Instagram Story Viewer

RYAN GANDER • Today we wish a very happy birthday to Ryan Gander!

His work is currently on view at Palazzo Contarini Polignac in Venice, in the exhibition “Still Joy — From Ukraine into the World” as an official Collateral Event of the 61st International Art Exhibition — La Biennale di Venezia.

Commissioned and promoted by the Victor Pinchuk Foundation, organized by the PinchukArtCentre, Kyiv, Ukraine, and curated by Björn Geldhof & Oleksandra Pogrebnyak, the exhibition is on view until August 1st, 2026.

Two works are featured in the show:

Ryan Gander, Can You Measure Time Another Way?, 2026. Inflatable sphere made of PVC.
An inflatable black ball, barely fitting into the space of the room, addresses the viewer with the question, “Can you measure time another way?” Working with questions related to children’s perception of the world, Ryan Gander gives form to seemingly naive questions. However, it turns out that they are not easy to answer.
In the context of the “Still Joy” exhibition, this work highlights the relativity of the experience of time: at home and away from it, in danger and in safety, at war and during peacetime.
Can you convey the subjective sense of time? How is it experienced in joy? Gander’s work prompts further reflection.

Ryan Gander, Hope Is a Discipline – An Apology (They Will Only Encourage you to Perform the Script), 2026. Animatronic doll, audio, bin bag, rubbish.
An animatronic stuffed toy lying on a pile of trash represents the artist. He wakes up and begins his story by recounting how proverbs and sayings have accompanied his friend since childhood, helping him navigate different life situations. He then reflects on the anxieties of modern people and shares his reflections on hope as a discipline. Suddenly, the insightful, sincere, and unassuming words spoken by the toy remind us of the questions we all share and the search for answers. Mutual understanding is often closer than it might seem.
—
© Photo. OKNO Studio
#ryangander #pinchukartcentre #stilljoy

RYAN GANDER • Today we wish a very happy birthday to Ryan Gander!

His work is currently on view at Palazzo Contarini Polignac in Venice, in the exhibition “Still Joy — From Ukraine into the World” as an official Collateral Event of the 61st International Art Exhibition — La Biennale di Venezia.

Commissioned and promoted by the Victor Pinchuk Foundation, organized by the PinchukArtCentre, Kyiv, Ukraine, and curated by Björn Geldhof & Oleksandra Pogrebnyak, the exhibition is on view until August 1st, 2026.

Two works are featured in the show:

Ryan Gander, Can You Measure Time Another Way?, 2026. Inflatable sphere made of PVC.
An inflatable black ball, barely fitting into the space of the room, addresses the viewer with the question, “Can you measure time another way?” Working with questions related to children’s perception of the world, Ryan Gander gives form to seemingly naive questions. However, it turns out that they are not easy to answer.
In the context of the “Still Joy” exhibition, this work highlights the relativity of the experience of time: at home and away from it, in danger and in safety, at war and during peacetime.
Can you convey the subjective sense of time? How is it experienced in joy? Gander’s work prompts further reflection.

Ryan Gander, Hope Is a Discipline – An Apology (They Will Only Encourage you to Perform the Script), 2026. Animatronic doll, audio, bin bag, rubbish.
An animatronic stuffed toy lying on a pile of trash represents the artist. He wakes up and begins his story by recounting how proverbs and sayings have accompanied his friend since childhood, helping him navigate different life situations. He then reflects on the anxieties of modern people and shares his reflections on hope as a discipline. Suddenly, the insightful, sincere, and unassuming words spoken by the toy remind us of the questions we all share and the search for answers. Mutual understanding is often closer than it might seem.
—
© Photo. OKNO Studio
#ryangander #pinchukartcentre #stilljoy

RYAN GANDER • Today we wish a very happy birthday to Ryan Gander!

His work is currently on view at Palazzo Contarini Polignac in Venice, in the exhibition “Still Joy — From Ukraine into the World” as an official Collateral Event of the 61st International Art Exhibition — La Biennale di Venezia.

Commissioned and promoted by the Victor Pinchuk Foundation, organized by the PinchukArtCentre, Kyiv, Ukraine, and curated by Björn Geldhof & Oleksandra Pogrebnyak, the exhibition is on view until August 1st, 2026.

Two works are featured in the show:

Ryan Gander, Can You Measure Time Another Way?, 2026. Inflatable sphere made of PVC.
An inflatable black ball, barely fitting into the space of the room, addresses the viewer with the question, “Can you measure time another way?” Working with questions related to children’s perception of the world, Ryan Gander gives form to seemingly naive questions. However, it turns out that they are not easy to answer.
In the context of the “Still Joy” exhibition, this work highlights the relativity of the experience of time: at home and away from it, in danger and in safety, at war and during peacetime.
Can you convey the subjective sense of time? How is it experienced in joy? Gander’s work prompts further reflection.

Ryan Gander, Hope Is a Discipline – An Apology (They Will Only Encourage you to Perform the Script), 2026. Animatronic doll, audio, bin bag, rubbish.
An animatronic stuffed toy lying on a pile of trash represents the artist. He wakes up and begins his story by recounting how proverbs and sayings have accompanied his friend since childhood, helping him navigate different life situations. He then reflects on the anxieties of modern people and shares his reflections on hope as a discipline. Suddenly, the insightful, sincere, and unassuming words spoken by the toy remind us of the questions we all share and the search for answers. Mutual understanding is often closer than it might seem.
—
© Photo. OKNO Studio
#ryangander #pinchukartcentre #stilljoy

RYAN GANDER • Today we wish a very happy birthday to Ryan Gander!

His work is currently on view at Palazzo Contarini Polignac in Venice, in the exhibition “Still Joy — From Ukraine into the World” as an official Collateral Event of the 61st International Art Exhibition — La Biennale di Venezia.

Commissioned and promoted by the Victor Pinchuk Foundation, organized by the PinchukArtCentre, Kyiv, Ukraine, and curated by Björn Geldhof & Oleksandra Pogrebnyak, the exhibition is on view until August 1st, 2026.

Two works are featured in the show:

Ryan Gander, Can You Measure Time Another Way?, 2026. Inflatable sphere made of PVC.
An inflatable black ball, barely fitting into the space of the room, addresses the viewer with the question, “Can you measure time another way?” Working with questions related to children’s perception of the world, Ryan Gander gives form to seemingly naive questions. However, it turns out that they are not easy to answer.
In the context of the “Still Joy” exhibition, this work highlights the relativity of the experience of time: at home and away from it, in danger and in safety, at war and during peacetime.
Can you convey the subjective sense of time? How is it experienced in joy? Gander’s work prompts further reflection.

Ryan Gander, Hope Is a Discipline – An Apology (They Will Only Encourage you to Perform the Script), 2026. Animatronic doll, audio, bin bag, rubbish.
An animatronic stuffed toy lying on a pile of trash represents the artist. He wakes up and begins his story by recounting how proverbs and sayings have accompanied his friend since childhood, helping him navigate different life situations. He then reflects on the anxieties of modern people and shares his reflections on hope as a discipline. Suddenly, the insightful, sincere, and unassuming words spoken by the toy remind us of the questions we all share and the search for answers. Mutual understanding is often closer than it might seem.
—
© Photo. OKNO Studio
#ryangander #pinchukartcentre #stilljoy

🔵 @julienheintz1 | 2026 #JeanFrancoisPratPrize nominee
•
Born in 1997, he lives and works in Paris. His portraits stand out amidst the current profusion in this genre, as they draw attention to nameless soldiers or prisoners whom we do not necessarily register beyond their roles as oppressors or oppressed, but who are, above all people, human beings
•
📸@charliegraystudio for @thegoodlife_mag
•
#PrixJeanFrancoisPrat #FondationBredinPrat #BredinPratFoundation #JulienHeintz @mennour @rose__vidal @chiaraparisi9900

FRANÇOIS MORELLET’s exhibition “Géométrie dans les spasmes”, curated by Christian Alandete, is on view at 6 rue du Pont de Lodi through May 30, 2026.

In François Morellet’s work, geometry is never cold: it vibrates, stretches, and breaks down. Beneath the neutrality of the system, a playful humor makes lines and shapes waver, especially when the canvases mimic positions from the Kama Sutra. With “Géométrie dans les spasmes” the artist introduces eroticism into the rigor of the concrete and creates an inventory of amorous postures using simple forms.After lyrical, geometric, concrete, optical, and kinetic abstraction, Morellet invents X-rated abstraction.

🔳 This exhibition is part of #100xMorellet, an event organized to mark the centenary of François Morellet’s birth, at the initiative of the Fonds de dotation Morellet and the Centre Pompidou.

Participating venues:
@centrepompidoumetz_
@centrepompidou @villedemassy
@chateaudemontsoreau
@chateauversailles
@citedelarchi
@ensa_bourges
@espaceartconcret
@fracdespaysdelaloire
@mennour
Galerie de l’Hôtel de Ville, Chinon
@le_grand_palais
@macval.musee
@museesmarseille
@choletagglo
@museedartsdenantes
@museedegrenoble
@musees_angers
@mbacaen
@mbarennes
@museelouvre
@museeschagalllegerpicasso
@villa_medici

—
Music: Baby It's You / Revel Day / courtesy of www.epidemicsound.com
#francoismorellet #geometriedanslesspasmes

LEE UFAN is featured at our booth (305) at TEFAF New York until May 19, 2026. We are very happy to present a recent painting of the artist, “Response” (2026).

“The brush is created between the body and the canvas. The brush is not the extension of the hand. It begins where the hand ends. Between the brush and the hand, there is, as well as between the canvas and the brush, a distance equal to the one between the stars.”
— Lee Ufan

“The blue and the red, in their whole intensity at the centre of the form, are absorbed by the darkness on one edge and by the light on the opposite edge. The colour disappears, swallowed by a progressive darkening that almost turns into black and, symmetrically, is eaten up by a whiteness increasingly blinding. Whether the shape is vertical or horizontal, the progression from light to darkness inexorably takes place. When it comes closer, the eye perceives the undulatory movements of the touch that accentuate the sensation of life. Neither the colour nor the form is stable, and nor is the space, for its frontal aspect is disturbed by that chromatic phenomenon.”
— Philippe Dagen

—
Photo 2: Tetsuo Kashiwada for @whitewall.art
Photo 5: Lee Ufan, Relatum, 1974/2011, and From Point, 1980. Lee Ufan, installation view, Dia Beacon, New York, 2026–27. Photo. Bill Jacobson Studio, New York
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #leeufan

LEE UFAN is featured at our booth (305) at TEFAF New York until May 19, 2026. We are very happy to present a recent painting of the artist, “Response” (2026).

“The brush is created between the body and the canvas. The brush is not the extension of the hand. It begins where the hand ends. Between the brush and the hand, there is, as well as between the canvas and the brush, a distance equal to the one between the stars.”
— Lee Ufan

“The blue and the red, in their whole intensity at the centre of the form, are absorbed by the darkness on one edge and by the light on the opposite edge. The colour disappears, swallowed by a progressive darkening that almost turns into black and, symmetrically, is eaten up by a whiteness increasingly blinding. Whether the shape is vertical or horizontal, the progression from light to darkness inexorably takes place. When it comes closer, the eye perceives the undulatory movements of the touch that accentuate the sensation of life. Neither the colour nor the form is stable, and nor is the space, for its frontal aspect is disturbed by that chromatic phenomenon.”
— Philippe Dagen

—
Photo 2: Tetsuo Kashiwada for @whitewall.art
Photo 5: Lee Ufan, Relatum, 1974/2011, and From Point, 1980. Lee Ufan, installation view, Dia Beacon, New York, 2026–27. Photo. Bill Jacobson Studio, New York
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #leeufan

LEE UFAN is featured at our booth (305) at TEFAF New York until May 19, 2026. We are very happy to present a recent painting of the artist, “Response” (2026).

“The brush is created between the body and the canvas. The brush is not the extension of the hand. It begins where the hand ends. Between the brush and the hand, there is, as well as between the canvas and the brush, a distance equal to the one between the stars.”
— Lee Ufan

“The blue and the red, in their whole intensity at the centre of the form, are absorbed by the darkness on one edge and by the light on the opposite edge. The colour disappears, swallowed by a progressive darkening that almost turns into black and, symmetrically, is eaten up by a whiteness increasingly blinding. Whether the shape is vertical or horizontal, the progression from light to darkness inexorably takes place. When it comes closer, the eye perceives the undulatory movements of the touch that accentuate the sensation of life. Neither the colour nor the form is stable, and nor is the space, for its frontal aspect is disturbed by that chromatic phenomenon.”
— Philippe Dagen

—
Photo 2: Tetsuo Kashiwada for @whitewall.art
Photo 5: Lee Ufan, Relatum, 1974/2011, and From Point, 1980. Lee Ufan, installation view, Dia Beacon, New York, 2026–27. Photo. Bill Jacobson Studio, New York
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #leeufan

LEE UFAN is featured at our booth (305) at TEFAF New York until May 19, 2026. We are very happy to present a recent painting of the artist, “Response” (2026).

