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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
May 22, 2012 | Bonhams | London | The Greek sale | 36 | $****** - ****** | Female nude |
paintings
200 x 75 cm (78.74 x 29.53 in)
oil on canvas
signed in Greek (lower right)
~Athens, National Gallery and Alexander Soutzos Museum, Diamantis Diamantopoulos, Athens 1978, no 245 (illustrated in the catalogue).~Venice, Biennale 1982, no. 33.~
~To Trito Mati magazine, no.4, April-December 1978, fig. 20, p. 23 (illustrated).~~One of the 61 paintings that represented Greece in the 1982 Venice Biennale, this striking monumental nude of commanding presence, austere grandeur and expressive candour represents the culmination of Diamantopoulos's figurative premise. Emphasizing the immediacy and blooming physicality of the female figure with bold sculptural forms, Diamantopoulos treated his subject as an archetypal image that, while stemming from the very heart of his homeland, transcends the culturally specific to formulate an artistic statement that is valid beyond the confines of time and space.1 ~ ~From the early 1950s to the late 1970s, the most creative period of his career during which Nude was painted, the artist focused on representations of ordinary people that seem to occupy a space beyond the boundaries of the canvas.2 During this period "he approaches his fellow man with more affection and warmth. He turns away from hard outlines, the two-dimensional handling of his subjects and the paratactic arrangement of colours. His contours now become soft and hardly perceptible, fading into the adjoining tones. Volume is no longer formed through organic curvilinear themes but moulded with colour and projected from neutral backdrops. To achieve this projection the artist builds up his forms with layers of colour, starting with dark tones and progressively using lighter ones (influence of Byzantine painting.) In his finest moments his human figures take on such an inner intensity that they seem to balance between realism and expressionism. In these cases, his palette is simplified, his pictorial plane spacious and his distortions of design astutely expressive. His large-scale female nudes, as the one illustrated is one of the best examples of this body of work."3 ~~1. B. Spiliadi, Diamantis Diamantopoulos, Painter in Hellas - Biennale Venezia 1982, exhibition catalogue, Greek Ministry of Culture, Athens 1982.~2. See P. Kounenaki, Diamantopoulos [in Greek], Adam publ., Athens 2005, p.164.~3. E. Ferentinou, The Painting Adventure of Diamantis Diamantopoulos [in Greek], To Trito Mati magazine, no.4, April-December 1978, pp. 22-27.
