Edward Marecak Figurative Paintings
1919-1993
Edward Marecak was an American painter who was born in 1919. Growing up in the farming community of Brunswick, Ohio, he showed early artistic promise, hired by the National Youth Administration to document historic barns. In 1946, Marecak came to the Colorado Springs Fine Arts Center for a year and after a semester interlude at Cranbrook returned to study lithography with Lawrence Barrett. There he also met his future wife and sometime collaborator, ceramicist Theresa Madonna Fortin. Given the opportunity to teach a summer course at the University of Colorado, he decided to obtain a teaching certificate at the University of Denver and subsequently embarked on his 25-year career in the Denver Public School system. Rather than pursue fame, Edward Marecak directed his zeal toward fostering younger generations in the principles of art as well as his simple philosophies. Moreover, his teaching salary allowed him to ply his prodigious talent at whatever he pleased, instead of bending to the dictates of trends and sales. Having inherited his faith in education from his Slovakian immigrant parents, Marecak could add the shaping of lives to his mastery of art forms, including lithographs, monoprints, drawings, hooked rugs, ceramics, paintings, wood sculptures, stained-glass windows and jewelry. While exhibiting in his lifetime, he was, in his wife’s words, “his own greatest collector”, but shows and his popularity at the Kirkland Museum have positioned Marecak posthumously among Colorado’s pre-eminent modernists. As a child, Marecak was enthralled by the Carpathian tales of magic and supernatural beings told by his grandmother. As with other artists with roots in Eastern Europe, his artistic turn to folk tradition would free him from learned practices of perspective and modeling in favor of flat patterns within patterns and brilliant, throbbing color. While others ventured further into abstraction, Marecak stylized figurative elements into crowded compositions that appeared like a mosaic or stained glass. As he matured, he could declare, “I am still very much a Byzantine designer and my joy with what color can do grows all the time”. The traceries of strong outlines and bold shapes provide compartments for vibrant colors, contrasts and rough textures that can scarcely be contained. The Kirkland Museum staged a retrospective of Edward and Donna Marecak in 2007.
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Artist: Edward Marecak
Sybil (The Prophetess), 1970s Abstract Figurative Oil Painting, Pink Blue Red
By Edward Marecak
Located in Denver, CO
Semi-Abstract figurative oil on burlap painting titled 'Sybil (The Prophetess)' by Edward Marecak (1919-1993) painted in 1976. Signed and dated by the artist in the lower right corne...
Category
1970s American Modern Edward Marecak Figurative Paintings
Materials
Burlap, Oil
Winter Witches in an Upside World Interfering with Each Other, Semi-Abstract Oil
By Edward Marecak
Located in Denver, CO
Oil painting on burlap by Edward Marecak (1919-1993) titled "Winter Witches in an Upside World Interfering with Each Other" from 1990. Titled and dated by the artist on verso. Painted in shades of black, gray, red, purple, and green. Presented in the original artist frame, outer dimensions measure 44 ⅛ x 44 ⅛ x 1 ⅜ inches. Image size is 43 x 43 inches.
About the artist:
Edward Marecak
Born Ohio 1919
Died Colorado 1993
Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks, and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of “Peter and the Wolf,” awakening his interest in art. In his senior year in high school he did Cézanne-inspired watercolors of Ohio barns at seventy-five cents apiece for the National Youth Administration. They earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute.
Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. A center of innovative work in architecture, art and design with an educational approach built on a mentorship model, it has been home to some of the world’s most renowned designers and artists, including Eero Saarinen, Charles Eames, Daniel Libeskind and Harry Bertoia. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy and sculptor Carl Milles were interrupted by U.S. army service in the Aleutian Islands during World War II.
Following his military discharge, Marecak studied on the G.I. Bill at the Colorado Springs Fine Arts Center from 1946 to 1950, having previously met its director, Boardman Robinson, conducting a seminar in mural painting at the Cleveland Institute of Art. Although he did not work with Robinson at the Fine Arts Center, who had become quite ill - retiring in 1947 - he studied Robinson’s specialty of mural painting before leaving to briefly attend the Cranbrook Academy in 1947. That same year he returned to the Fine Arts Center, studying painting with Jean Charlot and Mary Chenoweth, and lithography with Lawrence Barrett with whom he produced some 132 images during 1948-49.
At the Fine Arts Center he met his future wife, Donna Fortin, whom he married in 1947. Also a Midwesterner, she had taken night art courses at Hull House in Chicago, later studying at the Art Institute of Chicago with the encouragement of artist Edgar Britton. After World War II she studied with him from 1946 to 1949 at the Fine Arts Center. (He had moved to Colorado Springs to treat his tuberculosis.) Ed Marecak also became good friends with Britton, later collaborating with him on the design of large stained glass windows for a local church.
In 1950-51 Marecak returned to the Cleveland Institute of Art to complete his Bachelor of Fine Arts degree. A year later he was invited to conduct a summer class at the University of Colorado in Boulder, confirming his interest in the teaching profession. In 1955 he received his teaching certificate
from the University of Denver. Vance Kirkland, the head of its art department, helped him get a teaching job with the Denver Public Schools so that he and his family could remain in the Mile High City. For the next twenty-five years he taught art at Skinner, Grove, East, George Washington and Morey Junior High Schools.
