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Firelei Báez, b. 1981
Patterns of Resistance, c. 2015
Acrylic and Sennelier ink on Yupo paper
30 by 24 in., 76.2 by 61 cm.
Private collection
Estimated for 40,000 - 60,000 USD in Feb 2025
"My works are propositions, meant to create alternate pasts and potential futures, questioning history and culture in order to provide a space for reassessing the present." Firelei Báez
One of the most exciting painters of her generation, Firelei Báez delves into the historical narratives of the Atlantic Basin. Over the past twenty years, she has made work that explores the multilayered explorations of the legacy of colonial histories and the African diaspora in the Caribbean and beyond. She draws on the disciplines of anthropology, geography, folklore, fantasy, science fiction and social history to unsettle categories of race, gender and nationality in her paintings, drawings and installations. Her exuberant paintings feature finely wrought, complex and layered uses of pattern, decoration and saturated colour, often overlaid on maps made during colonial rule in the Americas. Báez’s investment in the medium of painting and its capacity for storytelling and mythmaking informs all her work, including her sculptural installations, which bring this quality into three dimensions. More on Firelei Báez
Frank Angels
Souvenir of Paris, c. 1968
Enamel on paper applied on canvas
cm 210x200
Private collection
Sold for 150,000 EUR in April 2019
Souvenir de Paris is part of the extraordinary series of works created in 1968 by Franco Angeli dedicated to the student protests of May 1968, marches and protests that broke out across Europe, against the Franco regime, against the war in Vietnam, more generally in support of political and social demands.
The artist reproduces, in a concise and flat way, photographs disseminated by the press, exalting their meaning through the use of red, black and gray, as if to give new life to what is represented as well as a historical responsibility to the new generations that the work will compare with. More on this work
Angeli was born in Rome in 1935. He comes from a family of a solid, socialist tradition. Self-taught, it was through the sculptor Edgardo Mannucci by which he was faced with the work of Burri. His works will therefore influence Angeli with his informal poetics. Angeli’s first works (1955-1957) included monochrome and material canvases in dark tones covered with torn nylon socks, which symbolizes poverty and pain. Because he was politically active (he joined the Communist Party), he met Tano Festa and Mario Schifano in 1955, with whom he established a deep relationship of friendship and cultural exchange.
Together with Francesco Lo Savio, Pino Pascali, Jannis Kounellis, and Fabio Mauri they will give life to School of Piazza del Popolo, which has La Tartaruga by Plinio de Martis in its galleries. The evident influence of American pop art is overcome by using ancestral symbols and ideological emblems (the scythe and the hammer, as well as the swastika) that act directly on the unconscious of the observer.
He also participated in the Venice Biennale presented by Maurizio Calvesi and, the following year, at the IX Roman Quadrennial. It participates in 1967 at the São Paulo Biennial of Brazil. At the end of the 1960s Angeli was involved in the Vietnam war. Later in the 1980s his artistic career approached figuration where he utilized stylized shapes and portrayed symbols of his childhood, obelisks, deserted city squares, and capitals. More on Frank Angels
Angeli was born in Rome in 1935. He comes from a family of a solid, socialist tradition. Self-taught, it was through the sculptor Edgardo Mannucci by which he was faced with the work of Burri. His works will therefore influence Angeli with his informal poetics. Angeli’s first works (1955-1957) included monochrome and material canvases in dark tones covered with torn nylon socks, which symbolizes poverty and pain. Because he was politically active (he joined the Communist Party), he met Tano Festa and Mario Schifano in 1955, with whom he established a deep relationship of friendship and cultural exchange.
Together with Francesco Lo Savio, Pino Pascali, Jannis Kounellis, and Fabio Mauri they will give life to School of Piazza del Popolo, which has La Tartaruga by Plinio de Martis in its galleries. The evident influence of American pop art is overcome by using ancestral symbols and ideological emblems (the scythe and the hammer, as well as the swastika) that act directly on the unconscious of the observer.
He also participated in the Venice Biennale presented by Maurizio Calvesi and, the following year, at the IX Roman Quadrennial. It participates in 1967 at the São Paulo Biennial of Brazil. At the end of the 1960s Angeli was involved in the Vietnam war. Later in the 1980s his artistic career approached figuration where he utilized stylized shapes and portrayed symbols of his childhood, obelisks, deserted city squares, and capitals. More on Frank Angels
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