miércoles, 15 de noviembre de 2017





Leonardo’s Salvator Mundimakes auction history 

The rediscovered masterpiece by the Renaissance master sells for an historic $450,312,500, obliterating the previous world record for the most expensive work of art at auction

On a historic night at Christie’s in New York, Salvator Mundi, a depiction of Christ as ‘Saviour of the World’ by one of history’s greatest and most renowned artists, sold for $450,312,500 (including buyer’s premium), becoming the most expensive painting ever sold at auction. 
This stunning price reflects the extreme rarity of paintings by Leonardo da Vinci — there are fewer than 20 in existence acknowledged as being from the artist’s own hand, and all apart from Salvator Mundi  are in museum collections.
The global interest in a work that has been hailed as the greatest artistic rediscovery of the last 100 years saw a rapt audience of nearly 1,000 art collectors, dealers, advisors, journalists and onlookers packed into the main auction room at Rockefeller Center, with many thousands more tuning in via a live stream. Since the sale of Salvator Mundi  was announced on 10 October at Christie’s, almost 30,000 people have flocked to Christie’s exhibitions of the ‘Male Mona Lisa’ in Hong Kong, London, San Francisco and New York — the first time the painting had ever been shown to the public in Asia or the Americas.




10 things to know about Hokusai



An essential introduction to one of Japan’s best-known artists — a man who had at least 30 names, and looked forward to old age

KATSUSHIKA HOKUSAI  (1760-1849) 3,000 - 4,000

UTAGAWA KUNIYOSHI (1797-1861)

UTAGAWA YOSHITSUYA (1822-1866)

TSUKIOKA YOSHITOSHI (1839-1892)

KOBAYASHI KIYOCHIKA (1847–1915)

YOSHIDA HIROSHI (1876-1950) 6,000 - 6,500

KAWASE HASUI (1883-1957)

KOBAYAKAWA KIYOSHI (1889-1948)

SUZUKI HARUNOBU (1724-1770)

KITAGAWA UTAMARO (1753?–1806)

TORII KIYONAGA (1752-1815)
KATSUKAWA SHUNCHO (act. c. 1780-1800)

UTAGAWA HIROSHIGE (1797-1858)

KAMEDA BOSAI (1754-1826)

KEISAI EISEN (1790-1848)

UTAGAWA HIROSADA (ACTIVE CIRCA1826-1863)

SHIBATA ZESHIN (1807-1891)


Katsushika Hokusai’s exact date of birth is unknown


No one knows for certain, but Katsushika Hokusai is thought to have been born on 30 October 1760 — the 23rd day of the ninth month of the 10th year of Japan’s Hōreki era. His father is believed to have been Nakajima Ise, the official mirror-maker for the country’s Shogun. Hokusai, however, was never accepted as an heir — a fact that has led some art historians to suggest his mother was a concubine. 


He began painting as a young child


Hokusai started young. As an old man, he recalled: ‘From the time I was 6, I was in the habit of sketching things I saw around me.’ His father is thought to have been a formative influence, having made mirrors and painted the detailed designs that ran around their edges. 


By 14, he had become an apprentice wood carver


In 18th-century Japan, reading books made from woodcut blocks became a popular form of entertainment. At 14, Hokusai became an apprentice to a wood carver — later being accepted into the studio of esteemed painter and printmaker Katsukawa Shunsho. Katsukawa was a master of the ukiyo-e genre, which flourished in Japan from the 17th to the 19th centuries. Translated as ‘pictures of the floating world’, ukiyo-e artists made woodblock prints depicting popular subjects — from kabuki actors to sumo wrestlers, female beauties and famous landscapes. 



He was known by at least 30 different names during his lifetime


While it was not uncommon for Japanese artists to change their names, Hokusai did so more often than any other major artist of his era — roughly once every decade, occasionally adopting informal pseudonyms. Born Tokitaro, he published his first series of prints in 1779 under the name Shunro, given by his first master. In later life, he referred to himself as Gakyo rojin manji, or The Old Man Mad About Art. Often linked to changes in his artistic style, Hokusai’s names have been used to identify different periods of production. His predilection for new titles was trumped only by his love of moving house: although he never left the same region, Hokusai lived in more than 90 dwellings during the course of his life.   