Prior to coming to Colorado, Marecak did watercolors resembling those of Winslow Homer, John Singer Sargent and Charles Burchfield. However, once in Colorado Springs he decided to destroy much of his earlier oeuvre, embarking on a totally new direction unlike anything he had previously done. Initially, in the 1940s, he was influenced by surrealist imagery and Paul Klee and in the West by Indian petroglyphs and Kachinas. His first one-person show at the Garrett Gallery in Colorado Springs in 1949 featured paintings and lithographs rendered in the style of Magic Realism and referential abstraction. The pieces, including an oil Witch with Pink Dish, foreshadowed the output of his entire Colorado-based career, distinguished by a dramatic use of color, intricacy of execution and attention to detail contributing to their visual impact. He once observed, “Each time I start a new painting I always fool myself by saying this time keep it simple and not get entangled with such complex patterns, color and design; but I always find myself getting more involved with richness, color and subject matter.”
An idiosyncratic artist proficient in oil, acrylic, watercolor, gouache, and casein, he did not draw upon Colorado subject matter for his work, unlike many of his fellow painters in the state. Instead he used Midwest landscape imagery, bringing to life in it witches and spirits adapted from the Slovakian folk tales he heard growing up in Ohio. A number of his paintings depict winter witches derived from the Slovak custom in the Tatra Mountains of burning an effigy of the winter witch in the early spring to banish the memory of a hard winter. The folk tale element imparts a dream-like quality to many of his paintings.
A devote of Greek mythology, he placed the figures of Circe, Persephone, Sybil, Hera and others in modern settings. The goddess in Persephone Brings a Pumpkin to her Mother, attired as a Midwestern farmer’s daughter, heralds the advent of fall with the pumpkin before departing to spend the winter season in the underworld. Train to Olympus, the meeting place of the gods in ancient Greece, juxtaposes ancient mythology with modernity creating a combination of whimsy and thought-provoking consideration for the viewer. Voyage to Troy #1 alludes to the ancient city that was the site of the Trojan Wars, but has a contemporary, autobiographical component referencing the harbor of the Aleutian Islands recaptured from the Japanese during World War II. In the 1980s Marecak used the goddess Hera in his painting, Hera Contemplates Aspects of the Art Nouveau, to comment on art movements in the latter half of the twentieth century
Marecak’s love of classical music and opera, which he shared with his wife and to which he often listened while painting in his Denver basement studio, is reflected in Homage of Offenbach, an abstract work translating the composer’s musical colors into colorful palette. Pace, Pace, Mio Dio, the title of his earliest surrealist painting, is a soprano aria from Verdi’s opera...
Category
1990s Abstract Edward Marecak Figurative Paintings
Materials
Burlap, Oil
Autumn Harvest, Original Semi-Abstract Landscape and Figurative Oil Painting
By Edward Marecak
Located in Denver, CO
Original framed oil painting on burlap by Edward Marecak (1919-1993) titled "Autumn Harvest" from 1987. Signed and dated by the artist in the lower right corner. Presented in a custom framed, outer dimensions measure 20 x 29 x 1 ⅜ inches. Image size is 19 x 28 inches.
Provenance: Estate of the Artist, Edward Marecak
Painting is clean and in good condition - please contact us for a detailed condition report.
Expedited and international shipping is available - please contact us for a quote.
About the artist:
Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks, and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of “Peter and the Wolf,” awakening his interest in art. In his senior year in high school he did Cézanne-inspired watercolors of Ohio barns at seventy-five cents apiece for the National Youth Administration. They earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute.
Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. A center of innovative work in architecture, art and design with an educational approach built on a mentorship model, it has been home to some of the world’s most renowned designers and artists, including Eero Saarinen, Charles Eames, Daniel Libeskind and Harry Bertoia. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy and sculptor Carl Milles were interrupted by U.S. army service in the Aleutian Islands during World War II.
Following his military discharge, Marecak studied on the G.I. Bill at the Colorado Springs Fine Arts Center from 1946 to 1950, having previously met its director, Boardman Robinson, conducting a seminar in mural painting at the Cleveland Institute of Art. Although he did not work with Robinson at the Fine Arts Center, who had become quite ill - retiring in 1947 - he studied Robinson’s specialty of mural painting before leaving to briefly attend the Cranbrook Academy in 1947. That same year he returned to the Fine Arts Center, studying painting with Jean Charlot and Mary Chenoweth, and lithography with Lawrence Barrett with whom he produced some 132 images during 1948-49.
At the Fine Arts Center he met his future wife, Donna Fortin, whom he married in 1947. Also a Midwesterner, she had taken night art courses at Hull House in Chicago, later studying at the Art Institute of Chicago with the encouragement of artist Edgar Britton. After World War II she studied with him from 1946 to 1949 at the Fine Arts Center. (He had moved to Colorado Springs to treat his tuberculosis.) Ed Marecak also became good friends with Britton, later collaborating with him on the design of large stained glass windows for a local church.
In 1950-51 Marecak returned to the Cleveland Institute of Art to complete his Bachelor of Fine Arts degree. A year later he was invited to conduct a summer class at the University of Colorado in Boulder, confirming his interest in the teaching profession. In 1955 he received his teaching certificate
from the University of Denver. Vance Kirkland, the head of its art department, helped him get a teaching job with the Denver Public Schools so that he and his family could remain in the Mile High City. For the next twenty-five years he taught art at Skinner, Grove, East, George Washington and Morey Junior High Schools.
