Penny Siopis - Salon
Penny Siopis
South African 1953-
Salon
1987
inscribed with the artist's name, the title, date and medium on a label adhered to the reverse
pastel on paper
53 by 92,5cm excluding frame; 68 by 107 by 4cm including frame
Provenance
Sanlam Art Collection.
Literature
Evelyn Cohen (1992) Sanlam Art Collection, Cape Town: Tafelberg Publishers, illustrated in colour on page 57 and 102.
Notes
"Lone pastries, followed by foodscapes and interior landscapes trace the extended cultural significance of Penny Siopis's work over the years.
Painted mainly in a range of reds and pinks, as sumptuous as they are synthetic, her paintings evoke meanings far beyond the objects she paints. Here the exaggerated distance darkens the casements, blazing chandelier, distant candelabrum and table lamps. Shockingly large and close are the tassels and crimson curtain drape and the late eighteenth-century sculpture of embracing lovers. The sculp-ture and the distant painting (or is it a mirror?) on the far wall appear to enjoy independent life and movement."1
1. Evelyn Cohen (1992) Sanlam Art Collection, Cape Town: Tafelberg Publishers Ltd, page 102.
Penny Siopis
South African 1953-
Salon
1987
inscribed with the artist's name, the title, date and medium on a label adhered to the reverse
pastel on paper
53 by 92,5cm excluding frame; 68 by 107 by 4cm including frame
Provenance
Sanlam Art Collection.
Literature
Evelyn Cohen (1992) Sanlam Art Collection, Cape Town: Tafelberg Publishers, illustrated in colour on page 57 and 102.
Notes
"Lone pastries, followed by foodscapes and interior landscapes trace the extended cultural significance of Penny Siopis's work over the years.
Painted mainly in a range of reds and pinks, as sumptuous as they are synthetic, her paintings evoke meanings far beyond the objects she paints. Here the exaggerated distance darkens the casements, blazing chandelier, distant candelabrum and table lamps. Shockingly large and close are the tassels and crimson curtain drape and the late eighteenth-century sculpture of embracing lovers. The sculp-ture and the distant painting (or is it a mirror?) on the far wall appear to enjoy independent life and movement."1
1. Evelyn Cohen (1992) Sanlam Art Collection, Cape Town: Tafelberg Publishers Ltd, page 102.
