Adriana Varejão

Brazilian, b. 1964

1.1k followers

Adriana Varejão

Bio

Brazilian, b. 1964

Followers
1.1k
Auction results
Filter auction results to compare past lots by medium, size, and more. Note that auction prices vary based on market specifics at the time of the auction and may not be indicative of the current gallery market. To get the best sense of value, pair the artist’s auction results with their career highlights like exhibition history, gallery representation, and presence in museum collections. For more information on how auction pricing differs from gallery pricing, check out this article.
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Showing 62 results
Showing 62 results
$125,000
Cristo, 1988
Sold on May 29, 2020
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Artwork Info
Painting
oil on canvas
180 x 220 cm
Estimate
Realized Price
$125,000
Auction Sale
May 29, 2020
Christie's
Description
Adriana Varejão (Brazilian b. 1964) Cristo signed, inscribed, titled and dated 'Adriana Varejao ''Cristo'' 1988 oleo/tela' (on the reverse) oil on canvas 70 7/8 x 86 5/8 in. (180 x 220 cm.) Painted in 1988.
Cristo, 1988
oil on canvas
May 29, 2020
Christie's
$125,000
Realized price
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Artwork Info
Painting
180 x 220 cm
Estimate
Auction Sale
May 29, 2020
Christie's
Realized Price
$125,000
Description
Adriana Varejão (Brazilian b. 1964) Cristo signed, inscribed, titled and dated 'Adriana Varejao ''Cristo'' 1988 oleo/tela' (on the reverse) oil on canvas 70 7/8 x 86 5/8 in. (180 x 220 cm.) Painted in 1988.
£752,750
Parede com Incisão a la Fontana 3 (Wall with incision à la Fontana 3), 2002
Sold on Oct 4, 2018
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Artwork Info
Painting
oil on canvas and polyurethane on aluminium and wood
260 x 195cm
Estimate
Realized Price
£752,750
Auction Sale
Oct 4, 2018
Christie's
Description
Adriana Varejão (b. 1964) _Parede com Incisão a la Fontana 3 (Wall with incision à la Fontana 3)_ signed, titled and dated ‘A. varejão 2002 “Parede com Incisão a la Fontana 3" [Wall with incision à la Fontana 3]’ (on the reverse) oil on canvas and polyurethane on aluminium and wood 102 3/8 x 76¾in. (260 x 195cm.) Executed in 2002
Parede com Incisão a la Fontana 3 (Wall with incision à la Fontana 3), 2002
oil on canvas and polyurethane on aluminium and wood
Oct 4, 2018
Christie's
£752,750
Realized price
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Artwork Info
Painting
260 x 195cm
Estimate
Auction Sale
Oct 4, 2018
Christie's
Realized Price
£752,750
Description
Adriana Varejão (b. 1964) _Parede com Incisão a la Fontana 3 (Wall with incision à la Fontana 3)_ signed, titled and dated ‘A. varejão 2002 “Parede com Incisão a la Fontana 3" [Wall with incision à la Fontana 3]’ (on the reverse) oil on canvas and polyurethane on aluminium and wood 102 3/8 x 76¾in. (260 x 195cm.) Executed in 2002
No artwork image
$325,000
LIBRE
Sold on Sep 25, 2018
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Artwork Info
Painting
oil on canvas
194.6 by 164.5 cm
Estimate
Realized Price
$325,000
Auction Sale
Sep 25, 2018
Sotheby's
Description
signed, titled and dated 1996 on the reverse oil on canvas 76 5/8 by 64 3/4 in. 194.6 by 164.5 cm.
No artwork image
LIBRE
oil on canvas
Sep 25, 2018
Sotheby's
$325,000
Realized price
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Artwork Info
Painting
194.6 by 164.5 cm
Estimate
Auction Sale
Sep 25, 2018
Sotheby's
Realized Price
$325,000
Description
signed, titled and dated 1996 on the reverse oil on canvas 76 5/8 by 64 3/4 in. 194.6 by 164.5 cm.
No artwork image
$735,000
LÍNGUA COM PADRÃO DE FLOR
Sold on Sep 25, 2018
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Artwork Info
Painting
oil on canvas and aluminum
170.2 by 53.3 cm
Estimate
Realized Price
$735,000
Auction Sale
Sep 25, 2018
Sotheby's
Description
oil on canvas and aluminum 78 by 67 by 21 in. 198.1 by 170.2 by 53.3 cm. Executed in 1998.