“The brush is created between the body and the canvas. The brush is not the extension of the hand. It begins where the hand ends. Between the brush and the hand, there is, as well as between the canvas and the brush, a distance equal to the one between the stars.”
— Lee Ufan

“The blue and the red, in their whole intensity at the centre of the form, are absorbed by the darkness on one edge and by the light on the opposite edge. The colour disappears, swallowed by a progressive darkening that almost turns into black and, symmetrically, is eaten up by a whiteness increasingly blinding. Whether the shape is vertical or horizontal, the progression from light to darkness inexorably takes place. When it comes closer, the eye perceives the undulatory movements of the touch that accentuate the sensation of life. Neither the colour nor the form is stable, and nor is the space, for its frontal aspect is disturbed by that chromatic phenomenon.”
— Philippe Dagen

—
Photo 2: Tetsuo Kashiwada for @whitewall.art
Photo 5: Lee Ufan, Relatum, 1974/2011, and From Point, 1980. Lee Ufan, installation view, Dia Beacon, New York, 2026–27. Photo. Bill Jacobson Studio, New York
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #leeufan

LEE UFAN is featured at our booth (305) at TEFAF New York until May 19, 2026. We are very happy to present a recent painting of the artist, “Response” (2026).

“The brush is created between the body and the canvas. The brush is not the extension of the hand. It begins where the hand ends. Between the brush and the hand, there is, as well as between the canvas and the brush, a distance equal to the one between the stars.”
— Lee Ufan

“The blue and the red, in their whole intensity at the centre of the form, are absorbed by the darkness on one edge and by the light on the opposite edge. The colour disappears, swallowed by a progressive darkening that almost turns into black and, symmetrically, is eaten up by a whiteness increasingly blinding. Whether the shape is vertical or horizontal, the progression from light to darkness inexorably takes place. When it comes closer, the eye perceives the undulatory movements of the touch that accentuate the sensation of life. Neither the colour nor the form is stable, and nor is the space, for its frontal aspect is disturbed by that chromatic phenomenon.”
— Philippe Dagen

—
Photo 2: Tetsuo Kashiwada for @whitewall.art
Photo 5: Lee Ufan, Relatum, 1974/2011, and From Point, 1980. Lee Ufan, installation view, Dia Beacon, New York, 2026–27. Photo. Bill Jacobson Studio, New York
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #leeufan

LEE UFAN is featured at our booth (305) at TEFAF New York until May 19, 2026. We are very happy to present a recent painting of the artist, “Response” (2026).

“The brush is created between the body and the canvas. The brush is not the extension of the hand. It begins where the hand ends. Between the brush and the hand, there is, as well as between the canvas and the brush, a distance equal to the one between the stars.”
— Lee Ufan

“The blue and the red, in their whole intensity at the centre of the form, are absorbed by the darkness on one edge and by the light on the opposite edge. The colour disappears, swallowed by a progressive darkening that almost turns into black and, symmetrically, is eaten up by a whiteness increasingly blinding. Whether the shape is vertical or horizontal, the progression from light to darkness inexorably takes place. When it comes closer, the eye perceives the undulatory movements of the touch that accentuate the sensation of life. Neither the colour nor the form is stable, and nor is the space, for its frontal aspect is disturbed by that chromatic phenomenon.”
— Philippe Dagen

—
Photo 2: Tetsuo Kashiwada for @whitewall.art
Photo 5: Lee Ufan, Relatum, 1974/2011, and From Point, 1980. Lee Ufan, installation view, Dia Beacon, New York, 2026–27. Photo. Bill Jacobson Studio, New York
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #leeufan

LEE UFAN is featured at our booth (305) at TEFAF New York until May 19, 2026. We are very happy to present a recent painting of the artist, “Response” (2026).

“The brush is created between the body and the canvas. The brush is not the extension of the hand. It begins where the hand ends. Between the brush and the hand, there is, as well as between the canvas and the brush, a distance equal to the one between the stars.”
— Lee Ufan

“The blue and the red, in their whole intensity at the centre of the form, are absorbed by the darkness on one edge and by the light on the opposite edge. The colour disappears, swallowed by a progressive darkening that almost turns into black and, symmetrically, is eaten up by a whiteness increasingly blinding. Whether the shape is vertical or horizontal, the progression from light to darkness inexorably takes place. When it comes closer, the eye perceives the undulatory movements of the touch that accentuate the sensation of life. Neither the colour nor the form is stable, and nor is the space, for its frontal aspect is disturbed by that chromatic phenomenon.”
— Philippe Dagen

—
Photo 2: Tetsuo Kashiwada for @whitewall.art
Photo 5: Lee Ufan, Relatum, 1974/2011, and From Point, 1980. Lee Ufan, installation view, Dia Beacon, New York, 2026–27. Photo. Bill Jacobson Studio, New York
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #leeufan

LEE UFAN is featured at our booth (305) at TEFAF New York until May 19, 2026. We are very happy to present a recent painting of the artist, “Response” (2026).

“The brush is created between the body and the canvas. The brush is not the extension of the hand. It begins where the hand ends. Between the brush and the hand, there is, as well as between the canvas and the brush, a distance equal to the one between the stars.”
— Lee Ufan

“The blue and the red, in their whole intensity at the centre of the form, are absorbed by the darkness on one edge and by the light on the opposite edge. The colour disappears, swallowed by a progressive darkening that almost turns into black and, symmetrically, is eaten up by a whiteness increasingly blinding. Whether the shape is vertical or horizontal, the progression from light to darkness inexorably takes place. When it comes closer, the eye perceives the undulatory movements of the touch that accentuate the sensation of life. Neither the colour nor the form is stable, and nor is the space, for its frontal aspect is disturbed by that chromatic phenomenon.”
— Philippe Dagen

—
Photo 2: Tetsuo Kashiwada for @whitewall.art
Photo 5: Lee Ufan, Relatum, 1974/2011, and From Point, 1980. Lee Ufan, installation view, Dia Beacon, New York, 2026–27. Photo. Bill Jacobson Studio, New York
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #leeufan

JOAN MITCHELL is featured at our booth (305) at TEFAF New York until May 19, 2026.

“Untitled” belongs to the final phase of Mitchell’s life, a period marked by both physical vulnerability and extraordinary artistic intensity, when her command of color, gesture, and scale reached a new level of freedom and urgency.

At this point, Mitchell had been living in Vétheuil, a small French town along the Seine, for more than two decades. Surrounded by gardens, trees, and constantly shifting light, her daily experience of nature profoundly shaped her late work. Rather than depict the landscape directly, Mitchell translated her sensory and emotional responses into abstract form. In Untitled (1991), sweeping strokes of red, green, blue, orange, and purple surge across a largely white ground, capturing not a specific place but the lived sensation of movement, light, and atmosphere. The retained expanses of white lend the painting an airy openness, allowing the colors to hover, collide, and breathe, much like light filtering through changing weather.

In her final years, the boundary between abstraction and representation became increasingly porous. In Untitled, clusters of thick, muscular brushstrokes gather and disperse across the canvas, suggesting fleeting references to foliage, blossoms, or turbulent skies without ever settling into fixed imagery. The green strokes, in particular, seem animated—darting upward and outward, guiding the viewer’s eye across the surface with a rhythmic vitality.

The painting also reflects Mitchell’s deep engagement with the history of French modernism. Her vibrant color contrasts and energetic brushwork echoes Van Gogh’s emotional turbulence, Matisse’s chromatic daring, and Cézanne’s structural sensitivity to nature, yet these influences are fully absorbed into her own gestural language rooted in Abstract Expressionism.

—
Joan Mitchell, Untitled, 1991. Oil on canvas. 41,3 x 33,3 cm. Framed: 57,6 x 49,5 x 4,8 cm
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #joanmitchell

JOAN MITCHELL is featured at our booth (305) at TEFAF New York until May 19, 2026.

“Untitled” belongs to the final phase of Mitchell’s life, a period marked by both physical vulnerability and extraordinary artistic intensity, when her command of color, gesture, and scale reached a new level of freedom and urgency.

At this point, Mitchell had been living in Vétheuil, a small French town along the Seine, for more than two decades. Surrounded by gardens, trees, and constantly shifting light, her daily experience of nature profoundly shaped her late work. Rather than depict the landscape directly, Mitchell translated her sensory and emotional responses into abstract form. In Untitled (1991), sweeping strokes of red, green, blue, orange, and purple surge across a largely white ground, capturing not a specific place but the lived sensation of movement, light, and atmosphere. The retained expanses of white lend the painting an airy openness, allowing the colors to hover, collide, and breathe, much like light filtering through changing weather.

In her final years, the boundary between abstraction and representation became increasingly porous. In Untitled, clusters of thick, muscular brushstrokes gather and disperse across the canvas, suggesting fleeting references to foliage, blossoms, or turbulent skies without ever settling into fixed imagery. The green strokes, in particular, seem animated—darting upward and outward, guiding the viewer’s eye across the surface with a rhythmic vitality.

The painting also reflects Mitchell’s deep engagement with the history of French modernism. Her vibrant color contrasts and energetic brushwork echoes Van Gogh’s emotional turbulence, Matisse’s chromatic daring, and Cézanne’s structural sensitivity to nature, yet these influences are fully absorbed into her own gestural language rooted in Abstract Expressionism.

—
Joan Mitchell, Untitled, 1991. Oil on canvas. 41,3 x 33,3 cm. Framed: 57,6 x 49,5 x 4,8 cm
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #joanmitchell

JOAN MITCHELL is featured at our booth (305) at TEFAF New York until May 19, 2026.

“Untitled” belongs to the final phase of Mitchell’s life, a period marked by both physical vulnerability and extraordinary artistic intensity, when her command of color, gesture, and scale reached a new level of freedom and urgency.

At this point, Mitchell had been living in Vétheuil, a small French town along the Seine, for more than two decades. Surrounded by gardens, trees, and constantly shifting light, her daily experience of nature profoundly shaped her late work. Rather than depict the landscape directly, Mitchell translated her sensory and emotional responses into abstract form. In Untitled (1991), sweeping strokes of red, green, blue, orange, and purple surge across a largely white ground, capturing not a specific place but the lived sensation of movement, light, and atmosphere. The retained expanses of white lend the painting an airy openness, allowing the colors to hover, collide, and breathe, much like light filtering through changing weather.

In her final years, the boundary between abstraction and representation became increasingly porous. In Untitled, clusters of thick, muscular brushstrokes gather and disperse across the canvas, suggesting fleeting references to foliage, blossoms, or turbulent skies without ever settling into fixed imagery. The green strokes, in particular, seem animated—darting upward and outward, guiding the viewer’s eye across the surface with a rhythmic vitality.

The painting also reflects Mitchell’s deep engagement with the history of French modernism. Her vibrant color contrasts and energetic brushwork echoes Van Gogh’s emotional turbulence, Matisse’s chromatic daring, and Cézanne’s structural sensitivity to nature, yet these influences are fully absorbed into her own gestural language rooted in Abstract Expressionism.

—
Joan Mitchell, Untitled, 1991. Oil on canvas. 41,3 x 33,3 cm. Framed: 57,6 x 49,5 x 4,8 cm
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #joanmitchell

JOAN MITCHELL is featured at our booth (305) at TEFAF New York until May 19, 2026.

“Untitled” belongs to the final phase of Mitchell’s life, a period marked by both physical vulnerability and extraordinary artistic intensity, when her command of color, gesture, and scale reached a new level of freedom and urgency.

At this point, Mitchell had been living in Vétheuil, a small French town along the Seine, for more than two decades. Surrounded by gardens, trees, and constantly shifting light, her daily experience of nature profoundly shaped her late work. Rather than depict the landscape directly, Mitchell translated her sensory and emotional responses into abstract form. In Untitled (1991), sweeping strokes of red, green, blue, orange, and purple surge across a largely white ground, capturing not a specific place but the lived sensation of movement, light, and atmosphere. The retained expanses of white lend the painting an airy openness, allowing the colors to hover, collide, and breathe, much like light filtering through changing weather.

In her final years, the boundary between abstraction and representation became increasingly porous. In Untitled, clusters of thick, muscular brushstrokes gather and disperse across the canvas, suggesting fleeting references to foliage, blossoms, or turbulent skies without ever settling into fixed imagery. The green strokes, in particular, seem animated—darting upward and outward, guiding the viewer’s eye across the surface with a rhythmic vitality.

The painting also reflects Mitchell’s deep engagement with the history of French modernism. Her vibrant color contrasts and energetic brushwork echoes Van Gogh’s emotional turbulence, Matisse’s chromatic daring, and Cézanne’s structural sensitivity to nature, yet these influences are fully absorbed into her own gestural language rooted in Abstract Expressionism.

—
Joan Mitchell, Untitled, 1991. Oil on canvas. 41,3 x 33,3 cm. Framed: 57,6 x 49,5 x 4,8 cm
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #joanmitchell

JOAN MITCHELL is featured at our booth (305) at TEFAF New York until May 19, 2026.

“Untitled” belongs to the final phase of Mitchell’s life, a period marked by both physical vulnerability and extraordinary artistic intensity, when her command of color, gesture, and scale reached a new level of freedom and urgency.

At this point, Mitchell had been living in Vétheuil, a small French town along the Seine, for more than two decades. Surrounded by gardens, trees, and constantly shifting light, her daily experience of nature profoundly shaped her late work. Rather than depict the landscape directly, Mitchell translated her sensory and emotional responses into abstract form. In Untitled (1991), sweeping strokes of red, green, blue, orange, and purple surge across a largely white ground, capturing not a specific place but the lived sensation of movement, light, and atmosphere. The retained expanses of white lend the painting an airy openness, allowing the colors to hover, collide, and breathe, much like light filtering through changing weather.

In her final years, the boundary between abstraction and representation became increasingly porous. In Untitled, clusters of thick, muscular brushstrokes gather and disperse across the canvas, suggesting fleeting references to foliage, blossoms, or turbulent skies without ever settling into fixed imagery. The green strokes, in particular, seem animated—darting upward and outward, guiding the viewer’s eye across the surface with a rhythmic vitality.

