Top-100 artists:
We use our proprietary AI - LiveArt Estimate™ to calculate current market value for each artwork. Based on this data LiveArt is able to provide numerous insights into artist and artwork financial performance, including:
See the measure of artist investment performance relative to risk. A higher ratio suggests better risk-adjusted returns, indicating more consistent performance with less risk.
Explore the most prolific periods in an artist's career based on artwork production volume and current market value. It also segments these periods by category, offering insights into when the most valuable pieces were created in each category.
Free to sign up. No credit card required.
| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Nov 27, 2013 | Dorotheum | Vienna | Contemporary Art, Part I | 965 | $****** - ****** | Visita a Piero |
sculpture
113 x 70 x 35 cm (44.49 x 27.56 x 13.78 in)
patinated bronze
signed Mitoraj
Galerie JGM, Paris
Private Collection, Italy
Paris, Galerie JGM, Mitoraj - Têtes 1980 – 1990, April - May 1991, exhibition catalogue- cat. with ill. on the book cover and on an inside page (unpaginated catalogue) Again and again a head, at once bleak, timeless, melancholy, ruined, fated. Again and again a face turned inward, a mask of interiority, its eyes, open or closed, introspective, always without anguish, an uncanny mix of quietude ans stillness, in the words D. W. Winnicott used to describe the sacred core of the self. We are in the presence of a secret, the pure silence of being. Two things come to mind: the head is a fragment and a depth-a fragment and a depth in dialectical relationship. Theodor Adorno’s thought, that art of the highest calibre pushes beyond totality towards a state of fragmentation, and, Samuel Beckett’s thought, that the only possible spiritualty development is in the sense of depth, converge in Mitoraj’s head. They are enigmatic fragments of spirit, found in a burial ground of ancient consciousness. Archaeological in import, collective archetypes, but also uncanny persons. Greco-Roman, with an Egyptian touch? Suffice it to say these heads signal the emergence of self-conscious humanness-and also its demise, as their hurt condition suggests. When, as Foucault suggests, man will become a hollow concept, washed away like a sign in the sand, these ahistorical heads will remain, as trophies reminding us of what once was, and what might yet again be. This is some of Mitoraj’s strongest, most intense work. (Donald Kuspit)