Prior to coming to Colorado, Marecak did watercolors resembling those of Winslow Homer, John Singer Sargent and Charles Burchfield. However, once in Colorado Springs he decided to destroy much of his earlier oeuvre, embarking on a totally new direction unlike anything he had previously done. Initially, in the 1940s, he was influenced by surrealist imagery and Paul Klee and in the West by Indian petroglyphs and Kachinas. His first one-person show at the Garrett Gallery in Colorado Springs in 1949 featured paintings and lithographs rendered in the style of Magic Realism and referential abstraction. The pieces, including an oil Witch with Pink Dish...
Category
1980s American Modern Edward Marecak Figurative Paintings
Materials
Oil
The Argument, 1960s Vintage Semi-Abstract Oil Painting in Reds, Pinks, and Black
By Edward Marecak
Located in Denver, CO
Oil on board painting by Edward Marecak (1919-1993) titled "The Argument" from 1968. Semi-abstract oil painting depicting two figures in colors of greens, pinks, blues, and blacks. Presented framed, outer dimensions measure 49 ½ x 33 ¼ x 1 ½ inches. Image size is 48 x 32 inches.
Painting is clean and in very good vintage condition - please contact us for a detailed condition report.
About the artist:
Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks, and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of “Peter and the Wolf,” awakening his interest in art. In his senior year in high school he did Cézanne-inspired watercolors of Ohio barns at seventy-five cents apiece for the National Youth Administration. They earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute.
Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. A center of innovative work in architecture, art and design with an educational approach built on a mentorship model, it has been home to some of the world’s most renowned designers and artists, including Eero Saarinen, Charles Eames, Daniel Libeskind and Harry Bertoia. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy and sculptor Carl Milles were interrupted by U.S. army service in the Aleutian Islands during World War II.
Following his military discharge, Marecak studied on the G.I. Bill at the Colorado Springs Fine Arts Center from 1946 to 1950, having previously met its director, Boardman Robinson, conducting a seminar in mural painting at the Cleveland Institute of Art. Although he did not work with Robinson at the Fine Arts Center, who had become quite ill - retiring in 1947 - he studied Robinson’s specialty of mural painting before leaving to briefly attend the Cranbrook Academy in 1947. That same year he returned to the Fine Arts Center, studying painting with Jean Charlot and Mary Chenoweth, and lithography with Lawrence Barrett with whom he produced some 132 images during 1948-49.
At the Fine Arts Center he met his future wife, Donna Fortin, whom he married in 1947. Also a Midwesterner, she had taken night art courses at Hull House in Chicago, later studying at the Art Institute of Chicago with the encouragement of artist Edgar Britton. After World War II she studied with him from 1946 to 1949 at the Fine Arts Center. (He had moved to Colorado Springs to treat his tuberculosis.) Ed Marecak also became good friends with Britton, later collaborating with him on the design of large stained glass windows for a local church.
In 1950-51 Marecak returned to the Cleveland Institute of Art to complete his Bachelor of Fine Arts degree. A year later he was invited to conduct a summer class at the University of Colorado in Boulder, confirming his interest in the teaching profession. In 1955 he received his teaching certificate
from the University of Denver. Vance Kirkland, the head of its art department, helped him get a teaching job with the Denver Public Schools so that he and his family could remain in the Mile High City. For the next twenty-five years he taught art at Skinner, Grove, East, George Washington and Morey Junior High Schools.
Prior to coming to Colorado, Marecak did watercolors resembling those of Winslow Homer, John Singer Sargent and Charles Burchfield. However, once in Colorado Springs he decided to destroy much of his earlier oeuvre, embarking on a totally new direction unlike anything he had previously done. Initially, in the 1940s, he was influenced by surrealist imagery and Paul Klee and in the West by Indian petroglyphs and Kachinas. His first one-person show at the Garrett Gallery in Colorado Springs in 1949 featured paintings and lithographs rendered in the style of Magic Realism and referential abstraction. The pieces, including an oil Witch with Pink Dish...
Category
1960s Abstract Edward Marecak Figurative Paintings
Materials
Oil
Adam and Eve, 1980s Abstract Figurative Painting, Vertical Oil Painting, 30 x 48
By Edward Marecak
Located in Denver, CO
Oil painting on foam core titled "Adam and Eve" by Denver artist Edward Marecak (1919-1993) from 1983. Portrays two semi-abstract figures with shapes in the background, painted in colors of pink, blue, yellow, and brown. Presented in a custom wooden frame, outer dimensions measure 30 ⅞ x 48 ⅞ x 2 ⅝ inches. Image size 30 x 48 inches.
Painting is in good vintage condition - please contact us for a detailed condition report.
Provenance: Estate of Edward Marecak
About the Artist:
Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks, and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. His junior and senior high projects earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute.
Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy...
Category
1980s Abstract Edward Marecak Figurative Paintings
Materials
Oil
City Park, Denver, Colorado, Large Semi Abstract Colorful Oil Landscape
By Edward Marecak
Located in Denver, CO
Large format oil painting on canvas of City Park in Denver, Colorado by 20th century Denver modernist, Edward Marecak. Semi-abstract park scene with various types of trees, figures, ...
