{"status":true,"msg":{"data":{"id":45689,"auction_id":92,"set_id":121,"lot_number":"43","artist":"Fernando Zóbel (1924 - 1984)","title":"Orilla 69. En Amarillo y Gris","starting_price":14000000,"signed_dated":"signed (lower left and verso), dated 1982<br /> and inscribed \"82-5, ORILLA 69 EN AMARILLO Y GRIS\" (verso)","medium":"oil on canvas","size":"59\" x 39 3/8\" (150 cm x 100 cm)","property":null,"coa":null,"provenance":"Rafael Perez Madero Collection, Spain;  Fundacion Caja, Madrid;<br /> Private Collection, Philippines (by 1990);  Acquired from the above","exhibited":" Obra Cultural Monte de Piedad y Caja de Ahorros de Sevilla, Sala de Exposiciones El Monte, \nFernando Zóbel (First Retrospective Exhibition), Sevilla, October 1983<br />Museo de Arte Abstracto Español de Cuenca, Fernando Zóbel. Rio Jucar, Cuenca, \n17 December 1994 - 16 April 1995<br /> Sala de Exposiciones BBK (Fundacion Bilbao Bizkaia Kutxa Fundazioa), \nFernando Zóbel, Organized by Rafael Perez-Madero, Bilbao, 1998<br /> Sala Amos Salvador de Cultural Rioja, Zóbel. Espacio y color, \nOrganized by Rafael Perez-Madero, Logroño, 1998","literature":"De la Torre, Alfonso and Rafael Pérez-Madero.<br> Fernando Zóbel: Catalogue Raisonné of Paintings (1946 - 1984). Madrid: Fundación Azcona, 2022.<br> Listed as \"nº 82-5\" with full-color illustration and painting description on page 635.<br>","write_up":"Zóbel’s Orilla, His Last Series Reveling in the Peace and Serenity of the Júcar Riverbanks<br /><br /> In 1980, Zóbel visited Manila, in what would become the very last time he would spend time in his birthplace. Unfortunately, Zóbel fell ill due to a brain hemorrhage, an affliction that would still manifest even after he had already recovered. This unfortunate period in Zóbel’s life triggered his depression, spiraling down into creative stagnation and anxiety.<br /><br /> “Drawing now loses its central role of previous stages to fuse completely with color,” Zóbel’s biographer Angeles Villalba Salvador wrote. “He also starts to use new materials, such as the pencil for drafts and pastel. As a result of this depression, Zóbel destroys many of these pictures and devotes more time to photography, focusing once more on the River Júcar and its banks on the outskirts of Cuenca. These photographs are the starting point of his last series of paintings, Las Orillas (Variaciones sobre un río) (1979-1982).”<br /><br /> Zóbel’s Las Orillas stemmed from his rediscovery that his life and art had always revolved around Cuenca and its River Jucar, flowing right through his heart and penetrating his soul more than ever.<br /><br /> The majestic river became the remedy to Zóbel’s desolation.<br /><br /> It can be remembered that in 1971, Zóbel started to manifest his profound love of Cuenca through his El Jucar series. Villalba Salvador wrote: “During this period, Diálogos is followed by series relating to Cuenca landscapes, anatomies, and football. Cuenca and its river, the Júcar, and the views from the high part of the city will be the central features in two of the landscape series of this period: El Júcar (1971-1972) and La Vista(1972-1974).”<br /><br /> The Spanish art and literature critic Juan Manuel Bonet wrote in his essay Fernando Zobel: Revisited that “it was the Júcar itself…that governed Zóbel’s movements: the way he wandered so close to the water, looked at himself in its surface as if in a mirror, the way he expressed the sweetness of light among the trees.”<br /><br /> Wrote the esteemed John Berger in his landmark essay Ways of Seeing, “The way we see things is affected by what we know or what we believe…Soon after we can see, we are aware that we can also be seen. The eye of the other combines with our own eye to make it fully credible that we are part of the visible world.”<br /><br /> In essence, Zobel saw himself through the Jucar’s glimmering reflections, seeing a man who still had his art as his never-ending source of saving grace and unfaltering spring from which his wearied soul drank forth, ultimately casting all his anxieties and doubts into his canvas.<br /><br /> In Orilla 69, subtitled en Amarillo y Gris, Zóbel suffuses patches of yellowish browns that evoke the Jucar riverbanks’ dormant vegetation during winter. Zóbel painted the work on January 11, 1982, during the coldest month of the winter season in the Northern Hemisphere, where Spain lies. The soothing coolness of the canvas, emphasized by Zóbel’s juxtaposition of the yellowish browns with the overall whitegray finish captures a cozy view of the River Jucar in winter.<br /><br /> The new year had just passed when Zóbel painted Orilla 69. In a way, the work encapsulates Zóbel’s hopes for the coming of new days, in which he willfully continues to live and breathe the River Jucar’s calming breeze as if it were his lifeblood. True enough, Zóbel intimately saw the river as inseparable from his earthly life, the balsam that nourishes his failing health yet still resilient soul.<br /><br /> Two years later, in 1984, Zóbel would die from a heart attack at the age of 60. In accordance with his will, he was buried in the San Isidro burial grounds, located in Cuenca’s highest point and overlooking the River Jucar. Now, Zóbel and his beloved river are in a joyous and hallowed communion.","lot_group":"PAINTING","lot_details_html":null,"alias":null,"hp":19000000,"bp":0.2016,"isWithdrawn":0,"accounting_hp":19000000,"userBid":5926,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":22830400,"fav":0},"image":[{"id":44410,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/92/121/lot/43.jpg","isFeatured":1},{"id":45009,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/92/121/lot/43b.jpg","isFeatured":0}]},"increment":[11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":42,"next":44,"count_bid":0,"bid_history":[],"tokenExpired":1}