The painting also reflects Mitchell’s deep engagement with the history of French modernism. Her vibrant color contrasts and energetic brushwork echoes Van Gogh’s emotional turbulence, Matisse’s chromatic daring, and Cézanne’s structural sensitivity to nature, yet these influences are fully absorbed into her own gestural language rooted in Abstract Expressionism.

—
Joan Mitchell, Untitled, 1991. Oil on canvas. 41,3 x 33,3 cm. Framed: 57,6 x 49,5 x 4,8 cm
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #joanmitchell

JOAN MITCHELL is featured at our booth (305) at TEFAF New York until May 19, 2026.

“Untitled” belongs to the final phase of Mitchell’s life, a period marked by both physical vulnerability and extraordinary artistic intensity, when her command of color, gesture, and scale reached a new level of freedom and urgency.

At this point, Mitchell had been living in Vétheuil, a small French town along the Seine, for more than two decades. Surrounded by gardens, trees, and constantly shifting light, her daily experience of nature profoundly shaped her late work. Rather than depict the landscape directly, Mitchell translated her sensory and emotional responses into abstract form. In Untitled (1991), sweeping strokes of red, green, blue, orange, and purple surge across a largely white ground, capturing not a specific place but the lived sensation of movement, light, and atmosphere. The retained expanses of white lend the painting an airy openness, allowing the colors to hover, collide, and breathe, much like light filtering through changing weather.

In her final years, the boundary between abstraction and representation became increasingly porous. In Untitled, clusters of thick, muscular brushstrokes gather and disperse across the canvas, suggesting fleeting references to foliage, blossoms, or turbulent skies without ever settling into fixed imagery. The green strokes, in particular, seem animated—darting upward and outward, guiding the viewer’s eye across the surface with a rhythmic vitality.

The painting also reflects Mitchell’s deep engagement with the history of French modernism. Her vibrant color contrasts and energetic brushwork echoes Van Gogh’s emotional turbulence, Matisse’s chromatic daring, and Cézanne’s structural sensitivity to nature, yet these influences are fully absorbed into her own gestural language rooted in Abstract Expressionism.

—
Joan Mitchell, Untitled, 1991. Oil on canvas. 41,3 x 33,3 cm. Framed: 57,6 x 49,5 x 4,8 cm
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #joanmitchell

JOAN MITCHELL is featured at our booth (305) at TEFAF New York until May 19, 2026.

“Untitled” belongs to the final phase of Mitchell’s life, a period marked by both physical vulnerability and extraordinary artistic intensity, when her command of color, gesture, and scale reached a new level of freedom and urgency.

At this point, Mitchell had been living in Vétheuil, a small French town along the Seine, for more than two decades. Surrounded by gardens, trees, and constantly shifting light, her daily experience of nature profoundly shaped her late work. Rather than depict the landscape directly, Mitchell translated her sensory and emotional responses into abstract form. In Untitled (1991), sweeping strokes of red, green, blue, orange, and purple surge across a largely white ground, capturing not a specific place but the lived sensation of movement, light, and atmosphere. The retained expanses of white lend the painting an airy openness, allowing the colors to hover, collide, and breathe, much like light filtering through changing weather.

In her final years, the boundary between abstraction and representation became increasingly porous. In Untitled, clusters of thick, muscular brushstrokes gather and disperse across the canvas, suggesting fleeting references to foliage, blossoms, or turbulent skies without ever settling into fixed imagery. The green strokes, in particular, seem animated—darting upward and outward, guiding the viewer’s eye across the surface with a rhythmic vitality.

The painting also reflects Mitchell’s deep engagement with the history of French modernism. Her vibrant color contrasts and energetic brushwork echoes Van Gogh’s emotional turbulence, Matisse’s chromatic daring, and Cézanne’s structural sensitivity to nature, yet these influences are fully absorbed into her own gestural language rooted in Abstract Expressionism.

—
Joan Mitchell, Untitled, 1991. Oil on canvas. 41,3 x 33,3 cm. Framed: 57,6 x 49,5 x 4,8 cm
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #joanmitchell

JOAN MITCHELL is featured at our booth (305) at TEFAF New York until May 19, 2026.

“Untitled” belongs to the final phase of Mitchell’s life, a period marked by both physical vulnerability and extraordinary artistic intensity, when her command of color, gesture, and scale reached a new level of freedom and urgency.

At this point, Mitchell had been living in Vétheuil, a small French town along the Seine, for more than two decades. Surrounded by gardens, trees, and constantly shifting light, her daily experience of nature profoundly shaped her late work. Rather than depict the landscape directly, Mitchell translated her sensory and emotional responses into abstract form. In Untitled (1991), sweeping strokes of red, green, blue, orange, and purple surge across a largely white ground, capturing not a specific place but the lived sensation of movement, light, and atmosphere. The retained expanses of white lend the painting an airy openness, allowing the colors to hover, collide, and breathe, much like light filtering through changing weather.

In her final years, the boundary between abstraction and representation became increasingly porous. In Untitled, clusters of thick, muscular brushstrokes gather and disperse across the canvas, suggesting fleeting references to foliage, blossoms, or turbulent skies without ever settling into fixed imagery. The green strokes, in particular, seem animated—darting upward and outward, guiding the viewer’s eye across the surface with a rhythmic vitality.

The painting also reflects Mitchell’s deep engagement with the history of French modernism. Her vibrant color contrasts and energetic brushwork echoes Van Gogh’s emotional turbulence, Matisse’s chromatic daring, and Cézanne’s structural sensitivity to nature, yet these influences are fully absorbed into her own gestural language rooted in Abstract Expressionism.

—
Joan Mitchell, Untitled, 1991. Oil on canvas. 41,3 x 33,3 cm. Framed: 57,6 x 49,5 x 4,8 cm
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #joanmitchell

JOAN MITCHELL is featured at our booth (305) at TEFAF New York until May 19, 2026.

“Untitled” belongs to the final phase of Mitchell’s life, a period marked by both physical vulnerability and extraordinary artistic intensity, when her command of color, gesture, and scale reached a new level of freedom and urgency.

At this point, Mitchell had been living in Vétheuil, a small French town along the Seine, for more than two decades. Surrounded by gardens, trees, and constantly shifting light, her daily experience of nature profoundly shaped her late work. Rather than depict the landscape directly, Mitchell translated her sensory and emotional responses into abstract form. In Untitled (1991), sweeping strokes of red, green, blue, orange, and purple surge across a largely white ground, capturing not a specific place but the lived sensation of movement, light, and atmosphere. The retained expanses of white lend the painting an airy openness, allowing the colors to hover, collide, and breathe, much like light filtering through changing weather.

In her final years, the boundary between abstraction and representation became increasingly porous. In Untitled, clusters of thick, muscular brushstrokes gather and disperse across the canvas, suggesting fleeting references to foliage, blossoms, or turbulent skies without ever settling into fixed imagery. The green strokes, in particular, seem animated—darting upward and outward, guiding the viewer’s eye across the surface with a rhythmic vitality.

The painting also reflects Mitchell’s deep engagement with the history of French modernism. Her vibrant color contrasts and energetic brushwork echoes Van Gogh’s emotional turbulence, Matisse’s chromatic daring, and Cézanne’s structural sensitivity to nature, yet these influences are fully absorbed into her own gestural language rooted in Abstract Expressionism.

—
Joan Mitchell, Untitled, 1991. Oil on canvas. 41,3 x 33,3 cm. Framed: 57,6 x 49,5 x 4,8 cm
Views of the booth by @sebastianopelliondipersano
#tefafny2026 #joanmitchell

ALBERTO GIACOMETTI is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Portrait de Diego” (1947).

Obsessed with drawing, Giacometti never ceased, throughout his life, to engage hand and gaze in his attempt at capturing the elusive reality of beings and things. From his training years to the mature works, drawing occupied a central and daily place: whether he worked with a model, copied the old masters or drew from memory, he constantly went back to that fundamental practice.

Each stroke, each hatching, each rework, expresses the gap between what the eye perceives and what the hand tries to capture. The paper becomes a field of forces in which the lines pursue one another, are superimposed, disappear. Drawing is no longer the representation of a subject but the trace of a gaze at work. The figure, often re-centred on the sheet, seems to fight against the immensity of the emptiness. The line trembles, reappears, encircles without ever enclosing; the subject is not defined by the contours but by a network of concentric lines that make the space vibrate around it.

On the sheets dating from the 1950s and 1960s, the figure seems to have been sculpted on paper: the features are hollowed, the lead becomes matter, the eraser is used as a tool for modelling. In those drawings, we experience the tension of the penknife on the plaster, the vibration of the finger that presses on the clay. The surface of the paper becomes a mental relief, a space where the eye constantly moves forwards and backwards.

If there exists, in Giacometti’s work, an absolute continuity between drawing, painting and sculpture, it is because he approaches each medium as a variation on the same perceptive experience. Drawing is not a parallel or preparatory exercise: it is the beating heart of the work.
— @christianalandete

—
Alberto Giacometti, Portrait de Diego, 1947. Gouache on paper. 40 x 26 cm. Framed: 78,5 x 64,5 cm
Photo 3: Sabine Weiss, Alberto Giacometti dessinant dans l’atelier, 1954
Photo 8: David Heald / courtesy @guggenheim
Views of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

ALBERTO GIACOMETTI is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Portrait de Diego” (1947).

Obsessed with drawing, Giacometti never ceased, throughout his life, to engage hand and gaze in his attempt at capturing the elusive reality of beings and things. From his training years to the mature works, drawing occupied a central and daily place: whether he worked with a model, copied the old masters or drew from memory, he constantly went back to that fundamental practice.

Each stroke, each hatching, each rework, expresses the gap between what the eye perceives and what the hand tries to capture. The paper becomes a field of forces in which the lines pursue one another, are superimposed, disappear. Drawing is no longer the representation of a subject but the trace of a gaze at work. The figure, often re-centred on the sheet, seems to fight against the immensity of the emptiness. The line trembles, reappears, encircles without ever enclosing; the subject is not defined by the contours but by a network of concentric lines that make the space vibrate around it.

On the sheets dating from the 1950s and 1960s, the figure seems to have been sculpted on paper: the features are hollowed, the lead becomes matter, the eraser is used as a tool for modelling. In those drawings, we experience the tension of the penknife on the plaster, the vibration of the finger that presses on the clay. The surface of the paper becomes a mental relief, a space where the eye constantly moves forwards and backwards.

If there exists, in Giacometti’s work, an absolute continuity between drawing, painting and sculpture, it is because he approaches each medium as a variation on the same perceptive experience. Drawing is not a parallel or preparatory exercise: it is the beating heart of the work.
— @christianalandete

—
Alberto Giacometti, Portrait de Diego, 1947. Gouache on paper. 40 x 26 cm. Framed: 78,5 x 64,5 cm
Photo 3: Sabine Weiss, Alberto Giacometti dessinant dans l’atelier, 1954
Photo 8: David Heald / courtesy @guggenheim
Views of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

ALBERTO GIACOMETTI is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Portrait de Diego” (1947).

Obsessed with drawing, Giacometti never ceased, throughout his life, to engage hand and gaze in his attempt at capturing the elusive reality of beings and things. From his training years to the mature works, drawing occupied a central and daily place: whether he worked with a model, copied the old masters or drew from memory, he constantly went back to that fundamental practice.

Each stroke, each hatching, each rework, expresses the gap between what the eye perceives and what the hand tries to capture. The paper becomes a field of forces in which the lines pursue one another, are superimposed, disappear. Drawing is no longer the representation of a subject but the trace of a gaze at work. The figure, often re-centred on the sheet, seems to fight against the immensity of the emptiness. The line trembles, reappears, encircles without ever enclosing; the subject is not defined by the contours but by a network of concentric lines that make the space vibrate around it.

On the sheets dating from the 1950s and 1960s, the figure seems to have been sculpted on paper: the features are hollowed, the lead becomes matter, the eraser is used as a tool for modelling. In those drawings, we experience the tension of the penknife on the plaster, the vibration of the finger that presses on the clay. The surface of the paper becomes a mental relief, a space where the eye constantly moves forwards and backwards.

If there exists, in Giacometti’s work, an absolute continuity between drawing, painting and sculpture, it is because he approaches each medium as a variation on the same perceptive experience. Drawing is not a parallel or preparatory exercise: it is the beating heart of the work.
— @christianalandete

—
Alberto Giacometti, Portrait de Diego, 1947. Gouache on paper. 40 x 26 cm. Framed: 78,5 x 64,5 cm
Photo 3: Sabine Weiss, Alberto Giacometti dessinant dans l’atelier, 1954
Photo 8: David Heald / courtesy @guggenheim
Views of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

ALBERTO GIACOMETTI is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Portrait de Diego” (1947).

Obsessed with drawing, Giacometti never ceased, throughout his life, to engage hand and gaze in his attempt at capturing the elusive reality of beings and things. From his training years to the mature works, drawing occupied a central and daily place: whether he worked with a model, copied the old masters or drew from memory, he constantly went back to that fundamental practice.

Each stroke, each hatching, each rework, expresses the gap between what the eye perceives and what the hand tries to capture. The paper becomes a field of forces in which the lines pursue one another, are superimposed, disappear. Drawing is no longer the representation of a subject but the trace of a gaze at work. The figure, often re-centred on the sheet, seems to fight against the immensity of the emptiness. The line trembles, reappears, encircles without ever enclosing; the subject is not defined by the contours but by a network of concentric lines that make the space vibrate around it.

On the sheets dating from the 1950s and 1960s, the figure seems to have been sculpted on paper: the features are hollowed, the lead becomes matter, the eraser is used as a tool for modelling. In those drawings, we experience the tension of the penknife on the plaster, the vibration of the finger that presses on the clay. The surface of the paper becomes a mental relief, a space where the eye constantly moves forwards and backwards.