Category
20th Century American Modern Edward Marecak Figurative Paintings
Materials
Oil, Canvas
Masks, 1980s Semi-Abstract Polychromatic Oil Painting, Vibrant Multicolor
By Edward Marecak
Located in Denver, CO
Oil on board painting by Edward Marecak (1919-1993) titled "Masks" from the 1980s. Mosaic style oil painting in vibrant colors of red, blue, green, yellow, and orange. Presented in a...
Category
1980s Abstract Edward Marecak Figurative Paintings
Materials
Oil
Sybils Telling Cosmic Jokes On Mankind, Framed Figurative Abstract Oil Painting
By Edward Marecak
Located in Denver, CO
Vintage 1960s original semi abstract oil painting, "Sybils Telling Cosmic Jokes On Mankind", by 20th century Denver modernist, Edward Marecak (1919-1993). Painted in bright colors of...
Category
1960s Abstract Edward Marecak Figurative Paintings
Materials
Oil, Canvas
The Three Fates Confused, 1970s Abstract Figural Painting, Still Life Flowers
By Edward Marecak
Located in Denver, CO
The Three Fates Confused, a vintage 1970s figural abstraction oil painting by Denver modernist, Edward Marecak (1919-1993). Semi-abstract composition depic...
Category
1970s Abstract Edward Marecak Figurative Paintings
Materials
Oil
Parcheesi, Vintage Semi Abstract Oil Painting by Edward Marecak, Board Game
By Edward Marecak
Located in Denver, CO
'Parcheesi', vintage 1990 semi abstract oil painting on canvas by 20th century Denver artist, Edward Marecak (1919-1993) of a stylized Parcheesi board ...
Category
1990s Abstract Edward Marecak Figurative Paintings
Materials
Canvas, Oil
The Four Winter Months, Semi-Abstract Figure Oil Painting, Red Black Orange Blue
By Edward Marecak
Located in Denver, CO
1985 original signed oil painting titled 'The Four Winter Months' by Denver modernist, Edward Marecak (1919-1993) with four abstract/stylized figures painted with colors of red, black, green, gray, blue, and orange. Referential abstraction painted in oil on canvas, signed and dated lower right, titled verso. Presented in a vintage frame, outer dimensions measure 24 ½ x 30 ½ x 1 ¼ inches. Image size is 23 ¾ x 30 inches.
Provenance: Estate of the artist, Edward Marecak
About the Artist:
Born Ohio 1919
Died Colorado 1993
Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks, and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. His junior and senior high projects earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute.
Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy...
Category
20th Century Abstract Edward Marecak Figurative Paintings
Materials
Canvas, Oil
Liberty Rides the Goose, Semi Abstract, Lady Liberty, Yellow Red White Blue
By Edward Marecak
Located in Denver, CO
Original painting by 20th century Denver modernist, Edward Marecak (1919-1993). "Liberty Rides the Goose" is a semi-abstract depiction of Lady Liberty wearing Red, white and blue wi...
Category
20th Century American Modern Edward Marecak Figurative Paintings
Materials
Oil
The Keepers Of The Chalice, Semi-Abstract Oil Painting, 20th Century
By Edward Marecak
Located in Denver, CO
Oil on panel painting by Edward Marecak (1919-1993) titled The Keepers of the Chalice from 1987. Presented in a custom black frame, outer dimensions measure 36 ¼ x 48 ¼ x 1 ⅛ inches....
Category
1980s Edward Marecak Figurative Paintings
Materials
Oil
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framed 39 1/4 x 74 x 2 in.
Gladys Alberta Bentley (August 12, 1907 – January 18, 1960) was an American blues singer, pianist, and entertainer during the Harlem Renaissance. Her career skyrocketed when she appeared at Harry Hansberry's Clam House, a well-known gay speakeasy in New York in the 1920s, as a black, lesbian, cross-dressing performer. She headlined in the early 1930s at Harlem's Ubangi Club, where she was backed up by a chorus line of drag queens. She dressed in men's clothes (including a signature tailcoat and top hat), played piano, and sang her own raunchy lyrics to popular tunes of the day in a deep, growling voice while flirting with women in the audience. On the decline of the Harlem speakeasies with the repeal of Prohibition, she relocated to southern California, where she was billed as "America's Greatest Sepia Piano Player" and the "Brown Bomber of Sophisticated Songs". She was frequently harassed for wearing men's clothing. She tried to continue her musical career but did not achieve as much success as she had had in the past. Bentley was openly lesbian early in her career, but during the McCarthy Era she started wearing dresses and married, claiming to have been "cured" by taking female hormones.
Frankie "Half-Pint" Jaxon, born Frank Devera Jackson was an African American vaudeville singer, stage designer and comedian, popular in the 1920s and 1930s. He was born in Montgomery, Alabama, orphaned, and raised in Kansas City, Missouri. His nickname of "Half Pint" referred to his 5'2" height. He started in show business around 1910 as a singer in Kansas City, before travelling extensively with medicine shows in Texas, and then touring the eastern seaboard. His feminine voice and outrageous manner, often as a female impersonator, established him as a crowd favorite. By 1917 he had begun working regularly in Atlantic City, New Jersey and in Chicago, often with such performers as Bessie Smith and Ethel Waters, whose staging he helped design.
