Tag Archives: women

By Jennifer McKay

Vian Borchert is an internationally acclaimed artist known for her distinctive abstract expressionist style. Her paintings, often described as visual poetry, blend expressive brushstrokes with a striking color palette dominated by turquoise, bright blues, and impactful touches of black and white. Through her art, Borchert creates an atmosphere reminiscent of serene skies and tropical waters, evoking both tranquility and emotional energy. While abstract, her compositions subtly suggest hidden landscapes, cloud formations, and ocean waves, drawing the viewer into a meditative exploration of nature and the subconscious.

A graduate and “Notable Alumni” of the Corcoran College of Art and Design at George Washington University in Washington, DC, Borchert has exhibited her work in over 100 international exhibitions, including prestigious venues such as the Louvre Museum in Paris, the SAM Museum in Pennsylvania, and the Venice Biennale.

Her work has also been featured in major publications, including Museum Week Magazine, GOSS Magazine, and The Washington Post. Beyond her artistic achievements, Borchert serves as the Art Lead for the Oxford Public Philosophy Journal and is a dedicated educator, teaching fine art classes in the Washington, DC area for over two decades.

Borchert views her artwork as a unifying force that transcends borders and speaks a universal language of emotion and connection. She draws inspiration from nature, believing that it fosters inner peace and a sense of interconnectedness. Her paintings capture fleeting moments of time, movement, and memory, blurring the boundaries between reality and imagination. Through dreamlike imagery and deep emotional resonance, her work explores the endurance of the human spirit, offering viewers a contemplative, almost meditative experience.

Her reputation as a leading contemporary artist is reinforced by her participation in prestigious exhibitions worldwide. At the Louvre Museum in Paris, Borchert’s signature blue seascape and cityscape paintings were displayed at the Carrousel du Louvre, an international exhibition organized by Capital Culture House in collaboration with Guto Ajayu Culture from Madrid, Spain. In 2024, her work was selected for The PATH exhibition at the Venice Biennale, curated by Amy Jackson and powered by SHIM Art Network, highlighting critical collective action against climate change and inequality.

Her latest David Bowie portrait paintings were exhibited in the Bowie Bash Amplified show at the National Liberty Museum in Philadelphia. In Texas, her artwork was selected for the Brownsville Museum of Fine Art’s 48th International Art Exhibition, curated by renowned art critic Christina Rees.

Borchert’s signature paintings were also featured in a February 2024 exhibition at the prestigious and historic Arts Club of Washington, DC, in the Monroe Gallery, curated by art historian Dr. Erich Keel of the Kreeger Museum of Art. Additionally, her painting “Two Happy Clouds” was selected for the Salon International Art Résilience 2024 at the Musée de Peinture de Saint-Frajou in France, an exhibition that champions artistic quality and resilience.

Beyond exhibiting in key galleries and museums, Borchert’s work is available on major global art marketplaces such as 1stDibs, Artsy, Zatista, and Artsper. She continues to contribute to the artistic discourse through her writing, curation, and innovative thought in the art world. Her ability to merge the abstract with an emotive depth ensures that each painting offers a profound experience for the viewer—one that transcends time, place, and perception.

Through her work, Vian Borchert invites us into a realm where color, form, and emotion converge, leaving a lasting impression on those who encounter her art. As she continues to push the boundaries of expressionism, her influence in contemporary art remains undeniable.

In December 2024, Borchert’s painting “Two Happy Clouds” was on display at ART BASEL MIAMI Beach at RED DOT MIAMI, curated by Circle Arts in partnership with Artavita/World Wide Art, from December 4–8, 2024, at Mana Wynwood, Miami, Florida.

Borchert was also invited to exhibit her paintings in the world-class Medinaceli DeArte Museo Contemporáneo in Spain in an exhibition titled “Myriad Reflections,” presented by Capital Culture House. The exhibition was on view from December 20, 2024, to January 12, 2025, at the Fundación DEARTE Medinaceli, located at the Ducal Palace, Plaza Mayor 4, Medinaceli (Soria), Spain. From January 17 to January 27, 2025, Borchert participated in the “ECHOES OF TIME” exhibition in Manhattan, NYC. The exhibition took place at El Barrio Art Space, where a number of her signature blue abstracted seascape paintings were displayed.

