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Forbes
29-04-2025
- Entertainment
- Forbes
TEFAF New York To Champion Women Artists Across Genres And Geographies
Shirley Jaffe Untitled c. 1967 Oil on canvas 51.13 x 34.63 inches (130 x 88 cm) PRESENTED BY GALERIE ... More NATHALIE OBADIA (STAND 364) Embark on a fast-paced, boldly colored journey of shapes meticulously assembled to create the "organized chaos" of a dynamic urban landscape. The viewer navigates the complex composition, imaging how disparate elements can fit together with frenzy and finesse. Repulsed by the natural landscapes in her earlier paintings, Shirley Jaffe (born 1923, Elizabeth, N.J.; died 2016, Louveciennes, France) sought inspiration from the buzzing cities she encountered alongside her artistic exploration, evolving from Abstract Expressionism to a graphic, geometric style, while preserving the spontaneity and large-scale compositions that evoke emotions and psychological inquiry. Perhaps the circles represent tires and the lines tracks, with elements of a metro map. Though the direct inspiration for Untitled (circa 1967) remains unknown, Jaffe was at the time inspired by the demolition site of the Gare Montparnasse train station in 15th arrondissement of Paris, situated on the left bank of the River Seine. Visitors to the 11th edition of TEFAF New York 2025, which opens to the public between May 9-13 at the Park Avenue Armory, will have the rare opportunity to closely examine each precise brushstroke of this pulsating oil on canvas, evoking the unrivaled vigor of city life, presented by Galerie Nathalie Obadia (Stand 366). A wide array of masterworks by women artists will be featured at this year's New York engagement of the European Fine Art Foundation's preeminent global art fair. Ninety-one leading dealers and galleries from 13 countries and four continents will showcase rare and pristine examples of Modern and Contemporary art, jewelry, antiquities and design, along with exclusive curated spaces in the Armory's 16 period rooms. FEATURED | Frase ByForbes™ Unscramble The Anagram To Reveal The Phrase Pinpoint By Linkedin Guess The Category Queens By Linkedin Crown Each Region Crossclimb By Linkedin Unlock A Trivia Ladder Representation of women artists is critical at art fairs, and TEFAF New York's commitment to Modern and Contemporary art and design enables a closer focus. The representation of women artists among dealers continues to inch up, climbing by 1% in 2024 to 41%, according to the ninth edition of The Art Basel and UBS Global Art Market Report by Dr. Clare McAndrew, Founder of Arts Economics. Marie Laurencin Jeune Fille au bouquet c. 1935 Oil on canvas Unframed: 18.13 x 14.75 inches (45.9 x ... More 37.5 cm) Framed: 30.75 x 27.63 x 3.38 inches (78.1 x 70.2 x 8.6 cm) An ethereal young woman with a bouquet is depicted in pastel hues, conveying a sapphic modernity. Marie Laurencin's Jeune Fille au bouquet (circa 1935), a highlight of Almine Rech (Stand 322), celebrates the artist's embrace of femininity as empowerment. Laurencin divorced herself from Cubism by the 1910s, joining Natalie Clifford Barney's sapphic salon alongside Sylvia Beach, Tamara de Lempicka, and Laurencin's early patron, Gertrude Stein. The French painter, printmaker, and stage designer (1883-1956) rose to prominence among the Parisian avant-garde as a member of the Cubists associated with the Section d'Or, alongside Sonia Delaunay, Marie Vorobieff, and Franciska Clausen, but cut ties with the movement to hone her distinctive feminine aesthetic foreshadowing the rise of the lipstick lesbian in the 1980s. Anne Imhof Wish You Were Gay Installation view, Kunsthaus Bregenz, Bregenz, June 8–September 22, ... More 2024 Anne Imhof (born 1978, Giessen, Germany) carves into centuries of art history – exemplifying the scope of TEFAF Maastricht – to draw from antiquity, the Italian Renaissance, and Auguste Rodin in Untitled (Silas) (2024), on view at Sprüth Magers (Stand 306). Imhof's ongoing drawing practice influences her patinated bronze relief depicting two elongated, long-haired, androgynous nude figures, reclining on rocks, grasping each other's oversized hands. Imhof plays with scale, as two breaching dolphins appear slight in the distant right, while a third comparatively miniature figure, stands in the water to the left, grasping a stretched dolphin with outsized hands and draping it over their shoulders like a shawl. The German visual