He served slightly less than a year in the United States Army in 1918–1919 and rose to the rank of sergeant. In the late 1920s he sang with top jazz bands when they passed through Chicago, working with Bennie Moten, King Oliver, Freddie Keppard and others. He performed and recorded with the pianists Cow Cow Davenport, Tampa Red and "Georgia Tom" Dorsey, recording with the latter pair under the name of The Black Hillbillies. He also recorded with the Harlem Hamfats. In the 1930s, he was often on radio in the Chicago area, and led his own band, titled Frankie "Half Pint" Jaxon and His Quarts of Joy. Jaxon appeared with Duke Ellington in a film short titled Black and Tan (1929), and with Bessie Smith in "St. Louis Blues" (1929). Cab Calloway's "Minnie the Moocher" (1931) is based both musically and lyrically on Jaxon's "Willie the Weeper" (1927).
Richard Merkin, Sometimes described as Rhode Island’s most famous New York artist, Richard Merkin has led a dual life for nearly 40 years - teaching at RISD while enjoying a celebrated painting career based in New York City. He has exhibited in countless gallery and museum shows in the US and abroad and is represented in the permanent collections of the Smithsonian Institution, The Museum of Modern Art, the Whitney Museum, the RISD museum and many others. In addition to contributing drawings and paintings to The New Yorker (along with, Art Spiegelman, Saul Steinberg, Harper’s, The New York Times Sunday Magazine and several books on Erotica and Baseball, he is a contributing editor for Vanity Fair and a former style columnist for GQ. Merkin’s honors include a Tiffany Foundation Fellowship and the Rosenthal Foundation Award from the American Academy of Arts and Letters.
Museums and Selected Collections :
The American Federation of Arts, New York, NY
Brooklyn Museum, Brooklyn, NY
Chrysler Museum of Art, Norfolk, VA
First city Bank, Chicago, Ill
Fisk University Art Gallery, Nashville, TN
Hallmark Collections, Kansas City, MO
Massachusetts Institute of Technology, Cambridge, MA
Maimi-Dade Junior College, Miami, FL
Michigan State University, East Lansing, MI
Minnesota Museum of Art, Minneapolis, MN
Museum of Modern Art, New York, NY
Museum of Art, Rhode Island School of Design, RI
McClung Museum, University of Tennessee, Knoxville, TN
Pennsylvania Acadamy of the Arts, Philadelphia PA
Prudential Insurance Company, Boston, Ma
Prudential Insurance Company, Newark, NJ
Rose Art Museum, Brandeis University, Waltham, MA
Sara Robey Foundation, New York, NY
Smithsonian Institution, Washington, DC
State University of Brockport, Brockport, NY
Whitney Museum of American Art, New York, NY
Selected Publications :
1986-Present Contributing Editor, Vanity Fair ..1988-Present, New Yorker... 1988-Present, style column, GQ...1997, Text and Illustration for The Tijuana Bibles, published by Simon & Shuster, 1995, Illustrated book, Leagues Apart: the Men and Times of the Negro Baseball Leagues published by Morrow.
1967 Cover of the Beatles “Sgt. Peppers Lonely Hearts Club Band” Album (Mr. Merkin appears in the back row, right of center)
RISD: MFA in Painting, 1963; Professor, Department of Painting
special skill: Merging his role as flaneur (connoisseur of city life) with his role as painter and social historian, Merkin retrieves lost cultural artifacts – a Turkish cigarette, a gangster, a bowler and generally “things most people don’t know about” – and reconstitutes their Jazz Age virtues on canvas in cubist, comic-laced landscapes of tropical color. (ala Robert Crumb and Ben Katchor)
breaking in: Perpetually on the fly from his middle-class Brooklyn background, Merkin found the perfect escape in the mid ‘60s in George Frazier, a dapper Boston columnist who inspired the emerging New York painter’s overnight reinvention of himself. The elements of structure, stability and surprise he admired in this well-dressed dandy – a cool linen suit, a splash of suspender, a polka dot scarf and pearl-handled walking stick – soon surfaced in paintings peopled by impeccable underdogs of café society along with his personal pop heroes: William Burroughs, Bobby Short and Krazy Kat...
Category
1990s American Modern Edward Marecak Figurative Paintings
Materials
Canvas, Oil Pastel, Oil
Richard MerkinLarge Richard Merkin Painting Harlem Jazz Club, New Yorker Magazine Cover Artist, 1997
H 39.25 in W 74 in D 2 in
1988 "Utopia" Abstract Oil Painting on Canvas Illustrator Bill Shields
Located in Arp, TX
William Stephens Shields, Jr., 1925 - 2010
"Utopia"
1988
Oil on canvas
60"x48" artist framed
Signed lower right
William Stephens Shields, Jr., 1925 - 2010
He was born in san Francisco, in 1931, Bill moved to Texas, where he grew up. Moved to New York in 1940 and later joined the Naval Air Corps at the age of 18. He served as an Aviation Cadet in the U.S. Navy from 1943 to 1945. At the end of WWII, Bill returned to Texas.
At 21, Bill re-focused his energy and enrolled in the Chicago Academy of Fine Art as an Illustration major. What followed was a whirlwind of success, great friendships and a sense of belonging he had never before experienced. Art was his calling and the art-world could not have been less prepared for the likes of Bill Shields...
Category
Late 20th Century American Modern Edward Marecak Figurative Paintings
Materials
Canvas, Oil
"Winter" American Modernism WPA Regionalism Landscape Mid-Century Magic Realism
By Dale Nichols
Located in New York, NY
"Winter" American Modernism WPA Regionalism Landscape Mid-Century Magic Realism. 30 x 40 inches. Oil on canvas, c. 1960s, Signed lower right.
