"A Deeply Personal Collection" - Including Magritte, Picasso, Fontana, Moore and Chadwick
Why It Matters
It illustrates how dedicated private collectors can safeguard pivotal post‑war artworks, shaping cultural heritage and driving market interest beyond institutional settings.
Key Takeaways
- •Vanterna couple collected art together for over 50 years
- •Collection spans European and international post‑war movements, includes rare works
- •Highlights include Max Ernst’s 1921 “Zuk” and Fontana’s 1962 “Conetti”
- •Sculptures by Henry Moore and Barry Fagan integrate indoor and garden spaces
- •Works reflect personal narratives, from grief to wartime anxieties
Summary
The video tours the Vanterna residence, showcasing a deeply personal art collection assembled by Rajier and Joseette Vanterna over five decades. Their home functions as a quasi‑museum, guiding visitors through rooms filled with works that span major post‑war movements.
The couple began collecting in the mid‑1950s, traveling to meet artists, dealers and galleries. Their holdings include Max Ernst’s rare 1921 oil “Zuk,” a surreal desert scene predating Surrealism, Lucio Fontana’s 1962 “Conetti” with ten rhythmic cuts, and early Kusama infinity nets from 1960, illustrating a broad European and international focus.
Highlights also feature a monumental Henry Moore “Goslar Warrior” sculpture placed in the garden, Barry Fagan’s humorous over‑life‑sized “Bowler,” Tracy Emmen’s 2016 grief‑laden painting, and Ron McGrit’s 1940 “La Plender” capturing wartime foreboding. The narrator emphasizes how each piece mirrors the collectors’ emotional journeys.
The collection underscores the vital role private patrons can play in preserving and contextualizing post‑war art, while their integrated display of paintings and sculptures blurs the line between domestic space and public exhibition, influencing market demand and scholarly attention.
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