Looking ahead, in April 2025, Borchert will be part of a group exhibition titled “Beyond Horizon” at Lichtundfire gallery in the Lower East Side of Manhattan, NYC. She has been exhibiting with Lichtundfire since 2019, showcasing her work in a series of curated exhibitions. Additionally, in April 2025, Borchert’s painting titled “Malibu Shore” will be on display at the upcoming “Art Expo” in NYC. The exhibition is curated by Circle Arts in partnership with Artavita/World Wide Art and will take place from April 3–6, 2025. To learn more about Vian Borchert and her work, visit: www.vianborchert.com

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Darla Farner: A Trailblazer in Abstract Expressionism

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Darla Farner’s journey as an artist is anything but conventional. From working two part-time jobs while relentlessly pursuing her passion to having her first ten paintings exhibited at the governor’s office, her story is one of perseverance, creativity, and unshakable dedication. Inspired by raw emotion and an unfiltered imagination, her abstract expressionist works captivate with their energy and depth. But despite decades of creating, she has yet to sell a single piece—by choice. Why has she held off on selling her art? And what drives her to keep pushing forward? Read on to discover the fascinating story behind this visionary artist.

Can you tell us about your childhood and how it influenced your artistic journey?

Growing up, I didn’t have the traditional family lifestyle. I grew up with six siblings, my parents were divorced, and my mother raised the children.

Did you have any early experiences with art in school?

I remember my art teacher would let me work in the classroom so I wouldn’t have to stay in my history class.

When did you meet your husband, and how did your career evolve over the years?

I met my husband in 1987 and got married in 1988. I continued to work in the medical field for 17 years and the food service industry for 25 years while following my artistic path. I took on the jobs that nobody wanted since it was difficult to work full-time and pursue my art career. I spent every waking moment creating and marketing my art for 26 years, sometimes working two part-time jobs.

What initially inspired you to become an artist?

I don’t recall being inspired to be an artist; it was just who I am. I remember liking art more than any other class.

How would you describe your artistic style?

I would describe my art style as abstract and contemporary. I mastered it immediately after taking a one-week workshop.

Do you prefer working with specific materials or formats?

I have been painting on the same size museum-quality hot-compressed paper, 22×30 inches and 30×36 inches.

What challenges have you faced in becoming a full-time artist?

It was very difficult becoming a full-time artist. I have faced many challenges and wanted to give up many times. It can be embarrassing to put yourself in the public eye since people are often very critical. However, I’ve learned to embrace criticism.

Where was your first major exhibition?

My first ten paintings were exhibited at the governor’s office in Salem, Oregon, in 1999. This motivated me to produce a few hundred paintings since then.

Can you share your creative process and how you generate new ideas?

I come up with innovative art ideas using my imagination. I see creativity in everything I do.

Do you work on multiple pieces at once?

Yes, I work on several paintings at the same time. If I have a creative block, I set that painting aside and move on to another.

What makes your art unique?

My art is unique because I don’t copy anyone. I use my imagination and intuition to create my paintings.

Do you experiment with different mediums?

I experience new mediums all the time and use anything I can get my hands on to create my abstract paintings.

Who is your favorite artist, and why?

My favorite artist is Jackson Pollock. I love the freedom in his art.

How do you surround yourself with art in your daily life?

I surround myself with my own art.

Do you explore recurring themes in your work?

No, I never know what I will end up with when painting.

Do you have a specific technique or process for starting a painting?

I have a routine of layering various types of paper on hot-compressed paper and pouring watercolor, gouache, and acrylic over it. After letting it dry, I peel it off and start using my imagination. This is the beginning process of each painting.

What do you believe is the most important skill for an artist?

The primary skill to becoming a good artist is to create as much as possible. Every time I create, I learn something new—often by making a mistake.

Do you feel pressure to compete with other artists?

I never feel pressure or competition from other artists. I strictly focus on my own work.

What advice would you give to emerging artists?

You will need to wear many hats, and it’s not an easy road. Be prepared to embarrass yourself and take lots of criticism. Do not copy someone else—be true to your own work.

Have you ever collaborated with other artists?

I collaborated once with other artists in a show for the City of Gresham, Oregon. However, I felt that my art was too sophisticated for the show. I consider myself a solo artist.

