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NATHAN OLIVEIRA (1928-2010)

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Oliveira’s existential figures convey an unease reminiscent of Giacometti's style, a characteristic that persisted throughout Oliveira's extensive career. But he also explored the intrinsic essence of birds and animals and investigated the fleeting nature of perception, where memory reconstructs ephemeral experiences. In his later years, he focused on site paintings and monographs, evoking the forgotten names of ancient civilizations or tribes as if unearthed in an archaeological excavation. With Mask, the enigmatic egg-shape, elevated as if placed upon a burial platform, and its subdued, soft, earthen terracotta palette point to tribal associations and may reflect his interest as a collector of Indigenous masks, mostly from Mexico. Oliveira’s existential figures convey an unease reminiscent of Giacometti's style, a characteristic that persisted throughout Oliveira's extensive career. But he also explored the intrinsic essence of birds and animals and investigated the fleeting nature of perception, where memory reconstructs ephemeral experiences. In his later years, he focused on site paintings and monographs, evoking the forgotten names of ancient civilizations or tribes as if unearthed in an archaeological excavation. With Mask, the enigmatic egg-shape, elevated as if placed upon a burial platform, and its subdued, soft, earthen terracotta palette point to tribal associations and may reflect his interest as a collector of Indigenous masks, mostly from Mexico. Oliveira’s existential figures convey an unease reminiscent of Giacometti's style, a characteristic that persisted throughout Oliveira's extensive career. But he also explored the intrinsic essence of birds and animals and investigated the fleeting nature of perception, where memory reconstructs ephemeral experiences. In his later years, he focused on site paintings and monographs, evoking the forgotten names of ancient civilizations or tribes as if unearthed in an archaeological excavation. With Mask, the enigmatic egg-shape, elevated as if placed upon a burial platform, and its subdued, soft, earthen terracotta palette point to tribal associations and may reflect his interest as a collector of Indigenous masks, mostly from Mexico. Oliveira’s existential figures convey an unease reminiscent of Giacometti's style, a characteristic that persisted throughout Oliveira's extensive career. But he also explored the intrinsic essence of birds and animals and investigated the fleeting nature of perception, where memory reconstructs ephemeral experiences. In his later years, he focused on site paintings and monographs, evoking the forgotten names of ancient civilizations or tribes as if unearthed in an archaeological excavation. With Mask, the enigmatic egg-shape, elevated as if placed upon a burial platform, and its subdued, soft, earthen terracotta palette point to tribal associations and may reflect his interest as a collector of Indigenous masks, mostly from Mexico. Oliveira’s existential figures convey an unease reminiscent of Giacometti's style, a characteristic that persisted throughout Oliveira's extensive career. But he also explored the intrinsic essence of birds and animals and investigated the fleeting nature of perception, where memory reconstructs ephemeral experiences. In his later years, he focused on site paintings and monographs, evoking the forgotten names of ancient civilizations or tribes as if unearthed in an archaeological excavation. With Mask, the enigmatic egg-shape, elevated as if placed upon a burial platform, and its subdued, soft, earthen terracotta palette point to tribal associations and may reflect his interest as a collector of Indigenous masks, mostly from Mexico. Oliveira’s existential figures convey an unease reminiscent of Giacometti's style, a characteristic that persisted throughout Oliveira's extensive career. But he also explored the intrinsic essence of birds and animals and investigated the fleeting nature of perception, where memory reconstructs ephemeral experiences. In his later years, he focused on site paintings and monographs, evoking the forgotten names of ancient civilizations or tribes as if unearthed in an archaeological excavation. With Mask, the enigmatic egg-shape, elevated as if placed upon a burial platform, and its subdued, soft, earthen terracotta palette point to tribal associations and may reflect his interest as a collector of Indigenous masks, mostly from Mexico. Oliveira’s existential figures convey an unease reminiscent of Giacometti's style, a characteristic that persisted throughout Oliveira's extensive career. But he also explored the intrinsic essence of birds and animals and investigated the fleeting nature of perception, where memory reconstructs ephemeral experiences. In his later years, he focused on site paintings and monographs, evoking the forgotten names of ancient civilizations or tribes as if unearthed in an archaeological excavation. With Mask, the enigmatic egg-shape, elevated as if placed upon a burial platform, and its subdued, soft, earthen terracotta palette point to tribal associations and may reflect his interest as a collector of Indigenous masks, mostly from Mexico. Oliveira’s existential figures convey an unease reminiscent of Giacometti's style, a characteristic that persisted throughout Oliveira's extensive career. But he also explored the intrinsic essence of birds and animals and investigated the fleeting nature of perception, where memory reconstructs ephemeral experiences. In his later years, he focused on site paintings and monographs, evoking the forgotten names of ancient civilizations or tribes as if unearthed in an archaeological excavation. With Mask, the enigmatic egg-shape, elevated as if placed upon a burial platform, and its subdued, soft, earthen terracotta palette point to tribal associations and may reflect his interest as a collector of Indigenous masks, mostly from Mexico. Oliveira’s existential figures convey an unease reminiscent of Giacometti's style, a characteristic that persisted throughout Oliveira's extensive career. But he also explored the intrinsic essence of birds and animals and investigated the fleeting nature of perception, where memory reconstructs ephemeral experiences. In his later years, he focused on site paintings and monographs, evoking the forgotten names of ancient civilizations or tribes as if unearthed in an archaeological excavation. With Mask, the enigmatic egg-shape, elevated as if placed upon a burial platform, and its subdued, soft, earthen terracotta palette point to tribal associations and may reflect his interest as a collector of Indigenous masks, mostly from Mexico. Oliveira’s existential figures convey an unease reminiscent of Giacometti's style, a characteristic that persisted throughout Oliveira's extensive career. But he also explored the intrinsic essence of birds and animals and investigated the fleeting nature of perception, where memory reconstructs ephemeral experiences. In his later years, he focused on site paintings and monographs, evoking the forgotten names of ancient civilizations or tribes as if unearthed in an archaeological excavation. With Mask, the enigmatic egg-shape, elevated as if placed upon a burial platform, and its subdued, soft, earthen terracotta palette point to tribal associations and may reflect his interest as a collector of Indigenous masks, mostly from Mexico.
Mask198766 x 54 in.(167.64 x 137.16 cm) acrylic, earth & oil on canvas
Provenance
Private Collection, California and New York
San Francisco Symphony, donation from above
Private Collection, California

135,000

Oliveira’s existential figures convey an unease reminiscent of Giacometti's style, a characteristic that persisted throughout Oliveira's extensive career. But he also explored the intrinsic essence of birds and animals and investigated the fleeting nature of perception, where memory reconstructs ephemeral experiences. In his later years, he focused on site paintings and monographs, evoking the forgotten names of ancient civilizations or tribes as if unearthed in an archaeological excavation. With Mask, the enigmatic egg-shape, elevated as if placed upon a burial platform, and its subdued, soft, earthen terracotta palette point to tribal associations and may reflect his interest as a collector of Indigenous masks, mostly from Mexico.
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