As we list the painting now, the work is currently being cleaned, restored and a hand carved frame is being built. Additional photos will be uploaded as soon as possible.
Our gallery, Helicline Fine Art, just launched our new digital exhibition: American Art: The WPA and Beyond. Three dozen paintings, works on paper and sculptures which are available here on 1stDibs. In person viewings can be arranged by appointment at our midtown Manhattan gallery.
Provenance:
"Winter" was originally purchased by Stanley Byer. Mr. Byer owned homes in Key West, New York City, and Washington, D.C. He purchased the painting from Dunning Auction in 1984 in Elgin, Illinois. Mr. Byer was related to Abraham Weiss from Florida. Saul Babbin, now deceased was a cousin of Mr. Weiss. I purchased the painting from Joy Babbin, Mr. Babbin's wife, now living in from New Mexico.
Dale Nichols (1905 – 1995) Artist, printmaker, illustrator, watercolorist, designer, writer and lecturer, Nichols did paintings that reflected his rural background of Nebraska where he was born in David City, a small town. Although he did much sketching outdoors, most of his paintings were completed in his studio and often included "numerology, magic squares...
Category
1960s American Modern Edward Marecak Figurative Paintings
Materials
Oil, Canvas
Golfer Swinging, Vintage 7 Up Ad "Get Real Action" in Green and Yellow - Golf
By Bob Peak
Located in Miami, FL
This strobe-like dynamic composition with bright and bold colors reflects the energetic taste of the 7 Up brand. It lies somewhere between abstraction and figuration. Peaks' use of b...
Category
1960s American Modern Edward Marecak Figurative Paintings
Materials
Acrylic, Illustration Board
Night Life in the City - Figurative Cityscape
Located in Soquel, CA
Night Life in the City - Figurative Cityscape
Mid 1960s cityscape by an unknown artist. Oil on artists board.
Image, 16"H x 20"W
Category
1960s American Modern Edward Marecak Figurative Paintings
Materials
Oil, Canvas, Illustration Board
Till the Clouds Roll By 1945 Frank Sinatra Mid Century Modern Hollywood Film WPA
By Richard Whorf
Located in New York, NY
Till the Clouds Roll By 1945 Frank Sinatra Mid Century Modern Hollywood Film WPA
TILL THE COULDS ROLL BY (Film Set), oil on canvas, 20 x 24 inches signed “Richard Whorf” lower right and signed and dated on the verso “R. Whorf/ Dec. 21, 1945. Frame by Hendenryk.
ABOUT THE PAINTING
This painting is from the collection of Barbara and Frank Sinatra, dated December 21, 1945 (just nine days after Frank Sinatra’s 30th birthday), and depicts the Metro-Goldwyn-Mayer Culver City backlot during the filming of Till the Clouds Roll By, the direction of the film having been taking over by Richard Whorf in December 1945. It is not presently clear if Whorf gave the Sinatras this painting as a gift, as the presence of the Dalzell Hatfield Galleries label on the verso indicates the painting may have been sourced there. Frank and Nancy Sinatra acquired a number of works from Dalzell Hatfield Galleries during the 1940’s, or perhaps they framed it for the couple.
Sinatra performed “Old Man River’ in the film. Sinatra and June Allyson are depicted in the center of the painting.
PROVENANCE From the Estate of Mrs. Nancy Sinatra; Dalzell Hatfield Galleries, Ambassador Hotel, Los Angeles.
An image of the Dalzell Hatfield label and the back of the original frame (which we replaced with a stunning Heydenrk frame) are attached.
Nancy Sinatra was Fran's first wife. Nancy Rose Barbato was 17 years old when she met Frank Sinatra, an 18-year-old singer from Hoboken, on the Jersey Shore in the summer of 1934. They married in 1939 at Our Lady of Sorrows Church in Jersey City where Frank gave Nancy a recording of a song dedicated to her titled "Our Love" as a wedding present. The young newlyweds lived and worked in New Jersey, where Frank worked as an unknown singing waiter and master of ceremonies at the Rustic Cabin while Nancy worked as a secretary at the American Type Founders.
His musical career took off after singing with big band leaders Harry James and Tommy Dorsey...
Category
1940s American Modern Edward Marecak Figurative Paintings
Materials
Canvas, Oil
"War Brides, Wash Sq NYC" American Scene WWII Modernism WPA Mid-Century Oil
By Georgina Klitgaard
Located in New York, NY
"War Brides, Wash Sq NYC" American Scene WWII Modernism WPA Mid-Century Oil. 30 x 40 inches. Oil on canvas, c. 1942. Signed lower right. Titled on the stretcher. Housed in a sensational Heydenryk frame.
Our gallery, Helicline Fine Art...