How do you balance the commercial and creative aspects of being an artist?

Balancing the commercial aspect with the creative side requires a separate mindset.

Have you sold your art?

I have not sold my art since I started in 1988. Most of my sales have been through charity auctions. After I was published and inducted into the Hall of Fame in 2009, I held off on selling my art. I don’t know what price to put on my work, and I hope to get into an auction house to find out.

How do you promote your art?

I have been promoting my art for years through magazines, social media, news releases, and online galleries.

Have you ever taken on commissioned work?

I tried a commission project once, and it was a very unpleasant experience. It was nothing like what the client wanted. I vowed never to do it again.

What are your thoughts on the changing art market?

I like how the art market is evolving, except for crypto payments. My bank does not accept them, and there is too much fraud involved.

How do you stay updated with trends in the art world?

I stay updated with social media regarding trends in the art market.

What role does social media play in the career of a contemporary artist?

Social media plays a huge role in an artist’s career. It allows them to show videos of their process and engage with a global audience.

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Darla Farner: A Trailblazer in Abstract Expressionism

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The post Exclusive Interview with Darla Farner: Unconventional Abstract Expressionism appeared first on World Art News.

By Jennifer McKay

Darla Farner is an accomplished abstract expressionist painter whose work captivates with its dynamic energy, vivid color palettes, and emotional depth. Her artistic style draws comparisons to Jackson Pollock, as she emerges as a female leader in the realm of expressive abstraction. Farner’s paintings exude a unique vibrancy, often weaving elements of hidden surrealism and geometric abstraction, reminiscent of the works of Sayed Haider Raza. With an intuitive approach, she channels raw emotions onto the canvas, resulting in compositions that are unfiltered, powerful, and deeply engaging.

Born in East Chicago, Indiana, and now residing in Idaho, Farner’s artistic journey began in earnest in 1998 when she took an experimental watercolor workshop at Cannon Beach, Oregon, through Portland State University. Under the guidance of award-winning artist Pat San Soucie, she quickly developed a passion for painting, leading her to establish a style that is distinctly her own. Her work has since evolved into a remarkable fusion of free-flowing abstraction and deliberate geometric structuring, creating a compelling interplay between chaos and order.

Farner’s use of color is a defining feature of her work. She employs both high-contrast and complementary color schemes, showcasing her ability to command visual impact while also demonstrating nuanced tonal variation. This mastery of color enhances the emotional resonance of her paintings, allowing viewers to immerse themselves in the dynamic movements and depths within her compositions.

As an artist driven by intuition, Farner embraces the philosophy of artistic freedom, rejecting rigid constraints and allowing her imagination to dictate her creative process. Her work serves as an invitation for viewers to embark on a journey of exploration, where each painting becomes a portal into the subconscious. Through her brushwork, she seeks to create an escape from reality, offering a sanctuary of boundless expression and interpretive depth.

Farner’s artistic accomplishments are notable. She has been recognized in multiple editions of Marquis Who’s Who of American Women, Who’s Who in America, and Who’s Who in the World. In 2009, she was inducted into the Hall of Fame for Distinguished Accomplishments by the American Biographical Institute.

Additionally, her work has been featured in various publications, including Word Catalyst Magazine, Prick of the Spindle, and Blood Lotus, further solidifying her influence in the artistic community. Her art book, Vibrant Abstract, was published in 2007, providing a deeper insight into her artistic philosophy and body of work.

Beyond her personal achievements, Farner has generously contributed to the arts through charity auctions, donating several of her paintings to support various causes. Her dedication to her craft and her desire to share her work with a wider audience underscore her commitment to the artistic community.

Looking ahead, Farner continues to expand her creative horizons. While she has primarily worked with watercolors, she expresses an interest in exploring canvas painting, signaling an exciting new phase in her artistic evolution.

Darla Farner’s legacy as an abstract expressionist is one of fearless creativity and unyielding passion. Her work stands as a testament to the power of intuitive artistry, offering viewers an ever-expanding universe of color, movement, and emotion. As she continues to push the boundaries of abstraction, her influence in the contemporary art world remains profound and enduring. To learn more about Darla Farner and her work, connect with her on LinkedIn or visit her website at darlafarner.blogspot.com.