 His most famous series is 36 Views of Mount Fuji, which includes his most iconic work


Hokusai didn’t shy away from large-scale, public works that employed unconventional methods. During a festival in Tokyo in 1804, he created a portrait of the Buddhist priest Daruma measuring 180m in length, using a broom and buckets of ink. For a competition at the court of Shogun Tokugawa Ienari (1773-1841), he went one step further, painting a chicken’s feet red before chasing it across a blue curve painted on paper. The resulting work was presented as a depiction of Japan’s Tatsuta River with floating maple leaves — the extravagant display making Hokusai the winner of the competition. 



His youngest daughter became an artist in her own right



Hokusai’s first wife died in the early 1790s, having been married to the artist for a decade. He married again in 1797, but his second wife also died shortly after. Hokusai nevertheless fathered two sons and three daughters, and his youngest daughter, Katsushika Oi, became a celebrated artist in her own right. She was known for her images of beautiful women. 


Hokusai was rejected by the studio that trained him

When Katsukawa Shunsho died in 1793, Hokusai remained at the school he had established, working under Shunsho’s chief disciple, Shunko. It was during this period that Hokusai began to explore other styles of art, influenced by French and Dutch engravings that were smuggled into the country at a time when contact with Western culture was forbidden. His woodblocks began to incorporate elements of the shading, colouring and perspective he had seen in Western works, revolutionising ukiyo-e art. 
Although his exact motivations remain unclear, Shunko expelled Hokusai from the Katsukawa school shortly after. The rejection would prove to be a turning point in the artist’s career, Hokusai later commenting, ‘What really motivated the development of my artistic style was the embarrassment I suffered at Shunko’s hands.’


He made more than 30,000 works during his lifetime

Hokusai is said to have worked with frenetic energy, rising early to paint and continuing until well after dark. Although his studio and much of his work was destroyed in a fire in 1839, the artist is thought to have produced 30,000 works over the course of his lifetime, his prolific output including paintings, sketches, woodblock prints, erotic illustrations and picture books. 


His lifetime

Hokusai is said to have worked with frenetic energy, rising early to paint and continuing until well after dark. Although his studio and much of his work was destroyed in a fire in 1839, the artist is thought to have produced 30,000 works over the course of his lifetime, his prolific output including paintings, sketches, woodblock prints, erotic illustrations and picture books. 


He wasn’t afraid of growing old


Hokusai spent his life anticipating old age. The artist commented: ‘When I was 50 I had published a universe of designs, but all I have done before the age of 70 is not worth bothering with. At 75, I’ll have learned something of the pattern of nature, of animals, of plants, of trees, birds, fish and insects. When I am 80, you will see real progress. At 90, I shall have cut my way deeply into the mystery of life itself. At 100 I shall be a marvellous artist. At 110, everything I create — a dot, a line — will jump to life as never before.’ Hokusai never got to see whether his prediction held true. On 10 May 1849 he died aged 88, apparently exclaiming on his deathbed, ‘If only Heaven will give me just another ten years... Just another five more years, then I could become a real painter.’



Katsushika Hokusai (1760-1849) 
Kanagawa oki nami ura (In the well of the great wave off Kanagawa), from the series Fugaku sanjurokkei (The thirty-six views of Mount Fuji)
Signed Hokusai aratame Iitsu hitsu, published by Nishimuraya Yohachi [Eijudo], blue outline--good impression and color, centerfold, trimmed, tear left edge












ZⓈONAMACO NOMBRA A TANIA RAGASOL COMO DIRECTORA ARTÍSTICA Y A MARISOL BARBOSA COMO DIRECTORA OPERATIVA



NOVIEMBRE 15, 2017




Tania Ragasol


Marisol Barbosa


ZⓈONAMACO anuncia el nombramiento de Tania Ragasol como Directora Artística, sucediendo a Daniel Garza Usabiaga que desempeñó el cargo de 2015 a 2017. De manera simultánea, Marisol Barbosa, toma el cargo de Directora Operativa, tras fungir como Coordinadora de ZⓈONAMACO.