No artwork image
LÍNGUA COM PADRÃO DE FLOR
oil on canvas and aluminum
Sep 25, 2018
Sotheby's
$735,000
Realized price
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Artwork Info
Painting
170.2 by 53.3 cm
Estimate
Auction Sale
Sep 25, 2018
Sotheby's
Realized Price
$735,000
Description
oil on canvas and aluminum 78 by 67 by 21 in. 198.1 by 170.2 by 53.3 cm. Executed in 1998.
No artwork image
$783,000
FIGURA DE CONVITE II
Sold on Mar 2, 2018
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Artwork Info
Painting
oil on canvas
197.8 by 198.8 cm
Estimate
Realized Price
$783,000
Auction Sale
Mar 2, 2018
Sotheby's
Description
signed, partially titled and dated 1998 on the reverse oil on canvas 77 7/8 by 78 1/4 in. 197.8 by 198.8 cm.
No artwork image
FIGURA DE CONVITE II
oil on canvas
Mar 2, 2018
Sotheby's
$783,000
Realized price
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Artwork Info
Painting
197.8 by 198.8 cm
Estimate
Auction Sale
Mar 2, 2018
Sotheby's
Realized Price
$783,000
Description
signed, partially titled and dated 1998 on the reverse oil on canvas 77 7/8 by 78 1/4 in. 197.8 by 198.8 cm.
£488,750
Sold on Sep 13, 2017
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Artwork Info
Painting
oil on canvas
Estimate
Realized Price
£488,750
Auction Sale
Sep 13, 2017
Sotheby's
Description
Painted in 2006, Blue Sauna is a strikingly distinguished example from Varejão’s most acclaimed series, Saunas and Baths. The series was inspired by a chance encounter with a photograph of a tiled interior in Macau that Varejão came across while flicking through a bookshop in Portugal. It was not just the formal qualities of the tiles that caught Varejão’s attention, but their significance in a global discourse on colonialism that stretches from Brazil to Portugal, and until then unbeknown to Varejão, China. For it was China and their trade with the Portuguese that inspired the famous azulejos tiles that have become Varejão’s most iconic artistic motif. It was these Macau tiles, in their banality and aesthetic formalism as opposed to the ornate decoration of the azulejos, which provided a counterpoint to her previous artistic excursions into a specifically Brazilian colonial history. Staring at the old photograph in the bookshop, Varejão realised she could widen the scope of her enquiry, though still rooted in her Brazilian experience, to explore similar cultural environments across the world. In response, the series has been culturally omnivorous, jumping across continents and cultures, from Brazilian abattoirs to segregated female-only hammams in Paris to public baths in Budapest. Speaking on occasion of her acclaimed solo show at the Fondation Cartier in 2005, Varejão said “my painting in the Sauna series departs from the conceptual field of references to historical iconography and enters the field of the sensorial… They work on questions intrinsic to painting, such as colour, composition and perspective” (Adriana Varejão cited in: Hélène Kelmachter, ‘Echo Chamber’, in: Exh. Cat., Paris, Fondation Cartier pour l’art contemporain (and travelling), Adriana Varejão: Chambre d’ échos, 2005, p. 89). By moving away from the explicitly coded colonial critiques of her earlier tiled works, in which tiles are literally slashed open to reveal the guts and gore of Brazil’s colonial past, Varejão allows her work to embrace more formal considerations while also evoking the violence of the Baroque period in a more subtle way. In creating a work with strong formal values, Varejão has dragged the domineering legacy of Latin American abstraction, the Concrete and Neo-Concrete movements, into the real world. She has plastered its legacy onto the walls of her saunas. The series is Varejão’s own figurative rebellion, aided by some well-known artistic conspirators. These works are essays in minimalism, explorations of colour that evoke the still life subtly of Morandi; the blues of Klein; Richter’s colour charts and the static electricity of Hockney’s pools. Yet for all its referential depth, Blue Sauna is both nowhere and everywhere. A timeless space devoid of history and place, they are projected, virtual realties inspired by photographs yet drawn from Varejão’s imagination. It is here that Brazil’s colonial past, so overt in her earlier work, takes on a more subtle guise. Through the maze-like composition of openings leading to dead ends, a disquieting foreboding envelopes the viewer. In the knowledge of her gruesome earlier work, the formal minimalism in Saunas and Baths takes on an almost surgical cleanliness. In these all too serene spaces, it’s the absence of narrative that makes these works foreboding. As one enters the space inside the canvas, the viewer is