The Life of Carlos Henrique Oswald Gasperini
Born in Florence, Italy, in 1882, Carlos Henrique Oswald Gasperini lived through a period of significant change. His life and work moved between the traditions of his birthplace and the evolving art scenes of South America. He passed away in 1971, leaving behind a body of work that has found its way into several important collections.
His presence in the art world is felt through pieces held in institutions such as the Museum of Modern Art of São Paulo (MAM) and the Museu Nacional de Belas Artes. These works exist in spaces that have documented the shifts in modern painting over many decades.
Artistic Presence and Collections
The work of Carlos Oswald often appears in contexts related to modernism. His paintings and prints have been part of various exhibitions across Brazil, including shows in Curitiba, São and Rio de Janeiro. Some of his pieces are kept in the following locations:
- Museu de Arte Moderna de São Paulo (MAM)
- Museu Nacional de Belas Artes
- CAM - Casa Andrade Muricy
- Museu de Arte do Rio Grande do Sul - MARGS
In the auction market, his paintings have reached prices of 5,000 USD. His prints and graphic arts have also been traded, with some reaching 2,375 USD. One specific work, Still Life with Coconuts, stands as a notable example of his output during his career.
Spørsmål og svar
Hvordan er Carlos Oswald sin karriere delt inn i perioder?
Karriereløp til Carlos Oswald er en rullebar tidslinje som presenterer kunstnerens verk i kronologisk rekkefølge, gruppert i kapitler etter ulike perioder i karrieren.
Hvilken by og hvilket land er Carlos Oswald født i?
Carlos Oswald ble født i Florence i Italy.
Hvor finner jeg Carlos Oswald sine kunstverk gruppert etter kunstretning?
Se kunstretningene Carlos Oswald arbeidet innen på kunstnerens Alle kunstretninger-side, hvor verkene er gruppert etter stilretning.
Hvor finner du Carlos Oswald sine kunstverk organisert etter farge?
Carlos Oswald sine verk kan utforskes etter farge på kunstnerens Sorter etter farge-side.