artist, choreographer, and performance artist lives and works between Frankfurt and Paris. Emma Reyes White Poppy 1979 Work on paper 41 x 28 inches (104.14 x 71.12 cm) The white poppy, a symbol of peace and a rejection of the glorification of war (ideology that seems abandoned amid ongoing geopolitical terror), blossoms to portrait status in Emma Reyes' White Poppy (1979). The nearly 3½ tall, over 2-foot wide work on paper appears life sized to a typical child around four years old. A fully bloomed white poppy towers alongside live buds that could be its children, as Reyes' close-up floral imagery amplifies the connection between humans and nature. While urbanites gaze at Jaffe's monumental canvas, naturalists may appreciate Reyes with Leon Tovar Gallery (Stand 366). The Colombian painter and intellectual (1919- 2003) was born in Bogotá and lived in Buenos Aires, Montevideo, Jerusalem, Washington, and Rome before settling in Paris, discovering nature within global cities. With single entry tickets starting at $60 ($25 for students, and free for children under 12), TEFAF New York is a genuine immersive experience, offering a comprehensive and intimate look at an array of museum-quality artworks, including some that may be on view for the first time.
The Guardian
29-03-2025
- Entertainment
- The Guardian
Henry Gibbs painting looted by Nazis to be returned to Jewish art dealer's family
A 17th-century painting by Henry Gibbs that was looted by the Nazis and has been in the Tate collection in the UK for the past 31 years is to be returned to the descendants of a Jewish art collector. Aeneas and his Family Fleeing Burning Troy was stolen by the Nazis from a gallery in Antwerp, Belgium, after its owner, Samuel Hartveld, was forced to flee in May 1940, eight months after the start of the second world war. It will be returned to Hartveld's great-grandchildren after a decision by the Spoliation Advisory Panel, which considers claims regarding Nazi-looted artworks now in a UK public collection. The 1654 painting depicts scenes from The Aeneid, a poem telling the legendary story of Aeneas, a Trojan who fled the fall of Troy and travelled to Italy, where he became the ancestor of the Romans. The painting shows Aeneas trying to rescue his family from the burning city. Chris Bryant, the arts minister, said the return of the painting was the 'perfect example' of what the panel was intended to do – 'helping to reunite families with their most treasured possessions that were looted by the Nazis'. Since the independent panel was established by the government in 2000 it has received 23 claims, with 14 works returned to the heirs of their former owners. When Hartveld, a successful art dealer, and his wife, Clara Meiboom, fled Antwerp for New York, they were forced to leave behind treasured possessions. The Henry Gibbs painting was one of 66 in his flourishing gallery in the city. The couple's son, Adelin Hartveld, remained in Belgium and joined the resistance. He was caught and later executed by the Nazis. Hartveld and his wife survived the war, but the collector was never reunited with his paintings. Most were looted and sold by the German authorities, and some are now believed to be in galleries across Europe after changing hands several times. The Henry Gibbs painting was bought by the Tate collection from Galerie Jan de Maere in Brussels. Two of Hartveld's three great-grandchildren submitted a claim for restitution in May 2024 via a trust set up in the name of their mother, Sonia Klein. The panel's report said: 'The legal and moral claims to restitution of this painting by the great-grandchildren and heirs of Samuel Hartveld, who was forced to flee his homeland, leaving behind his property, books and art collection, are obvious. The property, library and the paintings in his gallery were looted as an act of racial persecution.' The panel said Tate had not disputed the claim, and its response had been 'open and honourable'. Maria Balshaw, Tate's director, said: 'It is a profound privilege to help reunite this work with its rightful heirs … Although the artwork's provenance was extensively investigated when it was acquired in 1994, crucial facts concerning previous ownership of the painting were not known.' The trustees of the Sonia Klein Trust said: 'This decision clearly acknowledges the awful Nazi persecution of Samuel Hartveld and that the 'clearly looted' painting belonged to Mr Hartveld, a Jewish Belgian art collector and dealer.'