If there exists, in Giacometti’s work, an absolute continuity between drawing, painting and sculpture, it is because he approaches each medium as a variation on the same perceptive experience. Drawing is not a parallel or preparatory exercise: it is the beating heart of the work.
— @christianalandete

—
Alberto Giacometti, Portrait de Diego, 1947. Gouache on paper. 40 x 26 cm. Framed: 78,5 x 64,5 cm
Photo 3: Sabine Weiss, Alberto Giacometti dessinant dans l’atelier, 1954
Photo 8: David Heald / courtesy @guggenheim
Views of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

ALBERTO GIACOMETTI is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Portrait de Diego” (1947).

Obsessed with drawing, Giacometti never ceased, throughout his life, to engage hand and gaze in his attempt at capturing the elusive reality of beings and things. From his training years to the mature works, drawing occupied a central and daily place: whether he worked with a model, copied the old masters or drew from memory, he constantly went back to that fundamental practice.

Each stroke, each hatching, each rework, expresses the gap between what the eye perceives and what the hand tries to capture. The paper becomes a field of forces in which the lines pursue one another, are superimposed, disappear. Drawing is no longer the representation of a subject but the trace of a gaze at work. The figure, often re-centred on the sheet, seems to fight against the immensity of the emptiness. The line trembles, reappears, encircles without ever enclosing; the subject is not defined by the contours but by a network of concentric lines that make the space vibrate around it.

On the sheets dating from the 1950s and 1960s, the figure seems to have been sculpted on paper: the features are hollowed, the lead becomes matter, the eraser is used as a tool for modelling. In those drawings, we experience the tension of the penknife on the plaster, the vibration of the finger that presses on the clay. The surface of the paper becomes a mental relief, a space where the eye constantly moves forwards and backwards.

If there exists, in Giacometti’s work, an absolute continuity between drawing, painting and sculpture, it is because he approaches each medium as a variation on the same perceptive experience. Drawing is not a parallel or preparatory exercise: it is the beating heart of the work.
— @christianalandete

—
Alberto Giacometti, Portrait de Diego, 1947. Gouache on paper. 40 x 26 cm. Framed: 78,5 x 64,5 cm
Photo 3: Sabine Weiss, Alberto Giacometti dessinant dans l’atelier, 1954
Photo 8: David Heald / courtesy @guggenheim
Views of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

ALBERTO GIACOMETTI is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Portrait de Diego” (1947).

Obsessed with drawing, Giacometti never ceased, throughout his life, to engage hand and gaze in his attempt at capturing the elusive reality of beings and things. From his training years to the mature works, drawing occupied a central and daily place: whether he worked with a model, copied the old masters or drew from memory, he constantly went back to that fundamental practice.

Each stroke, each hatching, each rework, expresses the gap between what the eye perceives and what the hand tries to capture. The paper becomes a field of forces in which the lines pursue one another, are superimposed, disappear. Drawing is no longer the representation of a subject but the trace of a gaze at work. The figure, often re-centred on the sheet, seems to fight against the immensity of the emptiness. The line trembles, reappears, encircles without ever enclosing; the subject is not defined by the contours but by a network of concentric lines that make the space vibrate around it.

On the sheets dating from the 1950s and 1960s, the figure seems to have been sculpted on paper: the features are hollowed, the lead becomes matter, the eraser is used as a tool for modelling. In those drawings, we experience the tension of the penknife on the plaster, the vibration of the finger that presses on the clay. The surface of the paper becomes a mental relief, a space where the eye constantly moves forwards and backwards.

If there exists, in Giacometti’s work, an absolute continuity between drawing, painting and sculpture, it is because he approaches each medium as a variation on the same perceptive experience. Drawing is not a parallel or preparatory exercise: it is the beating heart of the work.
— @christianalandete

—
Alberto Giacometti, Portrait de Diego, 1947. Gouache on paper. 40 x 26 cm. Framed: 78,5 x 64,5 cm
Photo 3: Sabine Weiss, Alberto Giacometti dessinant dans l’atelier, 1954
Photo 8: David Heald / courtesy @guggenheim
Views of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

ALBERTO GIACOMETTI is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Portrait de Diego” (1947).

Obsessed with drawing, Giacometti never ceased, throughout his life, to engage hand and gaze in his attempt at capturing the elusive reality of beings and things. From his training years to the mature works, drawing occupied a central and daily place: whether he worked with a model, copied the old masters or drew from memory, he constantly went back to that fundamental practice.

Each stroke, each hatching, each rework, expresses the gap between what the eye perceives and what the hand tries to capture. The paper becomes a field of forces in which the lines pursue one another, are superimposed, disappear. Drawing is no longer the representation of a subject but the trace of a gaze at work. The figure, often re-centred on the sheet, seems to fight against the immensity of the emptiness. The line trembles, reappears, encircles without ever enclosing; the subject is not defined by the contours but by a network of concentric lines that make the space vibrate around it.

On the sheets dating from the 1950s and 1960s, the figure seems to have been sculpted on paper: the features are hollowed, the lead becomes matter, the eraser is used as a tool for modelling. In those drawings, we experience the tension of the penknife on the plaster, the vibration of the finger that presses on the clay. The surface of the paper becomes a mental relief, a space where the eye constantly moves forwards and backwards.

If there exists, in Giacometti’s work, an absolute continuity between drawing, painting and sculpture, it is because he approaches each medium as a variation on the same perceptive experience. Drawing is not a parallel or preparatory exercise: it is the beating heart of the work.
— @christianalandete

—
Alberto Giacometti, Portrait de Diego, 1947. Gouache on paper. 40 x 26 cm. Framed: 78,5 x 64,5 cm
Photo 3: Sabine Weiss, Alberto Giacometti dessinant dans l’atelier, 1954
Photo 8: David Heald / courtesy @guggenheim
Views of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

ALBERTO GIACOMETTI is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Portrait de Diego” (1947).

Obsessed with drawing, Giacometti never ceased, throughout his life, to engage hand and gaze in his attempt at capturing the elusive reality of beings and things. From his training years to the mature works, drawing occupied a central and daily place: whether he worked with a model, copied the old masters or drew from memory, he constantly went back to that fundamental practice.

Each stroke, each hatching, each rework, expresses the gap between what the eye perceives and what the hand tries to capture. The paper becomes a field of forces in which the lines pursue one another, are superimposed, disappear. Drawing is no longer the representation of a subject but the trace of a gaze at work. The figure, often re-centred on the sheet, seems to fight against the immensity of the emptiness. The line trembles, reappears, encircles without ever enclosing; the subject is not defined by the contours but by a network of concentric lines that make the space vibrate around it.

On the sheets dating from the 1950s and 1960s, the figure seems to have been sculpted on paper: the features are hollowed, the lead becomes matter, the eraser is used as a tool for modelling. In those drawings, we experience the tension of the penknife on the plaster, the vibration of the finger that presses on the clay. The surface of the paper becomes a mental relief, a space where the eye constantly moves forwards and backwards.

If there exists, in Giacometti’s work, an absolute continuity between drawing, painting and sculpture, it is because he approaches each medium as a variation on the same perceptive experience. Drawing is not a parallel or preparatory exercise: it is the beating heart of the work.
— @christianalandete

—
Alberto Giacometti, Portrait de Diego, 1947. Gouache on paper. 40 x 26 cm. Framed: 78,5 x 64,5 cm
Photo 3: Sabine Weiss, Alberto Giacometti dessinant dans l’atelier, 1954
Photo 8: David Heald / courtesy @guggenheim
Views of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

ALBERTO GIACOMETTI is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Portrait de Diego” (1947).

Obsessed with drawing, Giacometti never ceased, throughout his life, to engage hand and gaze in his attempt at capturing the elusive reality of beings and things. From his training years to the mature works, drawing occupied a central and daily place: whether he worked with a model, copied the old masters or drew from memory, he constantly went back to that fundamental practice.

Each stroke, each hatching, each rework, expresses the gap between what the eye perceives and what the hand tries to capture. The paper becomes a field of forces in which the lines pursue one another, are superimposed, disappear. Drawing is no longer the representation of a subject but the trace of a gaze at work. The figure, often re-centred on the sheet, seems to fight against the immensity of the emptiness. The line trembles, reappears, encircles without ever enclosing; the subject is not defined by the contours but by a network of concentric lines that make the space vibrate around it.

On the sheets dating from the 1950s and 1960s, the figure seems to have been sculpted on paper: the features are hollowed, the lead becomes matter, the eraser is used as a tool for modelling. In those drawings, we experience the tension of the penknife on the plaster, the vibration of the finger that presses on the clay. The surface of the paper becomes a mental relief, a space where the eye constantly moves forwards and backwards.

If there exists, in Giacometti’s work, an absolute continuity between drawing, painting and sculpture, it is because he approaches each medium as a variation on the same perceptive experience. Drawing is not a parallel or preparatory exercise: it is the beating heart of the work.
— @christianalandete

—
Alberto Giacometti, Portrait de Diego, 1947. Gouache on paper. 40 x 26 cm. Framed: 78,5 x 64,5 cm
Photo 3: Sabine Weiss, Alberto Giacometti dessinant dans l’atelier, 1954
Photo 8: David Heald / courtesy @guggenheim
Views of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

ALBERTO GIACOMETTI is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Portrait de Diego” (1947).

Obsessed with drawing, Giacometti never ceased, throughout his life, to engage hand and gaze in his attempt at capturing the elusive reality of beings and things. From his training years to the mature works, drawing occupied a central and daily place: whether he worked with a model, copied the old masters or drew from memory, he constantly went back to that fundamental practice.

Each stroke, each hatching, each rework, expresses the gap between what the eye perceives and what the hand tries to capture. The paper becomes a field of forces in which the lines pursue one another, are superimposed, disappear. Drawing is no longer the representation of a subject but the trace of a gaze at work. The figure, often re-centred on the sheet, seems to fight against the immensity of the emptiness. The line trembles, reappears, encircles without ever enclosing; the subject is not defined by the contours but by a network of concentric lines that make the space vibrate around it.

On the sheets dating from the 1950s and 1960s, the figure seems to have been sculpted on paper: the features are hollowed, the lead becomes matter, the eraser is used as a tool for modelling. In those drawings, we experience the tension of the penknife on the plaster, the vibration of the finger that presses on the clay. The surface of the paper becomes a mental relief, a space where the eye constantly moves forwards and backwards.

If there exists, in Giacometti’s work, an absolute continuity between drawing, painting and sculpture, it is because he approaches each medium as a variation on the same perceptive experience. Drawing is not a parallel or preparatory exercise: it is the beating heart of the work.
— @christianalandete

—
Alberto Giacometti, Portrait de Diego, 1947. Gouache on paper. 40 x 26 cm. Framed: 78,5 x 64,5 cm
Photo 3: Sabine Weiss, Alberto Giacometti dessinant dans l’atelier, 1954
Photo 8: David Heald / courtesy @guggenheim
Views of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

ALBERTO GIACOMETTI is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Portrait de Diego” (1947).

Obsessed with drawing, Giacometti never ceased, throughout his life, to engage hand and gaze in his attempt at capturing the elusive reality of beings and things. From his training years to the mature works, drawing occupied a central and daily place: whether he worked with a model, copied the old masters or drew from memory, he constantly went back to that fundamental practice.

Each stroke, each hatching, each rework, expresses the gap between what the eye perceives and what the hand tries to capture. The paper becomes a field of forces in which the lines pursue one another, are superimposed, disappear. Drawing is no longer the representation of a subject but the trace of a gaze at work. The figure, often re-centred on the sheet, seems to fight against the immensity of the emptiness. The line trembles, reappears, encircles without ever enclosing; the subject is not defined by the contours but by a network of concentric lines that make the space vibrate around it.

On the sheets dating from the 1950s and 1960s, the figure seems to have been sculpted on paper: the features are hollowed, the lead becomes matter, the eraser is used as a tool for modelling. In those drawings, we experience the tension of the penknife on the plaster, the vibration of the finger that presses on the clay. The surface of the paper becomes a mental relief, a space where the eye constantly moves forwards and backwards.

If there exists, in Giacometti’s work, an absolute continuity between drawing, painting and sculpture, it is because he approaches each medium as a variation on the same perceptive experience. Drawing is not a parallel or preparatory exercise: it is the beating heart of the work.
— @christianalandete

—
Alberto Giacometti, Portrait de Diego, 1947. Gouache on paper. 40 x 26 cm. Framed: 78,5 x 64,5 cm
Photo 3: Sabine Weiss, Alberto Giacometti dessinant dans l’atelier, 1954
Photo 8: David Heald / courtesy @guggenheim
Views of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

ALBERTO GIACOMETTI is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Portrait de Diego” (1947).

Obsessed with drawing, Giacometti never ceased, throughout his life, to engage hand and gaze in his attempt at capturing the elusive reality of beings and things. From his training years to the mature works, drawing occupied a central and daily place: whether he worked with a model, copied the old masters or drew from memory, he constantly went back to that fundamental practice.

Each stroke, each hatching, each rework, expresses the gap between what the eye perceives and what the hand tries to capture. The paper becomes a field of forces in which the lines pursue one another, are superimposed, disappear. Drawing is no longer the representation of a subject but the trace of a gaze at work. The figure, often re-centred on the sheet, seems to fight against the immensity of the emptiness. The line trembles, reappears, encircles without ever enclosing; the subject is not defined by the contours but by a network of concentric lines that make the space vibrate around it.