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Who is Anna Teresa Laurita: Feminine Neo-Expressionism

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BY ALBERT CHEN

Amid continued strong demand for Surrealist art, Bonhams achieved ‘white glove’ results—100% of lots sold—for Surrealist Treasures | The Urban S. Hirsch III Collection. The highly anticipated auction, which concluded on January 17 in Los Angeles, garnered an astonishing $778,000 in total sales, with numerous lots exceeding pre-sale estimates and setting new records.

The collection, a meticulously curated selection of over 120 Surrealist and Old Master prints and unique works, was assembled by the late Urban S. Hirsch III (1941–2024), a renowned businessman and philanthropist. Hirsch’s discerning eye and passion for graphic works were on full display, attracting intense bidding from collectors across the globe.

The undeniable centerpiece of the auction was The Seven Deadly Sins (1558) by Flemish Renaissance master Pieter Bruegel the Elder. This intricate set of prints sold for $89,400—more than four times its estimate—achieving a record price for the edition. The success of Bruegel’s work was matched by another of his creations, The Seven Virtues (c. 1559-60), which fetched $33,280.

Among the Surrealist highlights, Leonora Carrington’s enigmatic Tuesday (1987) stunned the auction world, selling for $76,700—38 times its estimate and achieving a record for the edition. Similarly, Dorothea Tanning’s evocative Birthday (Self Portrait at Age 30) (c. 1970) fetched $20,500, more than six times its estimate and a new high for the edition.

Additional standout sales included Belvedere (1958), a lithograph by the legendary M.C. Escher, which achieved $51,200—double its pre-sale estimate. Pedro Friedeberg’s whimsical Eight Hand and Foot Table (circa 1970) sold for $15,360. René Magritte’s surreal lithograph Les Bijoux Indiscrets (Kaplan 3) (1963) also fetched $15,360.

Morisa Rosenberg, Head of Prints & Multiples in Los Angeles, attributed the auction’s success to the exceptional curation of the collection. “We are thrilled with the success of this exceptional collection,” Rosenberg said. “Hirsch used his passion for graphic works and in-depth knowledge to thoughtfully curate an incredibly interesting selection of high-quality works which really excited collectors.”

The white glove achievement underscores the enduring appeal of Surrealist and Old Master works, while the record-breaking prices highlight the growing demand for rare and historically significant pieces. Urban S. Hirsch III’s legacy as a collector and connoisseur has now been cemented, his vision celebrated in a landmark event for the art market.

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Surrealist Art Market Shows Strong Momentum with Record Sales and High Demand

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Story submitted by Bonhams. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News

The post Surrealist Prints Achieve Historic White Glove Success with 100% of Lots Sold at Auction appeared first on World Art News.

In the third part of our exclusive interview with New York photographer Evelyn Freja, we delve deeper into the intricacies of her craft and the philosophy that drives her work. Evelyn shares her thoughts on the competitive nature of the photography industry, the importance of business acumen, and the ethical considerations she takes into account when capturing her subjects.

She also discusses the collaborative process with her partner and the impact of digital technology and social media on modern photography. Join us as we explore the mind of a photographer who is not only passionate about her art but also dedicated to inspiring the next generation of creatives.

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Part 2 of Our Exclusive Interview with Evelyn Freja

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With so many photographers capturing stunning images worldwide, do you ever feel the pressure of competition?

Being competitive is often seen as a negative attribute but actually, it can be very inspiring and rewarding to see what everyone else is doing and how they’re doing it. With art and photography, most everything has already been “done”. That’s very freeing.

How do you ensure that your work stands out in such a saturated industry?

There is a certain kind of freedom that comes with accepting that we are one tiny, miniscule part of this world– that there are a thousand other photographers living and working in New York City, taking photographs alongside you.

How do you manage the business side of photography, such as marketing, client relations, and portfolio management?

You can be the best, most creative photographer out there, but if you can’t manage the business side of photography, it will be a very difficult, uphill battle. I have spreadsheets. Lots of spreadsheets. Ones dedicated to paying assistants and spreadsheets keeping track of invoices and spreadsheets relating to taxes. It’s the very unglamorous side to taking photos but it’s a big part of running a business and staying organized.

What ethical considerations do you take into account when photographing people, wildlife, or sensitive subjects?

