Antonio SEGUI (1934-2022)
Alleys - Returns
Pastel... Lot 108
Result :
Not available
Estimate :
Subscribers only
Antonio SEGUI (1934-2022)
Alleys - Returns
Pastel and charcoal on canvas, signed and dated 79
titled and dated on the reverse side of the canvas.
200 x 200 cm
Exhibitions :
- Antonio Seguí. Parques Nocturnos Musée d'art moderne de la ville de Paris, Paris, October 24 - November 25, 1979
- Antonio Seguí: Un Regard Nocturne, Centre Culturel de l'Aérospatiale, Toulouse, January-February 1984
Bibliography :
- Antonio Seguí. Parques Nocturnos Musée d'art moderne de la ville de Paris, Paris, 1979
- Ramón Mérica, Antonio Seguí (Interview), El Día, "Antonio Seguí. Un Latinoamericano en París", Montevideo, Uruguay, October 03, 1982
- Susana Sulic, Arte en Colombia Internacional, "Tiempo de una Mirada Histórica. Antonio Seguí", Bogotá, no. 24, 1984, reproduced on p.28
- Jorge Glusberg, Revista de la Embajada Argentina en Colombia, "Antonio Seguí", Bogotá, vol. 3, no. 8, June 1987, reproduced p.27, 19
- Antonio Seguí: Un Regard Nocturne, Centre Culturel de l'Aérospatiale, Toulouse, 1984, reproduced p. 7
- Catherine Flohic & Jean-Luc Chalumeau, Eighty, " Les peintres en France dans les années 80 ", Paris, n° 28, May-June 1990, reproduced p. 6
This painting is referenced in the Antonio Seguí archives under the reference 1979-009, it is part of the Parks Nocturnes series.
We would like to thank Mrs. Virginie Canal for the valuable information she provided us with.
Related work:
Parc aux aveugles, pastel on canvas, 200 x 200 cm, Musée
of Modern Art, Paris.
Antonio Seguí is an artist of Argentine origin, born in 1934 in
1934 in Cordoba and died in Buenos Aires in 2022 at the
at the age of 88 years.
Born in a bourgeois family, he shows early his artistic vocation and
artistic vocation and went to Europe in 1951 to study at the
training at the Royal Academy of Fine Arts in San Fernando
San Fernando and then at the Academy of Fine Arts in Paris.
Through this training, he discovers the satirical works
of Honoré Daumier, and the expressionism of Guttierez
Solana, but his identifiable graphics is tinged with
the absurd and ironic influence of Georg Grosz.
After a return to South America in 1957, he met
Diego Rivera and José Orozco in Mexico City, and transformed
his painting into an essentially figurative art. It is
then, at the time of its installation in France in 1963, whereas
he represents Argentina at the Biennale de Paris that he meets the
he meets the success by his burlesque figures and the humor
of his compositions. The Argentine military junta of
1976 maintains Seguí in a situation of exile during
10 years, while some of his works mock militarism.
militarism.
During this exile, Seguí realized his work Allées-Retours
in 1979, a date that marks the beginning of his period of
"and night parks characteristic of his 80s.
of his 80s. In this oil on canvas, the following stands out
the recurrent presence of a man wearing a hat,
archetype of the anonymous, lost in the urban jungle
and reduced to his strict social behavior. Leaving the
the spectator to bring its share of sense, its share of dream, to the
questions that the work poses, Seguí disperses his figures
like wandering and mysterious puppets without orders nor
orders nor logical meetings. Author of a monograph
on Seguí's work, Daniel Abadie describes it as
"a continuous flow, in a way of constant stream, carrying in its current
cities and cars, men and women, planes and
and women, planes and clouds, trees and smoke.
trees and smoke". With its evocative name, Allées-Retours offers us
a comic answer to the existential anguish of our place in the
our place in the world.
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