A partir de febrero de 2018, Ragasol y Barbosa fortalecerán las relaciones con expositores, coleccionistas, curadores, críticos y público en general, junto a Zélika García, Directora General y Fundadora de la plataforma de ferias.

Tania Ragasol es curadora independiente, fue Coordinadora Editorial en el Museo de Arte Carrillo Gil (Ciudad de México, 1998-2000), y Curadora Asociada en el área de arte contemporáneo del Museo Tamayo Arte Contemporáneo (Ciudad de México, 2001-2003). Ha sido Curadora Asociada de inSite_05x(San Diego/Tijuana 2003-2005), Subdirectora Curatorial del Museo de Arte Moderno (Ciudad de México 2007-2008) y Directora de Casa Vecina (Ciudad de México 2011-2014). Durante 2015 fue Gerente de Artes Visuales para el año Dual UKMX2015 en el British Council, y entre 2016 y 2017 fue Directora de Contenidos en Catapulta, empresa social que trabaja para empoderar a potenciales jóvenes agentes de cambio en México.

Los nombramientos de Ragasol y Barbosa permitirán a ZⓈONAMACO reafirmarse como la plataforma líder de ferias de arte en Latinoamérica, así como potencializar su labor en la construcción del ecosistema del arte y diseño a través de sus cuatro eventos anuales: ZⓈONAMACO México Arte Contemporáneo, ZⓈONAMACO Diseño, ZⓈONAMACO FOTO y ZⓈONAMACO Salón del Anticuario.

En su nombramiento como Directora Artística, Ragasol comenta: “Desde el inicio de mi formación profesional he combinado la curaduría, la edición, la producción y la gestión en proyectos multidisciplinarios. Me entusiasma unirme al equipo de trabajo de ZⓈONAMACO pues creo que esta experiencia como Directora Artística me permitirá enriquecer mi práctica, a la vez que aportar mi experiencia y conocimientos a un proyecto ya establecido y en perfecto funcionamiento, pero que sigue creciendo y aportando a la escena cultural de nuestro país.”

Sobre su nueva posición, Barbosa menciona: "Me siento honrada de tomar el cargo como Directora Operativa. He trabajado en ZⓈONAMACO durante los últimos seis años, lo que me ha ayudado a entender las necesidades de nuestros expositores. Estoy muy satisfecha de trabajar de la mano de Tania, pues juntas lograremos el mejor desempeño de todo el equipo rumbo a nuestra edición número quince”.

En palabras de Garza Usabiaga: "Agradezco la oportunidad que ZⓈONAMACO me ofreció durante estos años. Este proyecto ha sido de gran importancia para mi carrera profesional y un referente para mi labor que ahora continúo como curador independiente. Seguiré trabajando con la feria y con su equipo durante este proceso de transición".

Zélika García, Directora General y Fundadora de ZⓈONAMACO, opina: “Me da mucho gusto contar con Tania en el equipo pues en su carrera ha logrado establecer una red de alianzas confiables con instituciones y profesionistas del arte. Su trabajo siempre es llevado a cabo con total compromiso y el mayor respeto al concebir e implementar alianzas efectivas.

Por su parte, Marisol es una figura clave en nuestro equipo de trabajo. Sus habilidades y experiencia han traducido las estrategias de las ferias en hechos accionables y con este nuevo cargo estoy convencida de que afinaremos nuestros esfuerzos aún más.

Agradezco el rol que Daniel Garza Usabiaga desempeñó en ZⓈONAMACO; sin duda su gran experiencia y su extensa red de colaboraciones a través de todos los niveles del panorama cultural, fueron factores de gran importancia para el crecimiento de ZⓈONAMACO”.