On each shoot, before I take out my camera, I always chat with the subject first. No matter if it is a full day shoot or we only have ten minutes, I want to be sensitive to who they are, their background and where they are coming from.

Have you ever collaborated with other artists or photographers, and how did that experience influence your work?

I collaborate with my partner who is also a photographer. Some days, he’ll assist me on shoots, other days I’ll assist him. It’s a beautiful thing where you can watch your partner grow and thrive and support them– all while watching each other create photos!

Can you share any projects you’re currently working on?

The past few years, I’ve spent photographing a local women’s sports team in New York City. I’ve gotten to know the players, each one coming from different nations and backgrounds, and am excited to explore the role of changing culture and sport and women the rest of the year before hopefully finding this project a good home online or in print.

In your view, how has the field of photography evolved with the rise of digital technology and social media?

Digital technology and social media play a huge role in photography nowadays. When photography first was introduced to the world, it was an uncommon practice reserved for the wealthy upper class. Now, anyone can take photos. Technology and knowledge are at the tips of our fingers, it’s a really exciting time to be alive. I can be scrolling on social media and come across a photographer living in Argentina making portraits of her village there. It’s an amazing feat to be able to drop into different photographers’ lives and work from all across the corners of the world.

Who are your favorite photographers?

Naturally, I’m a huge fan of the classics: the Avedons of the world and the Shermans. But I’m also inspired by the photographers who are in my life: my friends and colleagues who are consistently pushing the boundaries of photography and art.

What do you hope people feel or think when they see your photographs?

Beautiful truths. I hope people see the subjects I’ve photographed in their raw form, whatever that may be.

What legacy do you hope to leave in the world of photography?

I hope to inspire and uplift the next generation of photographers, and the next, and the next. Who knows, though? There’s a big wide world out there with an endless supply of amazing photographers and artists.

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Photographing Paradox: Exclusive Interview with Dustin Ha

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BY MARK ANDERSON

Paul Delvaux’s enigmatic nude masterpiece L’Orage (The Storm), painted in August 1962, recently captivated the art world at Bonhams auction in London, achieving $1.6 million (£1,318,900). A hallmark of Delvaux’s surrealist vision, the painting was the top lot of Bonhams’ 20th/21st Century Art Evening Sale, part of their successful 20th/21st Century Art Week, which totaled $11 million in sales.

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The Allure of L’Orage

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L’Orage reflects Delvaux’s fascination with mystery, human vulnerability, and the subconscious. The painting features a solitary nude woman on the right, holding a red fabric cover as she delicately smells a small red flower. In the background, two nude women embrace under a white blanket, separated from the foreground by a barbed-wire fence. A cottage-like house hosts yet another topless woman, and the entire tableau is set against the backdrop of an ominous thunderstorm, with dark clouds casting a surreal and dramatic effect over the scene.

The painting encapsulates Delvaux’s signature tension between tranquility and unease, highlighting his mastery of juxtaposition: serene figures amidst dramatic, otherworldly settings.

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Why Delvaux Focused on Nudes

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Delvaux’s focus on nudes was deeply rooted in his artistic and personal history. Initially trained in architecture, he found inspiration in the classical world and the idealized human form. However, his use of nudes diverged from traditional portrayals, creating figures that appear detached, introspective, and often enigmatic.

Psychologically, Delvaux’s obsession with nudes has been linked to early experiences. In interviews, he described his childhood fascination with anatomy and the human body, stemming partly from strict maternal influences that created a sense of repression. His artistic exploration of nudes was an act of liberation, transforming them into timeless, almost mythical beings in surreal landscapes.

Delvaux was also profoundly influenced by 19th-century academic painting, as well as Symbolist poets and artists who sought to evoke inner emotions rather than replicate reality. Female figures became central to his work, embodying mystery, beauty, and the intangible nature of dreams.

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Delvaux’s Legacy

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Paul Delvaux (1897–1994) remains a pivotal figure in 20th-century art, celebrated for his ability to blend classical technique with surrealist imagination. His fascination with timeless themes—desire, mortality, and the passage of time—finds full expression in L’Orage.

By combining the human form with dreamlike settings, Delvaux invites viewers into a meditative, otherworldly realm. The sale of L’Orage reaffirms his enduring appeal among collectors and solidifies his place as one of the most intriguing voices in surrealism.

