Description:

MIGUEL BRANCO (n. 1963)
Sem título
Grafite, carvão, gesso acrílico sobre papel de algodão /
Graphite, charcoal, acrylic gesso on cotton paper
Dim. aprox.: 112 x 70 cm.

Apesar do estilo tradicional, na interpretação de Branco, as regras da matéria e escala caem numa espécie de ironia paradoxal. A falta de narrativa ou interação entre as figuras e o seu ambiente evoca uma atmosfera de incerteza e estranheza. Temas como a solidão da humanidade, a extinção e a crise climática revelam-se abaixo da superfície. Em Untitled (Sem Título), baseado em pinturas flamengas e holandesas do século XVI, um período de expansão do Ocidente, as representações de riqueza e abundância da Natureza são vistas de forma crítica e tornam-se obsoletas.

Despite the traditional style, in Branco’s interpretation the rules of subject matter and scale collapse into a sort of paradoxical irony. The lack of narrative or interaction between the figures and their environment evokes an atmosphere of uncertainty and strangeness. Below the surface, themes of humanity’s solitude, extinction, and the climate crisis reveal themselves. In Untitled, based on Flemish and Dutch paintings of the 16th Century - a period of expansion of the West, representations of wealth and abundance of Nature are viewed critically and turn obsolete.

    Literature:
  • Miguel Branco (n. 1963, Portugal) estudou pintura na Universidade de Lisboa (1981, 1987). Desde 1989, é docente no Ar.Co, Centro de Arte e Comunicação Visual, Lisboa. Intimamente ligado às tradições da pintura e da escultura, inspira-se nas muitas camadas da História da Arte, que justapõe, criando um resultado híbrido. Utilizando tecnologia moderna, Branco apropria-se de e desloca certos temas, criando modelos a partir dos quais desenha. Através da repetição e erosão, o seu processo de desenho envolve múltiplas fases de desconstrução da sua imagem de referência até que a fonte original seja irreconhecível. Uma característica principal no trabalho de Branco é o animal, cuja presença, desligada do seu habitat natural, é descontextualizada como se se tratasse de uma figura num palco.
    Branco expôs em várias exposições conhecidas por toda a Europa, incluindo Almoço Nu, Galeria Pedro Cera, Lisboa (2019); Black Deer - Résonances, Enlèvements, Interférences, Musée de la Chasse et de la Nature, Paris (2016); Spectres - On Birds, Skulls and Drones, Galerie Jeanne Bucher Jaeger, Paris (2016); The Silence of Animals, Schloss Ambras, Innsbruck (2015); e Sala do Veado, Museu Nacional de História Natural e da Ciência, Lisboa (2015).

    Miguel Branco (b. 1963, Portugal) studied painting at the University of Lisbon (1981, 1987). Since 1989, he has taught at Ar.Co, Centro de Arte e Comunicação Visual, Lisbon. Intimately linked to the traditions of painting and sculpture, he draws inspiration from the many layers of Art History, which he juxtaposes, creating a hybrid result. Using modern technology, Branco appropriates and displaces certain themes, creating models from which to draw. Through repetition and erosion, his drawing process involves multiple stages of deconstructing his reference image until the original source is unrecognisable. A main feature in Branco’s work is the animal, whose presence, detached from its natural habitat, is decontextualised as if a figure on a stage. Branco has exhibited in many notable exhibitions throughout Europe, including Naked Lunch, Galeria Pedro Cera, Lisbon (2019); Black Deer — Résonances, Enlèvements, Interférences, Musée de la Chasse et de la Nature, Paris (2016); Spectres — On Birds, Skulls and Drones, Galerie Jeanne Bucher Jaeger, Paris (2016); The Silence of Animals, Schloss Ambras, Innsbruck (2015); and Sala do Veado, Museu Nacional de História Natural e da Ciência, Lisbon (2015).
  • Condition:
  • MIGUEL BRANCO (b. 1963)
    Untitled
    Graphite, charcoal, acrylic plaster on cotton paper /
    Graphite, charcoal, acrylic plaster on cotton paper
    Dim. approx.: 112 x 70 cm.

    Despite the traditional style, in Branco's interpretation, the rules of matter and scale fall into a kind of paradoxical irony. The lack of narrative or interaction between the figures and their environment evokes an atmosphere of uncertainty and strangeness. Themes such as humanity's loneliness, extinction and the climate crisis reveal themselves beneath the surface. In Untitled, based on Flemish and Dutch paintings from the 16th century, a period of Western expansion, representations of Nature's wealth and abundance are viewed critically and become obsolete.

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September 20, 2022 9:00 PM WEST
LISBOA, Portugal

Palácio do Correio Velho

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