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Masterworks

Curated by Helly Nahmad and Marzina Marzetti

October 6, 2019 – April 1, 2022

Images Artists Back
Picasso, Le Peintre (The Painter), 1967

Picasso, Le Peintre (The Painter), 1967
Oil on canvas
100.2 x 80 cm. (39 ½ x 31 ½ in.)
©Helly Nahmad Gallery NY

 

Pablo Picasso, Homme à la pipe et nu couché, 1967 This painting shows a couple fully occupy who the canvas. The man is seated smoking a pipe and the nude woman is laying down. The overall background is painted in mauve tons we can perceive the large brushstrokes. The figures are painted in white and grey tons and their features are achieved with thick black lines.

Pablo Picasso, Homme à la pipe et nu couché, 1967
oil on canvas
146 x 114 cm. (57 1/2 x 44 7/8 in.)
©Helly Nahmad Gallery NY

Lucio Fontana, Concetto Spaziale, 1966 ​Waterbased paint on canvas with multiple holes (green) 100 x 81 cm. (38 3/8 x 31 7/8 in.) This painting only features one color a rich clover green. The shape of the canvas is a horizontal rectangular shape, an oval circle occupies most of the canvas it is slightly delineated with a thin line barely visible produced with a tip. The circle is perforated by multiple small holes, arranged in fifteen horizontal lines contained inside the oval shape.

Lucio Fontana,Concetto Spaziale (66-B-14), 1966
Waterbased paint on canvas with multiple holes (green)
100 x 81 cm. (38 3/8 x 31 7/8 in.)
©Helly Nahmad Gallery NY

Picasso, Guitare (Guitar), 1918 Oil and sand on canvas 54 x 65 cm. (21 1/4 x 25 5/8 in.) ©Helly Nahmad Gallery NY. This beautiful painting by Picasso depicts a guitar. To depict the wooden body of the guitar Picasso filled the area with real sand. Around the guitar and in the center of the canvas Picasso painted a false frame in the shape of an hexagon with six sides, which makes the work interesting, as it represents a painting noting inside the canvas. On top of this false hexagon frame is a small circle as if this internal painting was actually hung inside the canvas we are looking at. The tons are warm as the background of the canvas is painted in a bright yellow. Regarding the framing device surrounding the guitar, the left side is black and the right side is a rich reddish brown. This is a beautiful co position featuring geometric and prismatic shape to depict this instrument.

Picasso, Guitare (Guitar), 1918
Oil and sand on canvas
54 x 65 cm. (21 1/4 x 25 5/8 in.)
©Helly Nahmad Gallery NY

Joan Miró, Femme et Oiseau, 1967.In Femme et oiseau, a black painted wooden crate is pierced with a bright yellow pitchfork, next to which sits a ball painted a vibrant red. Miró's use of bright primary and secondary colors for each component emphasized the individuality of each of the elements, setting them aside from the whole. In the present sculpture, femininity and fertility are represented by the red ball; in other works, it is an egg or a stone. The beak of the bird is possibly represented. by the green cone-lie element and the pitchfork is a wing or a plume.

Joan Miró, Femme et Oiseau, 1967
Painted bronze
264 x 85 x 48 cm. (103.9 x 33 1/2 in. x 18 7/8 in.)
©Helly Nahmad Gallery NY

this is a photo of Jean Dubuffet's acrylic and paper collage titled "Lieu Fréquenté", produced in 1982. It shows five characters depicted very simply over an abstract background painted in red blue and black tones.

Jean Dubuffet, Lieu Fréquenté (10.8.1982), 1982
Acrylic and paper collage on paper laid down on canvas
67 x 100 cm. (26 1/2 x 39 1/2 in.)
©Helly Nahmad Gallery NY

Giorgio de Chirico, Mobili Nella Valle, 1927

Giorgio de Chirico, Mobili Nella Valle, 1927

Oil on canvas
97 x 130 cm. (38 x 51¼ in.)
©Helly Nahmad Gallery NY

Matta_dar a luz un mundo_1960

Roberto Matta, Dar a Luz un Mundo (Giving birth to a world), 1960
Oil on canvas
200 x 300 cm. (82.5 x 121 in.)
©Helly Nahmad Gallery NY
 