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Modigliani’s Female Nudes and Their Record-Breaking Prices

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Story submitted by Bonhams. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News

The post Surreal Nudes: Paul Delvaux’s Masterpiece L’Orage Sells for $1.6 Million appeared first on World Art News.

BY ALBERT CHEN

A masterpiece by the celebrated 19th-century Italian painter Francesco Hayez has shattered expectations at Christie’s Old Masters Evening Sale in London, setting a new world auction record for the artist. Bathsheba, an evocative oil painting dating back to 1827, sold for an astonishing £1,492,000 ($1,893,348 / €1,799,352), nearly doubling its pre-sale estimate of £600,000–£800,000.

This extraordinary result was part of a highly successful auction that realized a total of £13,990,200 ($17,753,564 / €16,872,181), marking one of Christie’s most lucrative Old Masters sales to date. The sale boasted a 98% sell-through rate by value, the highest ever achieved for Christie’s London in this category. Maja Markovic, Head of Old Masters Evening Sale, expressed her excitement: “This auction far exceeded expectations, with strong interest from institutions, private collectors, and trade clients alike. It’s a testament to the enduring appeal of rarity, provenance, and artistic innovation across centuries.”

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A Rediscovered Masterpiece with Royal Provenance

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Bathsheba is hailed not only for its technical brilliance but also for its storied provenance. The painting was first acquired directly from Hayez by King William I of Württemberg at the 1827 exhibition at Milan’s Brera Academy. According to Hayez’s memoirs, the king, captivated by the painting’s beauty and mastery, paid the artist’s full asking price on the spot.

After passing through royal collections and private hands over the centuries, the work resurfaced in 1998, when its rediscovery was lauded by renowned Hayez scholar Fernando Mazzocca as “one of the most sensational rediscoveries in the history of 19th-century Italian art.”

This sale reaffirms Bathsheba’s status as a cornerstone of Hayez’s early career. As the first of three paintings the artist created on this biblical subject, it showcases his innovative approach to the female nude. Combining Renaissance-inspired naturalism with Neoclassical ideals of beauty, Hayez imbued Bathsheba with sensuality and psychological depth, elevating the subject far beyond mere narrative.

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The Allure of Bathsheba

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The painting captures the pivotal moment in the biblical tale when King David, visible in the background, first gazes upon the bathing Bathsheba. Yet, the narrative takes a backseat to the painting’s stunning artistry. Rendered in luminous tones, Bathsheba’s pale skin contrasts dramatically with the dark background, drawing attention to the graceful curves of her body. Her intelligent, alert gaze meets the viewer’s, creating a sense of immediacy and intimacy. The golden bangle that slightly tightens around her upper arm adds a subtle, tactile realism, underscoring Hayez’s commitment to naturalistic detail.

In his memoirs, Hayez described Bathsheba as an experimental work, painted not on commission but as an exercise in large-scale nude composition. It was also an opportunity for the artist to merge influences from Old Masters like Titian and Giulio Romano with the ideals of his time. While the biblical theme provided a moral justification for public display, the painting was, above all, a groundbreaking exploration of sensuality and naturalism.

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A Historic Night for Christie’s

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The sale of Bathsheba capped an evening that also featured other extraordinary works, including Anthony van Dyck’s Two-Sided Andalusian Horse and a Wooded Landscape. The results reinforce the enduring appeal of Old Masters in the modern market, especially when combined with impeccable provenance and fresh-to-market appeal.

As Classic Week at Christie’s continues, collectors and institutions alike remain captivated by the timeless allure of works like Hayez’s Bathsheba—masterpieces that transcend their centuries to speak to the universal themes of beauty, power, and desire. For Christie’s, and for the art world at large, the sale of Bathsheba is not only a historic moment for Hayez’s legacy but also a reaffirmation of the enduring power of Old Masters to inspire awe, even in a modern era.

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Monet’s Masterpiece Smashes Records at Christie’s with a Staggering $74,010,000 Sale

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The post Francesco Hayez’s ‘Bathsheba’ Painting Sets Record with $1.8 Million Sale at Christie’s appeared first on World Art News.