On the sheets dating from the 1950s and 1960s, the figure seems to have been sculpted on paper: the features are hollowed, the lead becomes matter, the eraser is used as a tool for modelling. In those drawings, we experience the tension of the penknife on the plaster, the vibration of the finger that presses on the clay. The surface of the paper becomes a mental relief, a space where the eye constantly moves forwards and backwards.

If there exists, in Giacometti’s work, an absolute continuity between drawing, painting and sculpture, it is because he approaches each medium as a variation on the same perceptive experience. Drawing is not a parallel or preparatory exercise: it is the beating heart of the work.
— @christianalandete

—
Alberto Giacometti, Portrait de Diego, 1947. Gouache on paper. 40 x 26 cm. Framed: 78,5 x 64,5 cm
Photo 3: Sabine Weiss, Alberto Giacometti dessinant dans l’atelier, 1954
Photo 8: David Heald / courtesy @guggenheim
Views of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

LÉONARD TSUGUHARU FOUJITA is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Fillette à la poupée” (1918).

A little girl sits stoically, her arms crossed over a small doll, staring directly out at the viewer with a gaze that is at once inviting and impenetrable. Her large, round eyes draw us into her world, yet simultaneously hold us at a distance through their blank expression.

This very proper young girl embodies the elegant draftsmanship for which Foujita was so admired. His fluid style is not overly detailed, but precise — most notably in the thin black lines defining her nose, eyebrows, and the cleft of her upper lip, painted upon her characteristic creamy white skin; in the contours of her body, which detach her from the background and give her the quality of a cut-out; and in her perfect, small, sweet hands, which are almost doll-like themselves. Her upright somberness mirrors that of the doll she holds, and the ribbon in her hair echoes the same soft pink as the doll’s dress. Perhaps this is a double vision — an image of two small dolls, one human and one toy.

Standing or sitting, alone or in small groups, Foujita’s children stare at the viewer — or the painter — with their wide-open, cat-like eyes, yet seem not to see him. Their chubby faces are reminiscent of childhood in its most elemental form. His mastery of line, combined with restrained and subtle coloring, reveals a sensitivity that lends an element of extreme beauty to a very humble character.

—
Léonard Tsuguharu Foujita, Fillette à la poupée, 1918, Oil on canvas. 60,3 x 50,2 cm. Framed: 81 x 70 cm
View of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

LÉONARD TSUGUHARU FOUJITA is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Fillette à la poupée” (1918).

A little girl sits stoically, her arms crossed over a small doll, staring directly out at the viewer with a gaze that is at once inviting and impenetrable. Her large, round eyes draw us into her world, yet simultaneously hold us at a distance through their blank expression.

This very proper young girl embodies the elegant draftsmanship for which Foujita was so admired. His fluid style is not overly detailed, but precise — most notably in the thin black lines defining her nose, eyebrows, and the cleft of her upper lip, painted upon her characteristic creamy white skin; in the contours of her body, which detach her from the background and give her the quality of a cut-out; and in her perfect, small, sweet hands, which are almost doll-like themselves. Her upright somberness mirrors that of the doll she holds, and the ribbon in her hair echoes the same soft pink as the doll’s dress. Perhaps this is a double vision — an image of two small dolls, one human and one toy.

Standing or sitting, alone or in small groups, Foujita’s children stare at the viewer — or the painter — with their wide-open, cat-like eyes, yet seem not to see him. Their chubby faces are reminiscent of childhood in its most elemental form. His mastery of line, combined with restrained and subtle coloring, reveals a sensitivity that lends an element of extreme beauty to a very humble character.

—
Léonard Tsuguharu Foujita, Fillette à la poupée, 1918, Oil on canvas. 60,3 x 50,2 cm. Framed: 81 x 70 cm
View of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

LÉONARD TSUGUHARU FOUJITA is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Fillette à la poupée” (1918).

A little girl sits stoically, her arms crossed over a small doll, staring directly out at the viewer with a gaze that is at once inviting and impenetrable. Her large, round eyes draw us into her world, yet simultaneously hold us at a distance through their blank expression.

This very proper young girl embodies the elegant draftsmanship for which Foujita was so admired. His fluid style is not overly detailed, but precise — most notably in the thin black lines defining her nose, eyebrows, and the cleft of her upper lip, painted upon her characteristic creamy white skin; in the contours of her body, which detach her from the background and give her the quality of a cut-out; and in her perfect, small, sweet hands, which are almost doll-like themselves. Her upright somberness mirrors that of the doll she holds, and the ribbon in her hair echoes the same soft pink as the doll’s dress. Perhaps this is a double vision — an image of two small dolls, one human and one toy.

Standing or sitting, alone or in small groups, Foujita’s children stare at the viewer — or the painter — with their wide-open, cat-like eyes, yet seem not to see him. Their chubby faces are reminiscent of childhood in its most elemental form. His mastery of line, combined with restrained and subtle coloring, reveals a sensitivity that lends an element of extreme beauty to a very humble character.

—
Léonard Tsuguharu Foujita, Fillette à la poupée, 1918, Oil on canvas. 60,3 x 50,2 cm. Framed: 81 x 70 cm
View of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

LÉONARD TSUGUHARU FOUJITA is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Fillette à la poupée” (1918).

A little girl sits stoically, her arms crossed over a small doll, staring directly out at the viewer with a gaze that is at once inviting and impenetrable. Her large, round eyes draw us into her world, yet simultaneously hold us at a distance through their blank expression.

This very proper young girl embodies the elegant draftsmanship for which Foujita was so admired. His fluid style is not overly detailed, but precise — most notably in the thin black lines defining her nose, eyebrows, and the cleft of her upper lip, painted upon her characteristic creamy white skin; in the contours of her body, which detach her from the background and give her the quality of a cut-out; and in her perfect, small, sweet hands, which are almost doll-like themselves. Her upright somberness mirrors that of the doll she holds, and the ribbon in her hair echoes the same soft pink as the doll’s dress. Perhaps this is a double vision — an image of two small dolls, one human and one toy.

Standing or sitting, alone or in small groups, Foujita’s children stare at the viewer — or the painter — with their wide-open, cat-like eyes, yet seem not to see him. Their chubby faces are reminiscent of childhood in its most elemental form. His mastery of line, combined with restrained and subtle coloring, reveals a sensitivity that lends an element of extreme beauty to a very humble character.

—
Léonard Tsuguharu Foujita, Fillette à la poupée, 1918, Oil on canvas. 60,3 x 50,2 cm. Framed: 81 x 70 cm
View of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

LÉONARD TSUGUHARU FOUJITA is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Fillette à la poupée” (1918).

A little girl sits stoically, her arms crossed over a small doll, staring directly out at the viewer with a gaze that is at once inviting and impenetrable. Her large, round eyes draw us into her world, yet simultaneously hold us at a distance through their blank expression.

This very proper young girl embodies the elegant draftsmanship for which Foujita was so admired. His fluid style is not overly detailed, but precise — most notably in the thin black lines defining her nose, eyebrows, and the cleft of her upper lip, painted upon her characteristic creamy white skin; in the contours of her body, which detach her from the background and give her the quality of a cut-out; and in her perfect, small, sweet hands, which are almost doll-like themselves. Her upright somberness mirrors that of the doll she holds, and the ribbon in her hair echoes the same soft pink as the doll’s dress. Perhaps this is a double vision — an image of two small dolls, one human and one toy.

Standing or sitting, alone or in small groups, Foujita’s children stare at the viewer — or the painter — with their wide-open, cat-like eyes, yet seem not to see him. Their chubby faces are reminiscent of childhood in its most elemental form. His mastery of line, combined with restrained and subtle coloring, reveals a sensitivity that lends an element of extreme beauty to a very humble character.

—
Léonard Tsuguharu Foujita, Fillette à la poupée, 1918, Oil on canvas. 60,3 x 50,2 cm. Framed: 81 x 70 cm
View of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

LÉONARD TSUGUHARU FOUJITA is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Fillette à la poupée” (1918).

A little girl sits stoically, her arms crossed over a small doll, staring directly out at the viewer with a gaze that is at once inviting and impenetrable. Her large, round eyes draw us into her world, yet simultaneously hold us at a distance through their blank expression.

This very proper young girl embodies the elegant draftsmanship for which Foujita was so admired. His fluid style is not overly detailed, but precise — most notably in the thin black lines defining her nose, eyebrows, and the cleft of her upper lip, painted upon her characteristic creamy white skin; in the contours of her body, which detach her from the background and give her the quality of a cut-out; and in her perfect, small, sweet hands, which are almost doll-like themselves. Her upright somberness mirrors that of the doll she holds, and the ribbon in her hair echoes the same soft pink as the doll’s dress. Perhaps this is a double vision — an image of two small dolls, one human and one toy.

Standing or sitting, alone or in small groups, Foujita’s children stare at the viewer — or the painter — with their wide-open, cat-like eyes, yet seem not to see him. Their chubby faces are reminiscent of childhood in its most elemental form. His mastery of line, combined with restrained and subtle coloring, reveals a sensitivity that lends an element of extreme beauty to a very humble character.

—
Léonard Tsuguharu Foujita, Fillette à la poupée, 1918, Oil on canvas. 60,3 x 50,2 cm. Framed: 81 x 70 cm
View of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

LÉONARD TSUGUHARU FOUJITA is featured at our booth (305) at TEFAF New York until May 19, 2026. We are pleased to present the exceptional artwork “Fillette à la poupée” (1918).

A little girl sits stoically, her arms crossed over a small doll, staring directly out at the viewer with a gaze that is at once inviting and impenetrable. Her large, round eyes draw us into her world, yet simultaneously hold us at a distance through their blank expression.

This very proper young girl embodies the elegant draftsmanship for which Foujita was so admired. His fluid style is not overly detailed, but precise — most notably in the thin black lines defining her nose, eyebrows, and the cleft of her upper lip, painted upon her characteristic creamy white skin; in the contours of her body, which detach her from the background and give her the quality of a cut-out; and in her perfect, small, sweet hands, which are almost doll-like themselves. Her upright somberness mirrors that of the doll she holds, and the ribbon in her hair echoes the same soft pink as the doll’s dress. Perhaps this is a double vision — an image of two small dolls, one human and one toy.

Standing or sitting, alone or in small groups, Foujita’s children stare at the viewer — or the painter — with their wide-open, cat-like eyes, yet seem not to see him. Their chubby faces are reminiscent of childhood in its most elemental form. His mastery of line, combined with restrained and subtle coloring, reveals a sensitivity that lends an element of extreme beauty to a very humble character.

—
Léonard Tsuguharu Foujita, Fillette à la poupée, 1918, Oil on canvas. 60,3 x 50,2 cm. Framed: 81 x 70 cm
View of the booth by @sebastianopelliondipersano
#foujita #tefafny2026

ZINEB SEDIRA now on view in Tate Britain’s Duveen Galleries, London 🏛️

Tate Britain Commission: Zineb Sedira:
‘When Words Fall Silent, Cinema Speaks...’
Curated by Jessica Vaughan, Curator, Contemporary British Art, with Celeste McEvoy, Assistant Curator Contemporary British Art.

Tate Britain (@Tate) has unveiled ‘When Words Fall Silent, Cinema Speaks…’, a major new commission by Zineb Sedira (@zinebsedira). Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and ‘70s African cinema. The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

📅 Until 17 January 2027
🗨️ Artist talk: 18 June 2026
🕰️ Installation open from 18:30 | Talk at 19:00
🗣️ Moderated by Bilal Akkouche, with an introduction by Jessica Vaughan. Followed by a Q&A.

_____
Images: Installation views, Tate Britain Commission: Zineb Sedira: ‘When Words Fall Silent, Cinema Speaks...’ 2026. Photographs by @thierry_bal © Zineb Sedira

#ZinebSedira #TateBritain #TateBritainCommission #ContemporaryArt

ZINEB SEDIRA now on view in Tate Britain’s Duveen Galleries, London 🏛️

Tate Britain Commission: Zineb Sedira:
‘When Words Fall Silent, Cinema Speaks...’
Curated by Jessica Vaughan, Curator, Contemporary British Art, with Celeste McEvoy, Assistant Curator Contemporary British Art.

Tate Britain (@Tate) has unveiled ‘When Words Fall Silent, Cinema Speaks…’, a major new commission by Zineb Sedira (@zinebsedira). Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and ‘70s African cinema. The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

📅 Until 17 January 2027
🗨️ Artist talk: 18 June 2026
🕰️ Installation open from 18:30 | Talk at 19:00
🗣️ Moderated by Bilal Akkouche, with an introduction by Jessica Vaughan. Followed by a Q&A.

_____
Images: Installation views, Tate Britain Commission: Zineb Sedira: ‘When Words Fall Silent, Cinema Speaks...’ 2026. Photographs by @thierry_bal © Zineb Sedira

#ZinebSedira #TateBritain #TateBritainCommission #ContemporaryArt

ZINEB SEDIRA now on view in Tate Britain’s Duveen Galleries, London 🏛️

Tate Britain Commission: Zineb Sedira:
‘When Words Fall Silent, Cinema Speaks...’
Curated by Jessica Vaughan, Curator, Contemporary British Art, with Celeste McEvoy, Assistant Curator Contemporary British Art.

Tate Britain (@Tate) has unveiled ‘When Words Fall Silent, Cinema Speaks…’, a major new commission by Zineb Sedira (@zinebsedira). Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and ‘70s African cinema. The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

📅 Until 17 January 2027
🗨️ Artist talk: 18 June 2026
🕰️ Installation open from 18:30 | Talk at 19:00
🗣️ Moderated by Bilal Akkouche, with an introduction by Jessica Vaughan. Followed by a Q&A.

