31,5 in
The internationally renowned Cuban painter Wifredo Lam (1902-1982) was a precursor of a cross-cultural style of painting, infusing Western modernism with African and Caribbean symbolism. His peripatetic life brought him into contact with all the avant-garde movements of his times―cubism, surrealism, CoBrA―whose incentives for greater freedom in art, for unleashing the unconscious, and for exploring the “marvelous” through automatic writing had great impact on his work. But Lam never lost sight of the world around him and like his friend Aimé Césaire took on the struggle “to paint the drama of his country, the cause and spirit of the blacks.” He invented a highly original voice that speaks in the name of “defending human dignity” and “saluting freedom.”
In 2015 a retrospective exhibition of his works opened at the Centre Georges Pompidou in Paris; this exhibition later travel to the Reina Sofia Museum in Spain and the Tate Museum in London afterward.
Private Collection, La Habana.
M. Rondelli Collection, Treviglio Italy.
Private Collection, Coral Gables.
Bolombolo, 1993
Oil on canvas
23 x 16 in
Fernando Botero is a renowned Colombian painter and sculptor known for his volumetric stylization of figures and objects. His oeuvre ranges in subject matter such as daily life in Colombia, art historical references like the Mona Lisa, and abuses of power—all unified by Botero’s exaggeratedly rotund figures. This stylization, known as "Boterismo", is often interpreted as a pointed social critique, as seen in his The Presidential Family (1967). “An artist is attracted to certain kinds of form without knowing why,” he reflected. “You adopt a position intuitively, only later do you attempt to rationalize or even justify it.” Born on April 19, 1932 in Medellín, Colombia, Botero grew up surrounded by Spanish colonial architecture as well as pre-Columbian artifacts. Initially schooled as a matador, the artist abandoned the profession after two years to pursue art. Traveling to Europe in the early 1950s, he copied works of Francisco de Goya and Diego Velázquez at the Prado Museum in Madrid and studied the paintings of Paolo Uccello and Piero della Francesca in Italy. In 1960, the artist moved to New York where he experimented with the gestural brushstrokes of the New York School painters of the time. This stylistic dalliance was short lived and by the 1970s Botero had settled into the technique for which he is now known. The artist currently lives and works between Paris, France, New York, NY, and Tuscany, Italy. His works are presently held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Museo Botero in Bogotá which is dedicated to the artist and his oeuvre.
Fondation Veranneman, Kruishoutem
Campo & Campo, Antwerp
Ron Wilson Interiors, Los Angeles.
Private Collection, Los Angeles.
Bonhams, LA. Post War & Contemporary Art. March 12, 2025. Lot 4. Illustrated on
page 15 of the catalog.
Private Collection, Miami.