BY ALBERT CHEN

Jessica Dismorr (1885-1939), a pioneering figure in British modern art, has achieved a new auction world record at Bonhams recent Blazing a Trail: Modern British Women auction in London. The sale, which ran online from September 9 to 18, showcased the largest known private collection of works by Dismorr, with the centerpiece, Woman Seated (Self-Portrait), selling for £57,600 (approximately $73,000). The final price far surpassed its pre-sale estimate of £4,000–6,000 (approximately $5,000–$7,600), cementing Dismorr’s position as a significant figure in 20th-century art.

The works came from the Quentin Stevenson Collection, which spanned over two decades of Dismorr’s career and featured 19 pieces. The auction overall achieved a total of £924,660 (approximately $1,170,500), with 82% of lots sold. Notably, more than half of the works sold for amounts at or above their upper estimates, underscoring the strong demand for pieces by British female artists.

Ingram Reid, Head of Bonhams Modern British Art Sale, highlighted the success of the auction. “Over the past four years, our Blazing a Trail series has represented nearly 100 women artists, celebrating their incredible contributions to British art. This year’s sale exceeded expectations, with Jessica Dismorr’s Woman Seated (Self-Portrait) leading the way. Other artists, including Winifred Nicholson, Sophie Ryder, and Emily Young, also performed exceptionally well, reinforcing our position as the leading auction house in this category.”

The auction also featured other notable sales from artists such as Winifred Nicholson, whose Christmas Present fetched £55,200 (approximately $70,000), and Emily Young, whose sculpture Fertility Torso with Head sold for £48,000 (approximately $60,800). Sophie Ryder’s Dancing Hares achieved £40,800 (approximately $51,600), while Sheila Fell’s Village in Cumberland garnered £24,000 (approximately $30,400).

Jessica Dismorr (1885–1939) was a trailblazer in modern art, as one of only two women to join the Vorticist movement and the sole female member of Group X. Her work bridged movements, with exhibitions spanning the Allied Artists Association, the Seven and Five Society, and the London Group. This historic auction not only elevated her legacy but also reaffirmed the growing recognition of modern British women artists.

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Musée d’Arts de Nantes Acquires Jane Graverol’s Painting for Over €71,000

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Story submitted by Bonhams. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News

The post Jessica Dismorr’s Self-Portrait Sets New Auction World Record at Bonhams appeared first on World Art News.

BY ALBERT CHEN

The surrealist art market is currently experiencing a notable period of growth, evidenced by strong auction results and heightened collector interest. Recent sales in New York, Paris, and London reflect a robust appetite for works from this historically significant movement. René Magritte’s L’empire des Lumières (1954) led the market in 2024, achieving $121.16 million at Christie’s New York—the highest price ever paid for a surrealist artwork. This sale underscores a broader trend of sustained demand for surrealist pieces, both from marquee names and historically underrepresented artists.

Across major sales, 85% of surrealist lots were sold, with a remarkable 95% success rate by value, signaling consistent interest and competition among collectors. Auction houses such as Christie’s, Sotheby’s, and Bonhams have reported strong performances, with many works exceeding their high estimates. These outcomes suggest a strategic pivot within the art market, as buyers increasingly view surrealism as both a culturally significant and financially rewarding segment.

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Key Auction Highlights

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The sale of Magritte’s L’empire des Lumières was emblematic of the market’s strength. Renowned for its interplay between daylight and night, the painting attracted intense bidding, ultimately selling for $121.16 million and setting a new benchmark for the genre. This achievement was part of Christie’s sale of the Mica Ertegun collection, which realized consistently high results, including Magritte’s La cour d’amour at $10.53 million and La Mémoire at $3.68 million.

Sotheby’s Modern Evening Sale in New York reinforced this trend, achieving $11.3 million for Leonora Carrington’s La Grande Dame (1951)—a record for her sculptural work. This follows Carrington’s earlier 2024 milestone, with Les Distractions de Dagobert selling for $28.5 million in May. These results highlight increasing recognition of Carrington’s influence within surrealism and reflect a broader focus on women artists in the genre.

In Paris, Sotheby’s and Bonhams staged successful surrealist-themed auctions, with high sell-through rates and strong performances across a variety of artists. At Sotheby’s, Salvador Dalí’s Rose méditative (1958) realized €3.9 million, far exceeding its €1 million high estimate. Similarly, Jane Graverol’s La Frôleuse (1969) achieved €576,000, nearly doubling its estimate. Such results underscore a growing demand for both established and rediscovered names within surrealism.

