費南度·索培爾

私人收藏，西班牙

The work is in good condition overall. No restoration is found under ultraviolet light inspection. Framed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Prior to Adriatica II, Fernando Zobel used only black and white when composing his celebrated La Serie Negra paintings. As a piece created during a more mature stage of the artist’s career, the present lot stands out as a proof of Zobel’s artistic progression and his return to the study of colours.

In Adriatica II Zobel once again explores the possibilities of abstractedness in bodies of water. Featuring the Adriatic Sea, Zobel has conveyed the essence of water into the composition by pairing a minimal amount of colours together. Structures created in the present painting are given an ethereal quality, where forms are gifted with a sense of lighter mass, as if they are floating across bodies of water.

In Adriatica II, Zobel has used only grey, peach, white, and black to convey the brief silhouette of the Adriatic Sea, stripping away of all other colors that may distract from the quietude that exists in the painting.The thin layers of paint create an impression of luminosity and translucency that alludes to the tranquil nature of water. Created in 1975, Adriatica II remains faithful to Zobel’s experimentations with colours, while reaffirming his position as one of the most important Filipino abstract artists in the country's art canon.