subjected to a multisensory experience made rich with contrasts. One is struck by the coolness of the blue and yet reminded of a sauna’s overbearing heat. A pictorial homage to John Cage’s 4’ 33”, the silence is deafening. This continual push and pull, from quiet to loud, hot to cold, only enhances the viewer’s unease. Saunas, in Varejão’s opinion, are perfectly democratic spaces. Naked, they strip us of our clothing and jewellery and by doing so rob us of our class, status and identity. They expose us. It is this reckoning with ourselves that makes the Saunas and Baths series so powerful. As the art critic Phillippe Sollers writes, “here in the sauna all illusions vanish, everything evaporates” (Phillippe Sollers, ‘Vertigo by Adriana Varejão’, in: ibid, p. 13). While these interiors strip us down to our basic humanity, Varejão wryly picks up on the sauna as a motif for the Brazilian appropriation of European culture in the Baroque period. Founded in Scandinavia, saunas were a specifically European phenomenon that evolved from the great hot bath tradition that stretches from the bathhouses of Vienna back to Rome and Athens. It is with this history that Varejão’s weaves her colonial framework into the grids of the sauna’s tiles. For all their quiet formalism, it is Varejão’s fascination with anthropophagy – the capacity to incorporate foreign ideas and transform them into your own – that roars. As Paulo Herkenhoff writes Adriana Varejão understands ‘that the purpose of artistic practice is not to tell histories, but to create mechanisms that enable history to be told’ (Paulo Herkenhoff, ‘Saunas’, in: ibid, p. 24).
oil on canvas
Sep 13, 2017
Sotheby's
£488,750
Realized price
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Artwork Info
Painting
Estimate
Auction Sale
Sep 13, 2017
Sotheby's
Realized Price
£488,750
Description
Painted in 2006, Blue Sauna is a strikingly distinguished example from Varejão’s most acclaimed series, Saunas and Baths. The series was inspired by a chance encounter with a photograph of a tiled interior in Macau that Varejão came across while flicking through a bookshop in Portugal. It was not just the formal qualities of the tiles that caught Varejão’s attention, but their significance in a global discourse on colonialism that stretches from Brazil to Portugal, and until then unbeknown to Varejão, China. For it was China and their trade with the Portuguese that inspired the famous azulejos tiles that have become Varejão’s most iconic artistic motif. It was these Macau tiles, in their banality and aesthetic formalism as opposed to the ornate decoration of the azulejos, which provided a counterpoint to her previous artistic excursions into a specifically Brazilian colonial history. Staring at the old photograph in the bookshop, Varejão realised she could widen the scope of her enquiry, though still rooted in her Brazilian experience, to explore similar cultural environments across the world. In response, the series has been culturally omnivorous, jumping across continents and cultures, from Brazilian abattoirs to segregated female-only hammams in Paris to public baths in Budapest. Speaking on occasion of her acclaimed solo show at the Fondation Cartier in 2005, Varejão said “my painting in the Sauna series departs from the conceptual field of references to historical iconography and enters the field of the sensorial… They work on questions intrinsic to painting, such as colour, composition and perspective” (Adriana Varejão cited in: Hélène Kelmachter, ‘Echo Chamber’, in: Exh. Cat., Paris, Fondation Cartier pour l’art contemporain (and travelling), Adriana Varejão: Chambre d’ échos, 2005, p. 89). By moving away from the explicitly coded colonial critiques of her earlier tiled works, in which tiles are literally slashed open to reveal the guts and gore of Brazil’s colonial past, Varejão allows her work to embrace more formal considerations while also evoking the violence of the Baroque period in a more subtle way. In creating a work with strong formal values, Varejão has dragged the domineering legacy of Latin American abstraction, the Concrete and Neo-Concrete movements, into the real world. She has plastered its legacy onto the walls of her saunas. The series is Varejão’s own figurative rebellion, aided by some well-known artistic conspirators. These works are essays in minimalism, explorations of colour that evoke the still life subtly of Morandi; the blues of Klein; Richter’s colour charts and the static electricity of Hockney’s pools. Yet for all its referential depth, Blue Sauna is both nowhere and everywhere. A timeless space devoid of history and place, they are projected, virtual realties inspired by photographs yet drawn