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![LA PÉROUSE, Jean-François de Galaup, comte de (1741-1788). Voyage de La Pérouse autour du monde, publié conformément au décret du 22 avril 1791. Paris : imprimerie de la République, an V [1797].Édition originale du célèbre voyage de La Pérouse, à bord de](/assets/image/picture_1431273/64893/d78c32cd8befba20bc150009de2a538d1620043200jpg__fix_374_244.jpeg)
![LA PÉROUSE, Jean-François de Galaup, comte de (1741-1788). Voyage de La Pérouse autour du monde, publié conformément au décret du 22 avril 1791. Paris : imprimerie de la République, an V [1797].Édition originale du célèbre voyage de La Pérouse, à bord de](https://veryimportantlot.com/assets/image/picture_1431273/64893/d78c32cd8befba20bc150009de2a538d1620043200jpg__fix_374_244.jpeg)
Benjamin Péret was a French poet and writer, celebrated as one of the most prominent figures in the Surrealist movement. His work is renowned for its imaginative depth and revolutionary spirit, embodying the essence of Surrealism's quest to liberate thought, language, and human experience from the constraints of rationality and conventional morality. Péret's poetry and writings are marked by a unique blend of dream-like imagery, sharp wit, and a fervent commitment to political and social change, reflecting his deep involvement with Surrealism and its foundational beliefs in the liberating power of the unconscious mind.
Throughout his career, Benjamin Péret made significant contributions to the development of Surrealist theory and practice, collaborating closely with other key figures in the movement such as André Breton. His work often explored themes of love, freedom, and the subversion of established norms, using language and imagery in innovative ways to challenge the reader's perceptions and provoke a deeper engagement with the irrational and the mysterious aspects of life. Péret's commitment to Surrealism was not only artistic but also political, as he actively engaged in radical political activities, reflecting his belief in the potential of Surrealism to effect social and cultural transformation.
Despite the richness and diversity of his contributions to art and literature, Benjamin Péret remains a somewhat underappreciated figure outside the circles of Surrealism enthusiasts and scholars. However, his work continues to inspire artists, writers, and thinkers who are drawn to its visionary qualities and its challenge to the boundaries between reality and imagination. For collectors and experts in art and antiques, Péret's writings and his role in the Surrealist movement offer a fascinating insight into one of the most innovative and transformative periods in modern culture.
To stay informed about the latest discoveries and opportunities related to Benjamin Péret, including new product sales and auction events, sign up for our updates. This subscription is designed specifically for enthusiasts and collectors eager to deepen their understanding and appreciation of Surrealist art and literature.
Giovanni di Niccolò de Luteri, better known as Dosso Dossi, was an Italian Renaissance painter who belonged to the School of Ferrara, painting in a style mainly influenced by Venetian painting, in particular Giorgione and early Titian.
From 1514 to his death he was court artist to the Este Dukes of Ferrara and of Modena, whose small court valued its reputation as an artistic centre. He often worked with his younger brother Battista Dossi, who had worked under Raphael. He painted many mythological subjects and allegories with a rather dream-like atmospheres, and often striking disharmonies in colour. His portraits also often show rather unusual poses or expressions for works originating in a court.
Niccolò di Pietro Gerini was a pivotal figure in the Italian art scene of the late Gothic period, celebrated for his contributions that spanned from the late 14th to the early 15th century. Born in Florence around 1340, Gerini's artistry flourished within the walls of his native city, although his talent also led him to work in Pisa and Prato. Unlike the innovative currents that swept through the art world during his time, Gerini remained faithful to traditional compositions, favoring stiff and dramatic movements in his figures.
Gerini's education and career were deeply intertwined with the artistic guilds of Florence. His father's membership in the Guild of Saint Luke in 1339 paved the way for Gerini's own entry into the Arte dei Medici e Speziali Guild by 1368, a testament to his early involvement in the city's artistic fabric. His works, marked by their large chins, sloping foreheads, and sharp noses, bore the influence of Gothic depictions, aligning him with the schools of Giotto di Bondone, Andrea di Orcagna, and Taddeo Gaddi.
Throughout his career, Gerini collaborated with notable artists like Jacopo di Cione, contributing to frescoes for the Guild hall of the Judges and Notaries in Florence and working on significant projects such as the altarpiece for the Coronation of the Virgin at San Pier Maggiore, Florence. His ability to blend architectural design with his painting skill is evident in these collaborations.
Gerini's paintings, including the triptych from 1387 housed in the National Gallery, London, and the Crucifixion, showcase his mastery over egg tempera on wood, a medium through which he conveyed religious narratives with profound solemnity and intricate detail. His works are preserved in prestigious collections, including The Hermitage, St. Petersburg, and the Alte Pinakothek, Munich, reflecting his enduring legacy in the annals of art history.
For collectors and experts in art and antiques, Gerini's oeuvre offers a rich exploration of late Gothic artistry, characterized by its adherence to traditional values while simultaneously capturing the spiritual and cultural nuances of his time. To stay informed on new discoveries and auction events related to Niccolò di Pietro Gerini, signing up for updates is a valuable resource for enthusiasts keen on this remarkable period of art history.
Gino Sarfatti was an Italian engineer and interior designer.
Vittoriano Viganò was an Italian architect and designer based in Milan. He graduated from the Polytechnic University of Milan in 1944, and had there a long career as a Professor in Interior Architecture and Urban Planning. He also worked as an Art Director of Arteluce for several years. Viganò always kept his eyes open to new emerging currents, and became known as a skilful interpreter of rationalist and brutalist architecture.
Maître François was a French illustrator who worked in Paris in the 1460s-1480s.
The identity of Maître François as an artist is first mentioned in a letter written by Robert Gauguin in 1473. Most of the prestigious commissions from the court and leading ecclesiastical figures of the time were carried out in François' studio. In Paris in the second half of the fifteenth century, one can trace the predominant style of illumination by the works of Master Jean Rolin, Maître François, and Master Jacques de Besançon. Bibliophiles close to the royal court encouraged the work of miniaturists through private commissions. In particular, Jacques d'Armagnac owned six manuscripts of Maitre Francois and his entourage.
Boccaccio's De casibus virorum illustrium was very popular in the 15th century, where the author retells the fates and downfalls of famous personalities from the Bible, antiquity and medieval history, ending with Boccaccio's own contemporaries in 14th-century Florence. For a long time this book was even more famous and successful than Boccaccio's Decameron. The text was translated into French in 1409 for Jean, Duke de Berry, by his secretary Laurent Premieffe. And the illustrations for the book were later created in the workshop of the then respected Maître François.