Category
1940s American Modern Edward Marecak Figurative Paintings
Materials
Canvas, Oil
Six O'Clock
Located in Los Angeles, CA
Six O-Clock, c. 1942, oil on canvas, 30 x 20 inches, signed and titled several times verso of frame and stretcher (perhaps by another hand), marked “Rehn” several times on frame (for the Frank K. M. Rehn Galleries in New York City, who represented Craig at the time); Exhibited: 1) 18th Biennial Exhibition of Contemporary American Oil Paintings from March 21 to May 2, 1943 at The Corcoran Gallery of Art in Washington, D.C. #87, original price $450 (per catalog) (exhibition label verso), 2) Craig’s one-man show at the Frank K. M. Rehn Galleries, New York City, from October 26 to November 14, 1942, #10 (original price listed as $350); and 3) Exhibition of thirty paintings sponsored by the Harrisburg Art Association at the State Museum of Pennsylvania in Harrisburg in March, 1944 (concerning this exhibit, Penelope Redd of The Evening News (Harrisburg, Pennsylvania) wrote: “Other paintings that have overtones of superrealism inherent in the subjects include Tom Craig’s California nocturne, ‘Six O’Clock,’ two figures moving through the twilight . . . .” March 6, 1944, p. 13); another label verso from The Museum of Art of Toledo (Ohio): original frame: Provenance includes George Stern Gallery, Los Angeles, CA
About the Painting
Long before Chris Burden’s iconic installation outside of the Los Angeles County Museum of Art, Urban Light, another artist, Tom Craig, made Southern California streetlights the subject of one of his early 1940s paintings. Consisting of dozens of recycled streetlights from the 1920s and 1930s forming a classical colonnade at the museum’s entrance, Burden’s Urban Light has become a symbol of Los Angeles. For Burden, the streetlights represent what constitutes an advanced society, something “safe after dark and beautiful to behold.” It seems that Craig is playing on the same theme in Six O-Clock. Although we see two hunched figures trudging along the sidewalk at the end of a long day, the real stars of this painting are the streetlights which brighten the twilight and silhouette another iconic symbol of Los Angeles, the palm trees in the distance. Mountains in the background and the distant view of a suburban neighborhood join the streetlights and palm trees as classic subject matter for a California Scene painting, but Craig gives us a twist by depicting the scene not as a sun-drenched natural expanse. Rather, Craig uses thin layers of oil paint, mimicking the watercolor technique for which he is most famous, to show us the twinkling beauty of manmade light and the safety it affords. Although Southern California is a land of natural wonders, the interventions of humanity are already everywhere in Los Angeles and as one critic noted, the resulting painting has an air of “superrealism.”
About the Artist
Thomas Theodore Craig was a well-known fixture in the Southern California art scene. He was born in Upland California. Craig graduated with a degree in botany from Pomona College and studied painting at Pamona and the Chouinard Art School with Stanton MacDonald-Wright and Barse Miller among others. He became close friends with fellow artist Milford Zornes...
Category
1940s American Modern Edward Marecak Figurative Paintings
Materials
Canvas, Oil
Vintage Winter Snowy River Mountain Landscape of Canada by 20th Century Artist
Located in Preston, GB
Vintage Winter Snowy Mountain River Landscape Oil Painting of La Rivière du Nord in Canada, by 20th Century Canadian Artist, Sydney Berne (1921-2013)
Art measures 20 x 16 inches
F...
Category
1970s American Modern Edward Marecak Figurative Paintings
Materials
Canvas, Oil
Previously Available Items
The Winter Months, 1980s Semi-Abstract Figurative Oil Painting, Blue Black
By Edward Marecak
Located in Denver, CO
Semi-Abstract figurative oil on canvas painting titled "The Winter Months" by Edward Marecak (1919-1993) from 1981, signed and dated in the lower right. Featuring 3 abstract figures in front of a blue geometric background. Presented in the original artist frame measuring 35 ¼ x 35 ¼ inches. Image size measures 30 ¾ x 33 ¾ inches.
Expedited and International shipping is available - please contact us for a quote.
About the Artist:
Born Ohio 1919
Died Colorado 1993
Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks, and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. His junior and senior high projects earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute.
Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy...
Category
1980s Abstract Edward Marecak Figurative Paintings
Materials
Canvas, Oil
H 35.25 in W 35.25 in D 1.5 in
The Samurai, Semi-Abstract Figurative Oil Painting in Blue, Yellow, and Red
By Edward Marecak
Located in Denver, CO
Oil on board painting by Edward Marecak (1919-1993) titled "The Samurai" from 1957. Shows an abstract portrait of a samurai in a red hood and black robe. Pres...
Category
1950s Abstract Edward Marecak Figurative Paintings
Materials
Oil
H 25.5 in W 18.75 in D 1.5 in
The Golden Queens, 1970s Abstract Figurative Painting Oil Painting, Yellow Gold
By Edward Marecak
Located in Denver, CO
The Golden Queens is an oil painting on board by Denver artist, Edward Marecak from 1972. Two abstracted figures in a byzantine mosaic style in colors of gold, yellow, and white. Pre...
Category
1970s Abstract Edward Marecak Figurative Paintings
Materials
Oil
H 19.25 in W 25 in D 1.5 in
The Keepers Of The Chalice, Semi-Abstract Oil Painting, 20th Century
By Edward Marecak
Located in Denver, CO
Oil on panel painting by Edward Marecak (1919-1993) titled The Keepers of the Chalice from 1987. Presented in a custom black frame, outer dimensions measure 36 ¼ x 48 ¼ x 1 ⅛ inches....
Category
1980s Edward Marecak Figurative Paintings
Materials
Oil
H 36.25 in W 48.25 in D 1.13 in
Picnic At Mt. Olympus, Large Framed Park Landscape Oil Painting, Mythological
By Edward Marecak
Located in Denver, CO
Picnic at Mr. Olympus, vintage 1970s semi abstract painting by Denver modernist, Edward Marecak. Depicting a park scene with several semi cubist nude figures bathing in a fountain an...