from Varejão’s imagination. It is here that Brazil’s colonial past, so overt in her earlier work, takes on a more subtle guise. Through the maze-like composition of openings leading to dead ends, a disquieting foreboding envelopes the viewer. In the knowledge of her gruesome earlier work, the formal minimalism in Saunas and Baths takes on an almost surgical cleanliness. In these all too serene spaces, it’s the absence of narrative that makes these works foreboding. As one enters the space inside the canvas, the viewer is subjected to a multisensory experience made rich with contrasts. One is struck by the coolness of the blue and yet reminded of a sauna’s overbearing heat. A pictorial homage to John Cage’s 4’ 33”, the silence is deafening. This continual push and pull, from quiet to loud, hot to cold, only enhances the viewer’s unease. Saunas, in Varejão’s opinion, are perfectly democratic spaces. Naked, they strip us of our clothing and jewellery and by doing so rob us of our class, status and identity. They expose us. It is this reckoning with ourselves that makes the Saunas and Baths series so powerful. As the art critic Phillippe Sollers writes, “here in the sauna all illusions vanish, everything evaporates” (Phillippe Sollers, ‘Vertigo by Adriana Varejão’, in: ibid, p. 13). While these interiors strip us down to our basic humanity, Varejão wryly picks up on the sauna as a motif for the Brazilian appropriation of European culture in the Baroque period. Founded in Scandinavia, saunas were a specifically European phenomenon that evolved from the great hot bath tradition that stretches from the bathhouses of Vienna back to Rome and Athens. It is with this history that Varejão’s weaves her colonial framework into the grids of the sauna’s tiles. For all their quiet formalism, it is Varejão’s fascination with anthropophagy – the capacity to incorporate foreign ideas and transform them into your own – that roars. As Paulo Herkenhoff writes Adriana Varejão understands ‘that the purpose of artistic practice is not to tell histories, but to create mechanisms that enable history to be told’ (Paulo Herkenhoff, ‘Saunas’, in: ibid, p. 24).
Price not available
O Dilúvio , 1985, 1985
Sold on May 30, 2017
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Artwork Info
Painting
oil on canvas
170.0 x 150.0 cm
Estimate
Realized Price
Price not available
Auction Sale
May 30, 2017
Bolsa de Arte
Description
O Dilúvio , 1985, 1985
oil on canvas
May 30, 2017
Bolsa de Arte
Price not available
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Artwork Info
Painting
170.0 x 150.0 cm
Estimate
Auction Sale
May 30, 2017
Bolsa de Arte
Realized Price
Price not available
No artwork image
$125,000
GÊMEA
Sold on Mar 2, 2017
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Artwork Info
Painting
oil and plaster on canvas
160 by 140 cm
Estimate
Realized Price
$125,000
Auction Sale
Mar 2, 2017
Sotheby's
Description
signed, titled and dated 1991 on the reverse oil and plaster on canvas 63 by 55 in. 160 by 140 cm.
No artwork image
GÊMEA
oil and plaster on canvas
Mar 2, 2017
Sotheby's
$125,000
Realized price
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Artwork Info
Painting
160 by 140 cm
Estimate
Auction Sale
Mar 2, 2017
Sotheby's
Realized Price
$125,000
Description
signed, titled and dated 1991 on the reverse oil and plaster on canvas 63 by 55 in. 160 by 140 cm.
$365,000
Espelho D'Agua, 2008
Sold on Nov 20, 2015
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Artwork Info
Painting
oil and plaster on canvas
110.2 x 110.2 cm
Estimate
Realized Price
$365,000
Auction Sale
Nov 20, 2015
Christie's
Description
Adriana Varejão (b. 1964) _Espelho D'Agua_ signed, titled and dated 'A. Varejão Espelho D'Agua 2008' (on the reverse) oil and plaster on canvas 43 3/8 x 43 3/8 in. (110.2 x 110.2 cm.) Painted in 2008.
Espelho D'Agua, 2008
oil and plaster on canvas
Nov 20, 2015
Christie's
$365,000
Realized price
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Artwork Info
Painting
110.2 x 110.2 cm
Estimate
Auction Sale
Nov 20, 2015
Christie's
Realized Price
$365,000
Description
Adriana Varejão (b. 1964) _Espelho D'Agua_ signed, titled and dated 'A. Varejão Espelho D'Agua 2008' (on the reverse) oil and plaster on canvas 43 3/8 x 43 3/8 in. (110.2 x 110.2 cm.) Painted in 2008.
$225,000
Sold on Nov 19, 2015
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Artwork Info
Estimate
Realized Price
$225,000
Auction Sale
Nov 19, 2015
Sotheby's
Description
Nov 19, 2015
Sotheby's
$225,000
Realized price
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Artwork Info
Estimate
Auction Sale
Nov 19, 2015
Sotheby's
Realized Price
$225,000
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