Jean Dubuffet, Groupe de Quatre Arbres (État Définitif), 1970 96 x 100 x 87 cm. (37 7/8 x 39 x 34) Epoxy paint on polyurethane, in 4 parts ©Helly Nahmad Gallery NY. The present work, Group of four trees from 1970 belongs Dubuffet's acclaimed Hourloupe cycle series from 1962 to 1974. The works created during this period resemble familiar objects and forms and yet these works recall a fantastical parallel universe where the line between the real and the imaginary is blurred. The figures and objects of the Hourloupe cycle all emulate an existing reality or an everyday object. Dubuffet referred to them as a reflection of the tangible as it appears in the mind. It is in this context that one should experience Group of four trees.

Jean Dubuffet, Groupe de Quatre Arbres (État Définitif), 1970
96 x 100 x 87 cm. (37 7/8 x 39 x 34)
Epoxy paint on polyurethane, in 4 parts
©Helly Nahmad Gallery NY

Max Ernst, A Maiden, a Widow and a Wife, 1966. Championing dreams and intuition in the making of his works, Ernst invented the “Frottage” technique, placing paper over textured material to achieve different patterns on the canvas. He also made landscape a major theme in the Surrealists endeavors.⁣⠀ “A Maiden, a Widow and a Wife,” offers a compelling example of these three elements, with the coarse surfaces of its red transfigured, organic shapes delineated from a soothing blue and green background.⁣⠀ Ernst’s arcane and powerful imagery resonates in its ability to transmute an ordinary landscape into a mysterious sight.⁣⠀

Max Ernst, A Maiden, a Widow and a Wife, 1966
Oil on canvas
92 x 76 cm. (36 1/4 x 30 in.)
©Helly Nahmad Gallery NY

Joan Miró, Femme et Oiseau (18 / VIII/71 II and 24/XII/76 ), 1971-76 ​Brush and indian ink colored crayons on Guarro paper 79.8 x 56.5 cm. (31 2/5 x 22 1/5 in.)

Joan Miró, Femme et Oiseau (18 / VIII/71 II and 24/XII/76 ), 1971-76
Brush and indian ink colored crayons on Guarro paper
79.8 x 56.5 cm. (31 2/5 x 22 1/5 in.)
©Helly Nahmad Gallery NY

Alexander Calder, Black II, 1949. Elegantly standing as though poised on tiptoe, Alexander Calder’s Black II is an exquisite example of the artist’s innovative combination of sculptural dynamism and grace. Comprised of dynamic upward arcs of red metal planes that pierce through a sunny yellow disk before culminating in a carefully balanced arm supporting a floating arrangement of multicolored discs, Black II incorporates many of the iconic motifs that Calder used throughout his career. With this particular form, Calder successfully incorporates both the graceful movement that he pioneered in his groundbreaking mobiles together with the more substantial nature of his mature postwar work.

Alexander Calder, Black II, 1949
Painted sheet metal and wire
101.6 x 83.8 x 45.7 cm. (40 x 33 in. x 18 in.)
© 2021 Calder Foundation, New York / Artist Right Society (ARS), New York. 

Alexander Calder, Untitled, 1948 Hanging mobile—sheet metal, wire and paint 134.6 x 182.8 x 63.5 cm. (53 x 72 in. x 25 in.) Untitled, 1948, offers a graceful and harmonious composition held by a single wire. Floating polychromatic elements, resembling the distant sight of birds, gently revolve in their own trajectories when caught by the air. These movements are held by a delicate anchor, offering a point of orbit and balance to this elegant composition.

Alexander Calder, Untitled, 1948
Hanging mobile—sheet metal, wire and paint
134.6 x 182.8 x 63.5 cm. (53 x 72 in. x 25 in.)
© 2021 Calder Foundation, New York / Artist Right Society (ARS), New York. 

Alexander Calder, Haute Couture, 1976

Alexander Calder, Haute Couture, 1976
Sculpture: Painted sheet metal
117 x 74 x 51 cm. (46 x 29 in. x 21 1/4 in.)
© 2020 Calder Foundation, New York / Artist Right Society (ARS), New York.