Kunstmarkt-News über Bridget RILEY (1931)
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Women abstract artists [21.05.2021]
They were daughters, sisters, wives, mothers, muses… but above all, artists A special focus The Pompidou Center in Paris has just reopened (19 May) with a major exhibition that highlights the contributions of a hundred female artists to the field of Abstract Art up until the 1980s (with a couple of unprecedented forays into […]
The Top 20 female artists in the global Art Market during 2018 [22.01.2019]
Although women account for half of the world’s population (and therefore half of the world’s intelligence, sensitivity and inspiration…), they are still substantially under-represented on the global Art Market. Looking back, women did not become a regular part of art history’s narrative until the end of the 19th century. However, today’s secondary art market is […]
Before the summer break, a sneak preview of the forthcoming London sales [08.07.2013]
The last major sales before the holidays are the sales of Modern and Post-War British artists at Christie’s and Sotheby’s.
Contemporary Art: ascending price indexes [01.07.2013]
London’s prestige Contemporary Art sales on 25 and 26 June (Contemporary Art Evening Auctions) generated
Op-art [12.04.2013]
Friday is tops! Every other Friday, Artprice offers you the bid ranking for each category. This week: the ten highest bids for Op Art works in 2012.
Art Market News in Brief! [02.11.2012]
Every fortnight, Artprice provides a short round up of art market news.
The dynamism of kinetic art [19.04.2010]
Kinetic art goes back a long way. Its origins – from a multitude of groups and movements – go back to the 1910s and 1920s, an era highly impregnated by the cult of progress and the myth of the machine. Europe, the United States and Latin America were the main cradles for the development of an abstract language that eschewed static art and sought to emulate or trigger movement, whether real or virtual.
OP ART – The optical illusionists are back [02.04.2006]
Op Artists exploit the way the retina works to induce a series of apparent metamorphoses on the flat unchanging surface of their pictures. They ensnare our vision with optical illusions, playing with the phenomenon of retinal afterimages and with the changing position of the viewer in front of the painting.
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