Google pulled these images when we typed in Diego Voci. What are your favorite Diego paintings? Please send The Diego Voci Project Team your thoughts and ideas to help with creating our special events. This August 10th 2020, Diego™ would have celebrated his 100 year Birthday. Learn more here: https://en.wikipedia.org/wiki/Antonio_Diego_Voci
Gala and Salvador Dalí
Marina Abramović and Ulay
Christo and Jeanne-Claude
Robert Rauschenberg and Jasper Johns
Frida Kahlo and Diego Rivera
Françoise Gilot and Pablo Picasso
Gwendolyn Knight and Jacob Lawrence
Elaine and Willem de Kooning
Yayoi Kusama and Joseph Cornell
Dorothea Tanning and Max Ernst
Georgia O’Keeffe and Alfred Stieglitz
Diego Voci and Helga Voci
Compliments of DVP https://www.diegovociproject.com/ and https://news.artnet.com/art-world/famous-art-romances-1763217
Even though called “Diego“, until 1965 he signed his works of art some form of “Voci“. See signature gallery below and on Antonio Diego Voci Wikipedia:
From 1962 thru 1965 Diego was represented at the prestigious Schlossgalerie (see below) and an image of a 1965 ad from a Zurich newspaper. He began signing “Diego” in 1966.
As the Diego Voci Project Team puts together our strategies for this Centenary Celebration, we would like to hear from YOU. Please send us your thoughts and ideas to help with creating our special events to email@example.com.
This August 10th 2020, Diego would have celebrated his 100 year Birthday. We can honestly say there has never been a better or more exciting time to be part of the Diego Voci Project family.
Learn more about the internationally collected artist Antonio Diego Voci: https://en.wikipedia.org/wiki/Antonio_Diego_Voci
This painting L’Arlequin Triste by internationally collected artist Antonio Diego Voci (VOH-chee 1920-1985) was wrapped in packaging for 40 years (owned by the original owner of Talbert’s Kleine Galeria in Tacoma, WA.).
Days ago… this painting L’Arlequin Triste arrived to its new owner, packing material removed and looks as if DIEGO had just finished painting this piece.
From the archives of Helga Voci, she shares her words her travels with Diego during the 1980’s to the United States. “On that trip in 1980 we went to N.Y. and Philadelphia where Diego has family still today. We also went to Tacoma, Washington, where Diego had an exhibit in a gallery called – Talbert`s Kleine Galerie in Gig Harbor, WA. Then on to San Francisco, New Orleans, Albuquerque. And again we drove to Colorado Springs. Along the way, we visited with many American friends we had met in Germany. At several places, we had private shows. We both liked the United States very much.” https://www.artifactcollectors.com/diego-history-4330818/Page2.html#44298
To view additional paintings by Diego Voci in a similar style:
Compliments of DVP: https://www.diegovociproject.com/
A prized and rare sculpture by Paul Gauguin that was acquired by the J. Paul Getty Museum for a reported $3 million to $5 million has been deemed a fake.
The sculpture, titled Head with Horns, has been reattributed by researchers to an unknown artist and pulled from the museum’s permanent display, according to the Art Newspaper and Le Figaro. The institution acquired the work in 2002 from Wildenstein & Company, the powerful French-American art-dealing dynasty that is embroiled in a litany lawsuits.
Researchers made the change in attribution quietly last December, and the work was noticeably absent from recent Gauguin blockbusters at Ottawa’s National Gallery of Canada and the National Gallery in London.
The prime pieces of evidence linking the work to Gauguin were two photographs of the sculpture by the artist included in his Tahitian travelogue, Noa Noa. A 2002 press release from the Getty drawing attention to its resemblance to the artist suggested that it may have been a symbolic self-portrait.
“Sculpture by Gauguin is exceedingly rare, and this intriguing work stands out as a superb example,” Deborah Gribbon, then the director of the J. Paul Getty Museum, said at the time of the acquisition. “We feel especially fortunate to be able to display Head with Horns, which will become a natural centerpiece of our installation of symbolist art.”
After being bought by Getty, the piece circulated the world, traveling to shows at Tate Modern in London, the National Gallery of Art in Washington, DC, MoMA in New York, and the Museo delle Culture in Milan.
But the sculpture was never signed by Gauguin, and his photographs of it showed it atop a pedestal not carved in any of how known styles. Originally dated to between 1895 and 1897, which lines up the artist’s time in Tahiti, it is now thought to be from 1894, a time when Gauguin is known to have been in France.
The work has long been questions by some experts. Shortly after the Getty acquired it, Fabrice Fourmanoir, a collector of 19th-century Tahitian photography, found a picture of the sculpture by Jules Agostini captioned “Idole Marquisienne” (Marquisian Idol), suggesting that Agostini thought the piece was by an indigenous artist from the Marquesas Islands, then a part of French Polynesia.
In Agostini’s photo album, Head with Horns is shown next to a portrait of George Lagarde, a collector of ethnographic art who may have been the owner of the sculpture. The photographs both date to 1894.
The sculpture’s provenance was always a bit murky. It was included in a show at the Fondation Maeght in 1997 after being purchased, four years earlier, by Wildenstein & Company from a private Swiss collector. The work was first attributed to Gauguin by Daniel Wildenstein, the author of a Gauguin catalogue raisonné of painting focusing on the years 1873 to 1888. Another volume, covering the years 1888 to 1903, is due at the end of 2020 but will not include sculptures, the Wildenstein Plattner Institute tells Artnet News. They said that, to date, the sculpture has not been submitted to the WPI’s Gauguin committee for research and examination.
This would not be the first time that the Wildensteins have been caught in a public controversy.
The French art-dealing family has been accused of evading taxes in France, hiding missing or stolen artworks, and even of trading artworks with the Nazis during World War II, all claims the family denies.
The Getty is now researching the sandalwood sculpture and its lacewood base to try to learn more about its origins. Some Polynesian art experts say its devilish horns suggest the iconography is not local, but comes from Christian and European sources. Another theory, floated by Fourmanoir, is that it was carved by a European tourist.
Highlighted on page 18 and 19 of The Beauty of Diego book created and published by Stephen Max, Diego Collector and member of the Diego Voci Project Team. Can be purchased here: https://www.blurb.com/books/5419805-the-beauty-of-diego
CONTACT US THE DIEGO VOCI PROJECT TEAM at firstname.lastname@example.org with any information on the whereabouts of this painting!
Take an enriching tour thru the deluxe coffee table biography “THE BEAUTY OF DIEGO” by Stephen Max. Don’t let the first 2 pages fool you, they are blank, then delight in a delicious feast of color and unbridled creativity.
Explore, Experience, Learn about the internationally collected artist Antonio Diego Voci (VOH-chee) 1920-1985! https://www.diegovociproject.com/