_____
Images: Installation views, Tate Britain Commission: Zineb Sedira: ‘When Words Fall Silent, Cinema Speaks...’ 2026. Photographs by @thierry_bal © Zineb Sedira

#ZinebSedira #TateBritain #TateBritainCommission #ContemporaryArt

ZINEB SEDIRA now on view in Tate Britain’s Duveen Galleries, London 🏛️

Tate Britain Commission: Zineb Sedira:
‘When Words Fall Silent, Cinema Speaks...’
Curated by Jessica Vaughan, Curator, Contemporary British Art, with Celeste McEvoy, Assistant Curator Contemporary British Art.

Tate Britain (@Tate) has unveiled ‘When Words Fall Silent, Cinema Speaks…’, a major new commission by Zineb Sedira (@zinebsedira). Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and ‘70s African cinema. The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

📅 Until 17 January 2027
🗨️ Artist talk: 18 June 2026
🕰️ Installation open from 18:30 | Talk at 19:00
🗣️ Moderated by Bilal Akkouche, with an introduction by Jessica Vaughan. Followed by a Q&A.

_____
Images: Installation views, Tate Britain Commission: Zineb Sedira: ‘When Words Fall Silent, Cinema Speaks...’ 2026. Photographs by @thierry_bal © Zineb Sedira

#ZinebSedira #TateBritain #TateBritainCommission #ContemporaryArt

ZINEB SEDIRA now on view in Tate Britain’s Duveen Galleries, London 🏛️

Tate Britain Commission: Zineb Sedira:
‘When Words Fall Silent, Cinema Speaks...’
Curated by Jessica Vaughan, Curator, Contemporary British Art, with Celeste McEvoy, Assistant Curator Contemporary British Art.

Tate Britain (@Tate) has unveiled ‘When Words Fall Silent, Cinema Speaks…’, a major new commission by Zineb Sedira (@zinebsedira). Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and ‘70s African cinema. The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

📅 Until 17 January 2027
🗨️ Artist talk: 18 June 2026
🕰️ Installation open from 18:30 | Talk at 19:00
🗣️ Moderated by Bilal Akkouche, with an introduction by Jessica Vaughan. Followed by a Q&A.

_____
Images: Installation views, Tate Britain Commission: Zineb Sedira: ‘When Words Fall Silent, Cinema Speaks...’ 2026. Photographs by @thierry_bal © Zineb Sedira

#ZinebSedira #TateBritain #TateBritainCommission #ContemporaryArt

ZINEB SEDIRA now on view in Tate Britain’s Duveen Galleries, London 🏛️

Tate Britain Commission: Zineb Sedira:
‘When Words Fall Silent, Cinema Speaks...’
Curated by Jessica Vaughan, Curator, Contemporary British Art, with Celeste McEvoy, Assistant Curator Contemporary British Art.

Tate Britain (@Tate) has unveiled ‘When Words Fall Silent, Cinema Speaks…’, a major new commission by Zineb Sedira (@zinebsedira). Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and ‘70s African cinema. The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

📅 Until 17 January 2027
🗨️ Artist talk: 18 June 2026
🕰️ Installation open from 18:30 | Talk at 19:00
🗣️ Moderated by Bilal Akkouche, with an introduction by Jessica Vaughan. Followed by a Q&A.

_____
Images: Installation views, Tate Britain Commission: Zineb Sedira: ‘When Words Fall Silent, Cinema Speaks...’ 2026. Photographs by @thierry_bal © Zineb Sedira

#ZinebSedira #TateBritain #TateBritainCommission #ContemporaryArt

ZINEB SEDIRA now on view in Tate Britain’s Duveen Galleries, London 🏛️

Tate Britain Commission: Zineb Sedira:
‘When Words Fall Silent, Cinema Speaks...’
Curated by Jessica Vaughan, Curator, Contemporary British Art, with Celeste McEvoy, Assistant Curator Contemporary British Art.

Tate Britain (@Tate) has unveiled ‘When Words Fall Silent, Cinema Speaks…’, a major new commission by Zineb Sedira (@zinebsedira). Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and ‘70s African cinema. The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

📅 Until 17 January 2027
🗨️ Artist talk: 18 June 2026
🕰️ Installation open from 18:30 | Talk at 19:00
🗣️ Moderated by Bilal Akkouche, with an introduction by Jessica Vaughan. Followed by a Q&A.

_____
Images: Installation views, Tate Britain Commission: Zineb Sedira: ‘When Words Fall Silent, Cinema Speaks...’ 2026. Photographs by @thierry_bal © Zineb Sedira

#ZinebSedira #TateBritain #TateBritainCommission #ContemporaryArt

ZINEB SEDIRA now on view in Tate Britain’s Duveen Galleries, London 🏛️

Tate Britain Commission: Zineb Sedira:
‘When Words Fall Silent, Cinema Speaks...’
Curated by Jessica Vaughan, Curator, Contemporary British Art, with Celeste McEvoy, Assistant Curator Contemporary British Art.

Tate Britain (@Tate) has unveiled ‘When Words Fall Silent, Cinema Speaks…’, a major new commission by Zineb Sedira (@zinebsedira). Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and ‘70s African cinema. The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

📅 Until 17 January 2027
🗨️ Artist talk: 18 June 2026
🕰️ Installation open from 18:30 | Talk at 19:00
🗣️ Moderated by Bilal Akkouche, with an introduction by Jessica Vaughan. Followed by a Q&A.

_____
Images: Installation views, Tate Britain Commission: Zineb Sedira: ‘When Words Fall Silent, Cinema Speaks...’ 2026. Photographs by @thierry_bal © Zineb Sedira

#ZinebSedira #TateBritain #TateBritainCommission #ContemporaryArt

ZINEB SEDIRA now on view in Tate Britain’s Duveen Galleries, London 🏛️

Tate Britain Commission: Zineb Sedira:
‘When Words Fall Silent, Cinema Speaks...’
Curated by Jessica Vaughan, Curator, Contemporary British Art, with Celeste McEvoy, Assistant Curator Contemporary British Art.

Tate Britain (@Tate) has unveiled ‘When Words Fall Silent, Cinema Speaks…’, a major new commission by Zineb Sedira (@zinebsedira). Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and ‘70s African cinema. The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

📅 Until 17 January 2027
🗨️ Artist talk: 18 June 2026
🕰️ Installation open from 18:30 | Talk at 19:00
🗣️ Moderated by Bilal Akkouche, with an introduction by Jessica Vaughan. Followed by a Q&A.

_____
Images: Installation views, Tate Britain Commission: Zineb Sedira: ‘When Words Fall Silent, Cinema Speaks...’ 2026. Photographs by @thierry_bal © Zineb Sedira

#ZinebSedira #TateBritain #TateBritainCommission #ContemporaryArt

ZINEB SEDIRA now on view in Tate Britain’s Duveen Galleries, London 🏛️

Tate Britain Commission: Zineb Sedira:
‘When Words Fall Silent, Cinema Speaks...’
Curated by Jessica Vaughan, Curator, Contemporary British Art, with Celeste McEvoy, Assistant Curator Contemporary British Art.

Tate Britain (@Tate) has unveiled ‘When Words Fall Silent, Cinema Speaks…’, a major new commission by Zineb Sedira (@zinebsedira). Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and ‘70s African cinema. The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

📅 Until 17 January 2027
🗨️ Artist talk: 18 June 2026
🕰️ Installation open from 18:30 | Talk at 19:00
🗣️ Moderated by Bilal Akkouche, with an introduction by Jessica Vaughan. Followed by a Q&A.

_____
Images: Installation views, Tate Britain Commission: Zineb Sedira: ‘When Words Fall Silent, Cinema Speaks...’ 2026. Photographs by @thierry_bal © Zineb Sedira

#ZinebSedira #TateBritain #TateBritainCommission #ContemporaryArt

ZINEB SEDIRA now on view in Tate Britain’s Duveen Galleries, London 🏛️

Tate Britain Commission: Zineb Sedira:
‘When Words Fall Silent, Cinema Speaks...’
Curated by Jessica Vaughan, Curator, Contemporary British Art, with Celeste McEvoy, Assistant Curator Contemporary British Art.

Tate Britain (@Tate) has unveiled ‘When Words Fall Silent, Cinema Speaks…’, a major new commission by Zineb Sedira (@zinebsedira). Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and ‘70s African cinema. The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

📅 Until 17 January 2027
🗨️ Artist talk: 18 June 2026
🕰️ Installation open from 18:30 | Talk at 19:00
🗣️ Moderated by Bilal Akkouche, with an introduction by Jessica Vaughan. Followed by a Q&A.

_____
Images: Installation views, Tate Britain Commission: Zineb Sedira: ‘When Words Fall Silent, Cinema Speaks...’ 2026. Photographs by @thierry_bal © Zineb Sedira

#ZinebSedira #TateBritain #TateBritainCommission #ContemporaryArt

ZINEB SEDIRA now on view in Tate Britain’s Duveen Galleries, London 🏛️

Tate Britain Commission: Zineb Sedira:
‘When Words Fall Silent, Cinema Speaks...’
Curated by Jessica Vaughan, Curator, Contemporary British Art, with Celeste McEvoy, Assistant Curator Contemporary British Art.

Tate Britain (@Tate) has unveiled ‘When Words Fall Silent, Cinema Speaks…’, a major new commission by Zineb Sedira (@zinebsedira). Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and ‘70s African cinema. The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

📅 Until 17 January 2027
🗨️ Artist talk: 18 June 2026
🕰️ Installation open from 18:30 | Talk at 19:00
🗣️ Moderated by Bilal Akkouche, with an introduction by Jessica Vaughan. Followed by a Q&A.

_____
Images: Installation views, Tate Britain Commission: Zineb Sedira: ‘When Words Fall Silent, Cinema Speaks...’ 2026. Photographs by @thierry_bal © Zineb Sedira

#ZinebSedira #TateBritain #TateBritainCommission #ContemporaryArt

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol.

📍Meet our team at booth 305, @tefaf, Park Avenue Armory, New York.

📩 Contact the gallery by Private Message for more information about the works.

—
Views of the booth by @sebastianopelliondipersano
#tefafnewyork #tefafny2026

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol.

📍Meet our team at booth 305, @tefaf, Park Avenue Armory, New York.

📩 Contact the gallery by Private Message for more information about the works.

—
Views of the booth by @sebastianopelliondipersano
#tefafnewyork #tefafny2026

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol.

📍Meet our team at booth 305, @tefaf, Park Avenue Armory, New York.

📩 Contact the gallery by Private Message for more information about the works.

—
Views of the booth by @sebastianopelliondipersano
#tefafnewyork #tefafny2026

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol.

📍Meet our team at booth 305, @tefaf, Park Avenue Armory, New York.

📩 Contact the gallery by Private Message for more information about the works.

—
Views of the booth by @sebastianopelliondipersano
#tefafnewyork #tefafny2026

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol.

📍Meet our team at booth 305, @tefaf, Park Avenue Armory, New York.

📩 Contact the gallery by Private Message for more information about the works.

—
Views of the booth by @sebastianopelliondipersano
#tefafnewyork #tefafny2026

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol.

📍Meet our team at booth 305, @tefaf, Park Avenue Armory, New York.

📩 Contact the gallery by Private Message for more information about the works.

—
Views of the booth by @sebastianopelliondipersano
#tefafnewyork #tefafny2026

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol.

📍Meet our team at booth 305, @tefaf, Park Avenue Armory, New York.

📩 Contact the gallery by Private Message for more information about the works.

—
Views of the booth by @sebastianopelliondipersano
#tefafnewyork #tefafny2026

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol.

📍Meet our team at booth 305, @tefaf, Park Avenue Armory, New York.

📩 Contact the gallery by Private Message for more information about the works.

—
Views of the booth by @sebastianopelliondipersano
#tefafnewyork #tefafny2026

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol.

📍Meet our team at booth 305, @tefaf, Park Avenue Armory, New York.

📩 Contact the gallery by Private Message for more information about the works.

—
Views of the booth by @sebastianopelliondipersano
#tefafnewyork #tefafny2026

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol.

📍Meet our team at booth 305, @tefaf, Park Avenue Armory, New York.

📩 Contact the gallery by Private Message for more information about the works.

—
Views of the booth by @sebastianopelliondipersano
#tefafnewyork #tefafny2026

TEFAF NEW YORK • Mennour is pleased to participate in this year’s edition of @tefaf New York from May 15 to 19, 2026, with a selection of artworks by Alighiero Boetti, Alexander Calder, Eugène Carrière, Edgar Degas, Sidival Fila, Lucio Fontana, Léonard Tsuguharu Foujita, Alberto Giacometti, Camille Henrot, Tadashi Kawamata, Alicja Kwade, Lee Ufan, Joan Mitchell, François Morellet, Francis Picabia, Ugo Rondinone & Andy Warhol.

📍Meet our team at booth 305, @tefaf, Park Avenue Armory, New York.

📩 Contact the gallery by Private Message for more information about the works.

—
Views of the booth by @sebastianopelliondipersano
#tefafnewyork #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

ALEXANDER CALDER is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Turkish Delight” (1974).

Executed just two years before his death, “Turkish Delight” stands as a late and luminous testament to Alexander Calder’s undiminished creative vitality. This standing mobile — a form the artist virtually invented and spent a lifetime refining — brings together the two dominant preoccupations of his later career: the monumental structural solidity of his large-scale stabiles and the airy, kinetic poetry of his hanging mobiles. The result is a work of remarkable tension and grace.