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Drivers of Market Growth

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The current strength of the surrealist art market can be attributed to several key factors shaping its trajectory. First, the centennial celebrations marking 100 years since surrealism’s inception have significantly amplified its visibility. Exhibitions such as the Centre Pompidou’s Surréalisme have not only drawn attention to major works but also reinvigorated interest in lesser-known artists, creating a ripple effect across the market. The increased scholarly and institutional focus has elevated the genre’s profile among both seasoned collectors and new entrants.

Additionally, the themes central to surrealism—ambiguity, duality, and dreamlike escapism—have found renewed resonance in contemporary culture. These concepts, as epitomized by works like Magritte’s L’empire des Lumières, reflect the tensions and uncertainties of modern life while offering an imaginative refuge. This cultural alignment enhances the appeal of surrealist art, making it both timeless and increasingly relevant to today’s audiences.

Efforts to promote inclusivity within the art world have also played a crucial role in the genre’s growth. A surge of interest in underrepresented figures, particularly women surrealists, has broadened the movement’s appeal and market dynamics. The record-breaking sales of works by Leonora Carrington and strong results for artists like Kay Sage and Jane Graverol exemplify this shift.

The inclusion of diverse narratives within surrealism has not only enriched its historical narrative but also driven competitive bidding and elevated prices for works previously overlooked by the mainstream market. This confluence of institutional focus, cultural relevance, and expanded representation has positioned surrealism as a vibrant and dynamic segment of the art market, attracting both collectors seeking prestige pieces and investors looking for value appreciation.

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Implications for Collectors and Investors

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The sustained interest in surrealism represents a strategic opportunity for collectors. Auction results indicate that the market rewards both established masterpieces and emerging or rediscovered works, providing a range of entry points. High sell-through rates and frequent record-breaking sales suggest that surrealist art is not only culturally significant but also a stable and appreciating asset class.

As centennial celebrations conclude, the art market is likely to maintain its focus on surrealism, supported by its historical importance and enduring relevance. Collectors and investors would be well-advised to monitor the genre closely, as it continues to assert itself as a cornerstone of the modern and contemporary art markets.

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By Jennifer McKay

Anna Teresa Laurita is an emerging figure in contemporary neo-expressionism, bringing a distinct perspective to a genre historically dominated by male artists, such as the legendary Jean-Michel Basquiat. Laurita’s art is marked by the use of vivid, contrasting colors and an approach that emphasizes emotional depth and personal experience. This focus allows her work to balance the expressive freedom characteristic of neo-expressionism with a unique infusion of femininity and introspection.

Laurita describes her creative process as one that starts with an oniric, almost dream-like quality, evolving into a more structured interplay of line and color. Her technique, while appearing simplistic at first glance, gradually reveals layers of complexity as she builds each composition. The result is work that feels both deliberate and spontaneous, illustrating a seamless transition from raw emotion to cohesive artistic expression.

The use of bright, contrasting colors is central to Laurita’s practice. These choices contribute to artworks that are visually engaging and convey a sense of energy. However, her compositions are not just about the impact of color; they are carefully constructed to evoke deeper reflection. The balance between bold modernity and thematic subtlety allows her pieces to appeal to contemporary audiences who seek art that engages both visually and intellectually.

Laurita herself notes that she often discovers new dimensions within her work once it is completed. This element of surprise becomes an integral part of her process, suggesting that the final piece evolves beyond its initial conception. For the viewer, this evolution translates into an artwork that invites interpretation, stimulating thought and imagination.

While her pieces are dynamic, they remain grounded in a form that conveys narrative. Each artwork exists as a standalone story, rich with potential meaning and open to individual interpretation. Laurita’s aim is not just to present her own perspective but to encourage viewers to engage with the work on their terms, making each piece an interactive experience in thought and emotion.

Anna Teresa Laurita’s contribution to neo-expressionism offers a perspective that merges personal reflection with broader artistic dialogue. Her works aspire to serve as a space for contemplation and emotional resonance, adding a nuanced voice to the contemporary art scene.

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The post Who is Anna Teresa Laurita: Feminine Neo-Expressionism appeared first on World Art News.