{"status":true,"msg":{"data":{"id":40452,"auction_id":64,"set_id":92,"lot_number":"106","artist":"Fernando Zobel (1924-1984)","title":"Sin Titulo","starting_price":3000000,"signed_dated":"dated ca.1963","medium":"oil on canvas","size":"44” x 57” (113 cm x 145 cm)","property":null,"coa":"This piece is accompanied by a certificate issued by Don Rafael Perez-Madero confirming the authenticity of this lot","provenance":"a gift from Zóbel to an artist-friend, ca.1963, thence by descent","exhibited":null,"literature":null,"write_up":"To understand this painting painted early 1963, two Zóbel trips must be considered.\n \nIn March, 1962, he did a show of landscapes from the Song period (China, 960-1127 BC) in the Art Institute of Chicago.  Here, he easily impressed viewers as he only executed them from reproductions.  The ethereal landscapes were larger than life,  “the content lords over the form. Rembrandt and Velazquez would have felt at home” (letter dated in Chicago, March 1, 1962; source of this and the other 2 quotes in the Reina Sofia retrospective catalogue, bio by María Angeles Villaba).  This is thought  of as the capital for the future of the Zóbel ouvre.\n \nIn the summer of 1962 Zobel traveled to Italy to present his work at what is arguably the most important Art Art Fair in the world: the Venice Biennale.  At the XXXI edition he presented some of his most important works of the “La Serie Negra” series and visited other cities like Rome where he caught a Mark Rothko retrospective that would be a major influence in his art.\n \nLater in Italy, studying not only painters (he was fascinated by some Bonnard works at the Biennale or Tintoretto) but also the streets, fountains, antiquities, etc.  and for sure Renaissance Art that he decided that he wanted to use color again.  In his  own words: “Everything is color in Italy” (text written in Madrid, July 20, 1962; source of this is the Reina Sofia retrospective catalogue, bio by María Angeles Villaba).\n \nAt some point he thought it would be difficult to paint strong paintings like the “Serie Negra” but he was convinced of the  use of color and decided to change his work method.  Once in Madrid he visited the Prado Museum often and he delighted in examining the classics and their painting methods.\n \nThe painting here presented, “Sin Título”, is one of the largest and more complex works to come out of this period.  It has a black area (clear reference to the black series) but here Zobel is trying to push the color and to paint with “Veladuras” (in English glaze) like some of the artists of the times — Velazquez and Rothko. \nTo this he said: “Qué ganas de […] pintar con veladuras” “I really want to paint with glaze” (source of this is the Reina Sofia  retrospective catalogue, bio by María Angeles Villaba).  The result is a totally different approach to the canvas, all the more  ethereal and sophisticated.  The black element — previously a totally strong element — is now floating in a cloudy space.  The form is not the capital element anymore.\n \n“Sin título” is the link between the “Serie Negra” and the later colorful works and this moment of change heralded a new  splendid period that was going to arrive.","lot_group":"PAINTING","lot_details_html":"<p><strong>Fernando Zobel</strong> (1924-1984)<br /><em>Sin Titulo</em><br />ca.1963<br />oil on canvas<br />44&rdquo; x 57&rdquo; (113 cm x 145 cm)</p>","alias":null,"hp":10000000,"bp":0.168,"isWithdrawn":0,"accounting_hp":10000000,"userBid":null,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":11680000,"fav":0},"image":[{"id":39518,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/64/92/lot/106.jpg","isFeatured":1}]},"increment":[11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":105,"next":107,"count_bid":0,"bid_history":[],"tokenExpired":1}