At its center, a sinuous black form rises from a circular base with the quiet authority of a stabile, its sweeping contour at once organic and architectural. From this anchoring spine, three angular white elements extend outward on wire connections, suspended in a state of arrested flight. A single vivid red crescent — bold and joyful — crowns the composition, injecting chromatic energy that immediately draws the eye.

The palette is quintessentially Calder: black and white as structural constants, red as emotional punctuation. Color, for Calder, was never descriptive but purely expressive, aligned with the liberated chromatic instincts of Matisse and Derain.

The work’s engineering is as considered as its aesthetics. Trained as a mechanical engineer, Calder approached each mobile as a problem of balance and counterweight, working outward from the smallest elements to locate the single precise point of support around which the whole composition could freely pivot. In Turkish Delight, the white elements hang in easy suspension around the dark central axis, their stillness carrying no trace of the engineering ingenuity that makes it possible.

—
Alexander Calder, Turkish Delight, 1974. Painted sheet metal and wire. 31,7 x 40,6 x 22,8 cm
Portrait: Calder with “Red Post Black Leaves” (1941) at “Alexander Calder: Sculptures and Constructions”, The Museum of Modern Art, New York, 1943. Photograph by Arnold Newman © Arnold Newman
Views of the booth by @sebastianopelliondipersano
#alexandercalder #tefafny2026

FRANCIS PICABIA is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “L’Accordéoniste” (c. 1943-1944).

Painted during the years Picabia spent in the south of France under the Occupation, L’Accordéoniste belongs to a new figurative vein that marked one of the most decisive ruptures in an already restlessly discontinuous career. From around 1940, and conditioned by the pressures of a peripatetic and increasingly precarious existence in the zone libre — then zone occupée — Picabia turned away from the transparency effects that had characterized his immediately preceding paintings, embracing instead a broadly naturalistic figuration assembled, as is now understood, from photographic sources found in popular illustrated publications and revues de charme of the 1930s.

The source for the present work has been identified as a photograph published in Paris Magazine, no. 57, May 1936. The image depicts a young woman in a sleeveless dress leaning into a flat-capped accordionist, the two figures pressed together against an iron railing with a Parisian street receding behind them — a scene of working-class intimacy caught with the candid, slightly rough quality of popular press photography. Picabia lifts the central group directly from this source while eliminating its setting almost entirely, compressing the composition and redirecting all attention onto the figures themselves. The transformation is characteristic of his method: he treats the photograph not as a model to be faithfully transcribed but as raw pictorial material to be heightened, the tonal contrasts deepened, the surfaces rendered with an insistence on paint as paint.

—
Francis Picabia, L’Accordéoniste, c. 1943 - 1944. Oil on card laid down on board. 105,8 x 75,6 cm
Views of the booth by @sebastianopelliondipersano
#francispicabia #tefafny2026

FRANCIS PICABIA is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “L’Accordéoniste” (c. 1943-1944).

Painted during the years Picabia spent in the south of France under the Occupation, L’Accordéoniste belongs to a new figurative vein that marked one of the most decisive ruptures in an already restlessly discontinuous career. From around 1940, and conditioned by the pressures of a peripatetic and increasingly precarious existence in the zone libre — then zone occupée — Picabia turned away from the transparency effects that had characterized his immediately preceding paintings, embracing instead a broadly naturalistic figuration assembled, as is now understood, from photographic sources found in popular illustrated publications and revues de charme of the 1930s.

The source for the present work has been identified as a photograph published in Paris Magazine, no. 57, May 1936. The image depicts a young woman in a sleeveless dress leaning into a flat-capped accordionist, the two figures pressed together against an iron railing with a Parisian street receding behind them — a scene of working-class intimacy caught with the candid, slightly rough quality of popular press photography. Picabia lifts the central group directly from this source while eliminating its setting almost entirely, compressing the composition and redirecting all attention onto the figures themselves. The transformation is characteristic of his method: he treats the photograph not as a model to be faithfully transcribed but as raw pictorial material to be heightened, the tonal contrasts deepened, the surfaces rendered with an insistence on paint as paint.

—
Francis Picabia, L’Accordéoniste, c. 1943 - 1944. Oil on card laid down on board. 105,8 x 75,6 cm
Views of the booth by @sebastianopelliondipersano
#francispicabia #tefafny2026

FRANCIS PICABIA is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “L’Accordéoniste” (c. 1943-1944).

Painted during the years Picabia spent in the south of France under the Occupation, L’Accordéoniste belongs to a new figurative vein that marked one of the most decisive ruptures in an already restlessly discontinuous career. From around 1940, and conditioned by the pressures of a peripatetic and increasingly precarious existence in the zone libre — then zone occupée — Picabia turned away from the transparency effects that had characterized his immediately preceding paintings, embracing instead a broadly naturalistic figuration assembled, as is now understood, from photographic sources found in popular illustrated publications and revues de charme of the 1930s.

The source for the present work has been identified as a photograph published in Paris Magazine, no. 57, May 1936. The image depicts a young woman in a sleeveless dress leaning into a flat-capped accordionist, the two figures pressed together against an iron railing with a Parisian street receding behind them — a scene of working-class intimacy caught with the candid, slightly rough quality of popular press photography. Picabia lifts the central group directly from this source while eliminating its setting almost entirely, compressing the composition and redirecting all attention onto the figures themselves. The transformation is characteristic of his method: he treats the photograph not as a model to be faithfully transcribed but as raw pictorial material to be heightened, the tonal contrasts deepened, the surfaces rendered with an insistence on paint as paint.

—
Francis Picabia, L’Accordéoniste, c. 1943 - 1944. Oil on card laid down on board. 105,8 x 75,6 cm
Views of the booth by @sebastianopelliondipersano
#francispicabia #tefafny2026

FRANCIS PICABIA is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “L’Accordéoniste” (c. 1943-1944).

Painted during the years Picabia spent in the south of France under the Occupation, L’Accordéoniste belongs to a new figurative vein that marked one of the most decisive ruptures in an already restlessly discontinuous career. From around 1940, and conditioned by the pressures of a peripatetic and increasingly precarious existence in the zone libre — then zone occupée — Picabia turned away from the transparency effects that had characterized his immediately preceding paintings, embracing instead a broadly naturalistic figuration assembled, as is now understood, from photographic sources found in popular illustrated publications and revues de charme of the 1930s.

The source for the present work has been identified as a photograph published in Paris Magazine, no. 57, May 1936. The image depicts a young woman in a sleeveless dress leaning into a flat-capped accordionist, the two figures pressed together against an iron railing with a Parisian street receding behind them — a scene of working-class intimacy caught with the candid, slightly rough quality of popular press photography. Picabia lifts the central group directly from this source while eliminating its setting almost entirely, compressing the composition and redirecting all attention onto the figures themselves. The transformation is characteristic of his method: he treats the photograph not as a model to be faithfully transcribed but as raw pictorial material to be heightened, the tonal contrasts deepened, the surfaces rendered with an insistence on paint as paint.

—
Francis Picabia, L’Accordéoniste, c. 1943 - 1944. Oil on card laid down on board. 105,8 x 75,6 cm
Views of the booth by @sebastianopelliondipersano
#francispicabia #tefafny2026

FRANCIS PICABIA is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “L’Accordéoniste” (c. 1943-1944).

Painted during the years Picabia spent in the south of France under the Occupation, L’Accordéoniste belongs to a new figurative vein that marked one of the most decisive ruptures in an already restlessly discontinuous career. From around 1940, and conditioned by the pressures of a peripatetic and increasingly precarious existence in the zone libre — then zone occupée — Picabia turned away from the transparency effects that had characterized his immediately preceding paintings, embracing instead a broadly naturalistic figuration assembled, as is now understood, from photographic sources found in popular illustrated publications and revues de charme of the 1930s.

The source for the present work has been identified as a photograph published in Paris Magazine, no. 57, May 1936. The image depicts a young woman in a sleeveless dress leaning into a flat-capped accordionist, the two figures pressed together against an iron railing with a Parisian street receding behind them — a scene of working-class intimacy caught with the candid, slightly rough quality of popular press photography. Picabia lifts the central group directly from this source while eliminating its setting almost entirely, compressing the composition and redirecting all attention onto the figures themselves. The transformation is characteristic of his method: he treats the photograph not as a model to be faithfully transcribed but as raw pictorial material to be heightened, the tonal contrasts deepened, the surfaces rendered with an insistence on paint as paint.

—
Francis Picabia, L’Accordéoniste, c. 1943 - 1944. Oil on card laid down on board. 105,8 x 75,6 cm
Views of the booth by @sebastianopelliondipersano
#francispicabia #tefafny2026

FRANCIS PICABIA is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “L’Accordéoniste” (c. 1943-1944).

Painted during the years Picabia spent in the south of France under the Occupation, L’Accordéoniste belongs to a new figurative vein that marked one of the most decisive ruptures in an already restlessly discontinuous career. From around 1940, and conditioned by the pressures of a peripatetic and increasingly precarious existence in the zone libre — then zone occupée — Picabia turned away from the transparency effects that had characterized his immediately preceding paintings, embracing instead a broadly naturalistic figuration assembled, as is now understood, from photographic sources found in popular illustrated publications and revues de charme of the 1930s.

The source for the present work has been identified as a photograph published in Paris Magazine, no. 57, May 1936. The image depicts a young woman in a sleeveless dress leaning into a flat-capped accordionist, the two figures pressed together against an iron railing with a Parisian street receding behind them — a scene of working-class intimacy caught with the candid, slightly rough quality of popular press photography. Picabia lifts the central group directly from this source while eliminating its setting almost entirely, compressing the composition and redirecting all attention onto the figures themselves. The transformation is characteristic of his method: he treats the photograph not as a model to be faithfully transcribed but as raw pictorial material to be heightened, the tonal contrasts deepened, the surfaces rendered with an insistence on paint as paint.

—
Francis Picabia, L’Accordéoniste, c. 1943 - 1944. Oil on card laid down on board. 105,8 x 75,6 cm
Views of the booth by @sebastianopelliondipersano
#francispicabia #tefafny2026

FRANCIS PICABIA is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “L’Accordéoniste” (c. 1943-1944).

Painted during the years Picabia spent in the south of France under the Occupation, L’Accordéoniste belongs to a new figurative vein that marked one of the most decisive ruptures in an already restlessly discontinuous career. From around 1940, and conditioned by the pressures of a peripatetic and increasingly precarious existence in the zone libre — then zone occupée — Picabia turned away from the transparency effects that had characterized his immediately preceding paintings, embracing instead a broadly naturalistic figuration assembled, as is now understood, from photographic sources found in popular illustrated publications and revues de charme of the 1930s.

The source for the present work has been identified as a photograph published in Paris Magazine, no. 57, May 1936. The image depicts a young woman in a sleeveless dress leaning into a flat-capped accordionist, the two figures pressed together against an iron railing with a Parisian street receding behind them — a scene of working-class intimacy caught with the candid, slightly rough quality of popular press photography. Picabia lifts the central group directly from this source while eliminating its setting almost entirely, compressing the composition and redirecting all attention onto the figures themselves. The transformation is characteristic of his method: he treats the photograph not as a model to be faithfully transcribed but as raw pictorial material to be heightened, the tonal contrasts deepened, the surfaces rendered with an insistence on paint as paint.

—
Francis Picabia, L’Accordéoniste, c. 1943 - 1944. Oil on card laid down on board. 105,8 x 75,6 cm
Views of the booth by @sebastianopelliondipersano
#francispicabia #tefafny2026

FRANCIS PICABIA is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “L’Accordéoniste” (c. 1943-1944).

Painted during the years Picabia spent in the south of France under the Occupation, L’Accordéoniste belongs to a new figurative vein that marked one of the most decisive ruptures in an already restlessly discontinuous career. From around 1940, and conditioned by the pressures of a peripatetic and increasingly precarious existence in the zone libre — then zone occupée — Picabia turned away from the transparency effects that had characterized his immediately preceding paintings, embracing instead a broadly naturalistic figuration assembled, as is now understood, from photographic sources found in popular illustrated publications and revues de charme of the 1930s.

The source for the present work has been identified as a photograph published in Paris Magazine, no. 57, May 1936. The image depicts a young woman in a sleeveless dress leaning into a flat-capped accordionist, the two figures pressed together against an iron railing with a Parisian street receding behind them — a scene of working-class intimacy caught with the candid, slightly rough quality of popular press photography. Picabia lifts the central group directly from this source while eliminating its setting almost entirely, compressing the composition and redirecting all attention onto the figures themselves. The transformation is characteristic of his method: he treats the photograph not as a model to be faithfully transcribed but as raw pictorial material to be heightened, the tonal contrasts deepened, the surfaces rendered with an insistence on paint as paint.

—
Francis Picabia, L’Accordéoniste, c. 1943 - 1944. Oil on card laid down on board. 105,8 x 75,6 cm
Views of the booth by @sebastianopelliondipersano
#francispicabia #tefafny2026

FRANCIS PICABIA is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “L’Accordéoniste” (c. 1943-1944).

Painted during the years Picabia spent in the south of France under the Occupation, L’Accordéoniste belongs to a new figurative vein that marked one of the most decisive ruptures in an already restlessly discontinuous career. From around 1940, and conditioned by the pressures of a peripatetic and increasingly precarious existence in the zone libre — then zone occupée — Picabia turned away from the transparency effects that had characterized his immediately preceding paintings, embracing instead a broadly naturalistic figuration assembled, as is now understood, from photographic sources found in popular illustrated publications and revues de charme of the 1930s.

The source for the present work has been identified as a photograph published in Paris Magazine, no. 57, May 1936. The image depicts a young woman in a sleeveless dress leaning into a flat-capped accordionist, the two figures pressed together against an iron railing with a Parisian street receding behind them — a scene of working-class intimacy caught with the candid, slightly rough quality of popular press photography. Picabia lifts the central group directly from this source while eliminating its setting almost entirely, compressing the composition and redirecting all attention onto the figures themselves. The transformation is characteristic of his method: he treats the photograph not as a model to be faithfully transcribed but as raw pictorial material to be heightened, the tonal contrasts deepened, the surfaces rendered with an insistence on paint as paint.

—
Francis Picabia, L’Accordéoniste, c. 1943 - 1944. Oil on card laid down on board. 105,8 x 75,6 cm
Views of the booth by @sebastianopelliondipersano
#francispicabia #tefafny2026

FRANCIS PICABIA is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “L’Accordéoniste” (c. 1943-1944).

Painted during the years Picabia spent in the south of France under the Occupation, L’Accordéoniste belongs to a new figurative vein that marked one of the most decisive ruptures in an already restlessly discontinuous career. From around 1940, and conditioned by the pressures of a peripatetic and increasingly precarious existence in the zone libre — then zone occupée — Picabia turned away from the transparency effects that had characterized his immediately preceding paintings, embracing instead a broadly naturalistic figuration assembled, as is now understood, from photographic sources found in popular illustrated publications and revues de charme of the 1930s.

The source for the present work has been identified as a photograph published in Paris Magazine, no. 57, May 1936. The image depicts a young woman in a sleeveless dress leaning into a flat-capped accordionist, the two figures pressed together against an iron railing with a Parisian street receding behind them — a scene of working-class intimacy caught with the candid, slightly rough quality of popular press photography. Picabia lifts the central group directly from this source while eliminating its setting almost entirely, compressing the composition and redirecting all attention onto the figures themselves. The transformation is characteristic of his method: he treats the photograph not as a model to be faithfully transcribed but as raw pictorial material to be heightened, the tonal contrasts deepened, the surfaces rendered with an insistence on paint as paint.

—
Francis Picabia, L’Accordéoniste, c. 1943 - 1944. Oil on card laid down on board. 105,8 x 75,6 cm
Views of the booth by @sebastianopelliondipersano
#francispicabia #tefafny2026

FRANCIS PICABIA is featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “L’Accordéoniste” (c. 1943-1944).

Painted during the years Picabia spent in the south of France under the Occupation, L’Accordéoniste belongs to a new figurative vein that marked one of the most decisive ruptures in an already restlessly discontinuous career. From around 1940, and conditioned by the pressures of a peripatetic and increasingly precarious existence in the zone libre — then zone occupée — Picabia turned away from the transparency effects that had characterized his immediately preceding paintings, embracing instead a broadly naturalistic figuration assembled, as is now understood, from photographic sources found in popular illustrated publications and revues de charme of the 1930s.

The source for the present work has been identified as a photograph published in Paris Magazine, no. 57, May 1936. The image depicts a young woman in a sleeveless dress leaning into a flat-capped accordionist, the two figures pressed together against an iron railing with a Parisian street receding behind them — a scene of working-class intimacy caught with the candid, slightly rough quality of popular press photography. Picabia lifts the central group directly from this source while eliminating its setting almost entirely, compressing the composition and redirecting all attention onto the figures themselves. The transformation is characteristic of his method: he treats the photograph not as a model to be faithfully transcribed but as raw pictorial material to be heightened, the tonal contrasts deepened, the surfaces rendered with an insistence on paint as paint.

—
Francis Picabia, L’Accordéoniste, c. 1943 - 1944. Oil on card laid down on board. 105,8 x 75,6 cm
Views of the booth by @sebastianopelliondipersano
#francispicabia #tefafny2026

LUCIO FONTANA will be featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Concetto spaziale, Attese” (1962).

In the late 1940s, Lucio Fontana began puncturing the surface of sheets of paper and canvases in an attempt to blur the distinction between two- and three-dimensionality. In “Concetto Spaziale, Attese”, Fontana covered the canvas with paint and then sliced the picture plane from top to bottom using a utility knife, gently prying each incision open with his hands. He then backed the canvas with black gauze — a final step that not only stabilized the work but created an illusion central to Fontana’s vision: the suggestion of a mysterious space just behind and beyond the canvas itself.

Realized in the final years of his life, this work belongs to a large series of works investigating temporal concerns at the height of twentieth- century Modernism. Rather than engaging with the flatness of the canvas or the formal properties of paint in purely abstract terms, Fontana took a philosophical approach — ruminating over an evenly painted surface before committing to a single, decisive motion.

Coated uniformly in green across a vertical rectangular format, Concetto Spaziale, Attese contains multitudes within its seemingly simple composition. Three tagli — Fontana’s term for his signature incisions — have been made in the pristine surface with carefully measured restraint.

—
Lucio Fontana, Concetto spaziale, Attese, 1962. Waterpaint on canvas. 100 x 81 cm
#luciofontana#tefafny2026

LUCIO FONTANA will be featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Concetto spaziale, Attese” (1962).

In the late 1940s, Lucio Fontana began puncturing the surface of sheets of paper and canvases in an attempt to blur the distinction between two- and three-dimensionality. In “Concetto Spaziale, Attese”, Fontana covered the canvas with paint and then sliced the picture plane from top to bottom using a utility knife, gently prying each incision open with his hands. He then backed the canvas with black gauze — a final step that not only stabilized the work but created an illusion central to Fontana’s vision: the suggestion of a mysterious space just behind and beyond the canvas itself.

Realized in the final years of his life, this work belongs to a large series of works investigating temporal concerns at the height of twentieth- century Modernism. Rather than engaging with the flatness of the canvas or the formal properties of paint in purely abstract terms, Fontana took a philosophical approach — ruminating over an evenly painted surface before committing to a single, decisive motion.

Coated uniformly in green across a vertical rectangular format, Concetto Spaziale, Attese contains multitudes within its seemingly simple composition. Three tagli — Fontana’s term for his signature incisions — have been made in the pristine surface with carefully measured restraint.

—
Lucio Fontana, Concetto spaziale, Attese, 1962. Waterpaint on canvas. 100 x 81 cm
#luciofontana#tefafny2026

LUCIO FONTANA will be featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Concetto spaziale, Attese” (1962).

In the late 1940s, Lucio Fontana began puncturing the surface of sheets of paper and canvases in an attempt to blur the distinction between two- and three-dimensionality. In “Concetto Spaziale, Attese”, Fontana covered the canvas with paint and then sliced the picture plane from top to bottom using a utility knife, gently prying each incision open with his hands. He then backed the canvas with black gauze — a final step that not only stabilized the work but created an illusion central to Fontana’s vision: the suggestion of a mysterious space just behind and beyond the canvas itself.

Realized in the final years of his life, this work belongs to a large series of works investigating temporal concerns at the height of twentieth- century Modernism. Rather than engaging with the flatness of the canvas or the formal properties of paint in purely abstract terms, Fontana took a philosophical approach — ruminating over an evenly painted surface before committing to a single, decisive motion.

Coated uniformly in green across a vertical rectangular format, Concetto Spaziale, Attese contains multitudes within its seemingly simple composition. Three tagli — Fontana’s term for his signature incisions — have been made in the pristine surface with carefully measured restraint.

—
Lucio Fontana, Concetto spaziale, Attese, 1962. Waterpaint on canvas. 100 x 81 cm
#luciofontana#tefafny2026

LUCIO FONTANA will be featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Concetto spaziale, Attese” (1962).

In the late 1940s, Lucio Fontana began puncturing the surface of sheets of paper and canvases in an attempt to blur the distinction between two- and three-dimensionality. In “Concetto Spaziale, Attese”, Fontana covered the canvas with paint and then sliced the picture plane from top to bottom using a utility knife, gently prying each incision open with his hands. He then backed the canvas with black gauze — a final step that not only stabilized the work but created an illusion central to Fontana’s vision: the suggestion of a mysterious space just behind and beyond the canvas itself.

Realized in the final years of his life, this work belongs to a large series of works investigating temporal concerns at the height of twentieth- century Modernism. Rather than engaging with the flatness of the canvas or the formal properties of paint in purely abstract terms, Fontana took a philosophical approach — ruminating over an evenly painted surface before committing to a single, decisive motion.

Coated uniformly in green across a vertical rectangular format, Concetto Spaziale, Attese contains multitudes within its seemingly simple composition. Three tagli — Fontana’s term for his signature incisions — have been made in the pristine surface with carefully measured restraint.

—
Lucio Fontana, Concetto spaziale, Attese, 1962. Waterpaint on canvas. 100 x 81 cm
#luciofontana#tefafny2026

LUCIO FONTANA will be featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Concetto spaziale, Attese” (1962).

In the late 1940s, Lucio Fontana began puncturing the surface of sheets of paper and canvases in an attempt to blur the distinction between two- and three-dimensionality. In “Concetto Spaziale, Attese”, Fontana covered the canvas with paint and then sliced the picture plane from top to bottom using a utility knife, gently prying each incision open with his hands. He then backed the canvas with black gauze — a final step that not only stabilized the work but created an illusion central to Fontana’s vision: the suggestion of a mysterious space just behind and beyond the canvas itself.

Realized in the final years of his life, this work belongs to a large series of works investigating temporal concerns at the height of twentieth- century Modernism. Rather than engaging with the flatness of the canvas or the formal properties of paint in purely abstract terms, Fontana took a philosophical approach — ruminating over an evenly painted surface before committing to a single, decisive motion.

Coated uniformly in green across a vertical rectangular format, Concetto Spaziale, Attese contains multitudes within its seemingly simple composition. Three tagli — Fontana’s term for his signature incisions — have been made in the pristine surface with carefully measured restraint.

—
Lucio Fontana, Concetto spaziale, Attese, 1962. Waterpaint on canvas. 100 x 81 cm
#luciofontana#tefafny2026

LUCIO FONTANA will be featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Concetto spaziale, Attese” (1962).

In the late 1940s, Lucio Fontana began puncturing the surface of sheets of paper and canvases in an attempt to blur the distinction between two- and three-dimensionality. In “Concetto Spaziale, Attese”, Fontana covered the canvas with paint and then sliced the picture plane from top to bottom using a utility knife, gently prying each incision open with his hands. He then backed the canvas with black gauze — a final step that not only stabilized the work but created an illusion central to Fontana’s vision: the suggestion of a mysterious space just behind and beyond the canvas itself.

Realized in the final years of his life, this work belongs to a large series of works investigating temporal concerns at the height of twentieth- century Modernism. Rather than engaging with the flatness of the canvas or the formal properties of paint in purely abstract terms, Fontana took a philosophical approach — ruminating over an evenly painted surface before committing to a single, decisive motion.

Coated uniformly in green across a vertical rectangular format, Concetto Spaziale, Attese contains multitudes within its seemingly simple composition. Three tagli — Fontana’s term for his signature incisions — have been made in the pristine surface with carefully measured restraint.

—
Lucio Fontana, Concetto spaziale, Attese, 1962. Waterpaint on canvas. 100 x 81 cm
#luciofontana#tefafny2026

LUCIO FONTANA will be featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Concetto spaziale, Attese” (1962).

In the late 1940s, Lucio Fontana began puncturing the surface of sheets of paper and canvases in an attempt to blur the distinction between two- and three-dimensionality. In “Concetto Spaziale, Attese”, Fontana covered the canvas with paint and then sliced the picture plane from top to bottom using a utility knife, gently prying each incision open with his hands. He then backed the canvas with black gauze — a final step that not only stabilized the work but created an illusion central to Fontana’s vision: the suggestion of a mysterious space just behind and beyond the canvas itself.

Realized in the final years of his life, this work belongs to a large series of works investigating temporal concerns at the height of twentieth- century Modernism. Rather than engaging with the flatness of the canvas or the formal properties of paint in purely abstract terms, Fontana took a philosophical approach — ruminating over an evenly painted surface before committing to a single, decisive motion.

Coated uniformly in green across a vertical rectangular format, Concetto Spaziale, Attese contains multitudes within its seemingly simple composition. Three tagli — Fontana’s term for his signature incisions — have been made in the pristine surface with carefully measured restraint.

—
Lucio Fontana, Concetto spaziale, Attese, 1962. Waterpaint on canvas. 100 x 81 cm
#luciofontana#tefafny2026

LUCIO FONTANA will be featured at our booth (305) at TEFAF New York from May 15 to 19, 2026. We are pleased to present the exceptional artwork “Concetto spaziale, Attese” (1962).

In the late 1940s, Lucio Fontana began puncturing the surface of sheets of paper and canvases in an attempt to blur the distinction between two- and three-dimensionality. In “Concetto Spaziale, Attese”, Fontana covered the canvas with paint and then sliced the picture plane from top to bottom using a utility knife, gently prying each incision open with his hands. He then backed the canvas with black gauze — a final step that not only stabilized the work but created an illusion central to Fontana’s vision: the suggestion of a mysterious space just behind and beyond the canvas itself.

Realized in the final years of his life, this work belongs to a large series of works investigating temporal concerns at the height of twentieth- century Modernism. Rather than engaging with the flatness of the canvas or the formal properties of paint in purely abstract terms, Fontana took a philosophical approach — ruminating over an evenly painted surface before committing to a single, decisive motion.

Coated uniformly in green across a vertical rectangular format, Concetto Spaziale, Attese contains multitudes within its seemingly simple composition. Three tagli — Fontana’s term for his signature incisions — have been made in the pristine surface with carefully measured restraint.

—
Lucio Fontana, Concetto spaziale, Attese, 1962. Waterpaint on canvas. 100 x 81 cm
#luciofontana#tefafny2026