Category
20th Century American Modern Edward Marecak Figurative Paintings
Materials
Board, Oil
Liberty Tries on Masks, Semi Abstract, Lady Liberty, Black Green Red Blue White
By Edward Marecak
Located in Denver, CO
Liberty Tries on Masks, original vintage 1970s oil painting on board by Edward Marecak, semi-abstract, stylized depiction of Lady Liberty with a red white and blue headdress and flag...
Category
20th Century Edward Marecak Figurative Paintings
Materials
Oil
Edward MarecakLiberty Tries on Masks, Semi Abstract, Lady Liberty, Black Green Red Blue White, 1970s
H 40.25 in W 20.25 in D 1.25 in
The Warlord, 1990s Framed Abstract Figural Painting, Red Blue Green
By Edward Marecak
Located in Denver, CO
The Warlord by 20th century Denver artist, Edward Marecak (1919-1993), vintage 1990 oil painting on canvas with an abstracted male figure wearing a crown and holding weaponry includi...
Category
20th Century Abstract Edward Marecak Figurative Paintings
Materials
Oil
H 40.5 in W 30.5 in D 1.375 in
Seated Woman, Vintage 1980s Semi Abstract Painting, Pink Red White Yellow Blue
By Edward Marecak
Located in Denver, CO
Untitled #12 (Seated Woman) by Edward Marecak, vintage 1987 oil semi abstract portrait painting on board. Painted in colors of pink, red, white, yellow, orange, blue green and purple...
Category
20th Century American Modern Edward Marecak Figurative Paintings
Materials
Oil
H 41.25 in W 21.25 in D 1.5 in
'Sweethearts' - 1980s Signed Semi-Abstract Figurative Oil Painting
By Edward Marecak
Located in Denver, CO
"Sweethearts" is a semi-abstract figural oil painting on canvas by artist Edward Marecak (1919-1993) from 1987. Signed and dated by the artist in the lower right, titled by the artist verso. Portraying multiple abstract figures in bright colors surrounded by geometric designs. Presented in a newly added custom frame measuring 36 ¾ x 36 ¾ inches, image size is 36 x 36 inches.
Provenance: Estate of the Artist, Edward Marecak
About the Artist:
Born Ohio 1919
Died Colorado 1993
Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of "Peter and the Wolf," awakening his interest in art. In his senior year in high school he did Cézanne-inspired watercolors of Ohio barns at seventy-five cents apiece for the National Youth Administration. They earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute.
Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. A center of innovative work in architecture, art and design with an educational approach built on a mentorship model, it has been home to some of the world’s most renowned designers and artists, including Eero Saarinen, Charles Eames, Daniel Libeskind and Harry Bertoia. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy and sculptor Carl Milles were interrupted by U.S. army service in the Aleutian Islands during World War II.
Following his military discharge, Marecak studied on the G.I. Bill at the Colorado Springs Fine Arts Center from 1946 to 1950, having previously met its director, Boardman Robinson, conducting a seminar in mural painting at the Cleveland Institute of Art. Although he did not work with Robinson at the Fine Arts Center, who had become quite ill - retiring in 1947 - he studied Robinson’s specialty of mural painting before leaving to briefly attend the Cranbrook Academy in 1947. That same year he returned to the Fine Arts Center, studying painting with Jean Charlot and Mary Chenoweth, and lithography with Lawrence Barrett with whom he produced some 132 images during 1948-49.
At the Fine Arts Center he met his future wife, Donna Fortin, whom he married in 1947. Also a Midwesterner, she had taken night art courses at Hull House in Chicago, later studying at the Art Institute of Chicago with the encouragement of artist Edgar Britton. After World War II she studied with him from 1946 to 1949 at the Fine Arts Center. (He had moved to Colorado Springs to treat his tuberculosis.) Ed Marecak also became good friends with Britton, later collaborating with him on the design of large stained glass windows for a local church.
In 1950-51 Marecak returned to the Cleveland Institute of Art to complete his Bachelor of Fine Arts degree. A year later he was invited to conduct a summer class at the University of Colorado in Boulder, confirming his interest in the teaching profession. In 1955 he received his teaching certificate from the University of Denver. Vance Kirkland, the head of its art department, helped him get a teaching job with the Denver Public Schools so that he and his family could remain in the Mile High City. For the next twenty-five years he taught art at Skinner, Grove, East, George Washington and Morey Junior High Schools.
Prior to coming to Colorado, Marecak did watercolors resembling those of Winslow Homer, John Singer Sargent and Charles Burchfield. However, once in Colorado Springs he decided to destroy much of his earlier ouevre, embarking on a totally new direction unlike anything he had previously done. Initially, in the 1940s he was influenced by surrealist imagery and Paul Klee, and in the West by Indian petroglyphs and Kachinas. His first one-person show at the Garrett Gallery in Colorado Springs in 1949 featured paintings and lithographs rendered in the style of Magic Realism and referential abstraction. The pieces, including an oil Witch with Pink Dish, foreshadowed the output of his entire Colorado-based career, distinguished by a dramatic use of color, intricacy of execution and attention to detail contributing to their visual impact. He once observed, "Each time I start a new painting I always fool myself by saying this time keep it simple and not get entangled with such complex patterns, color and design; but I always find myself getting more involved with richness, color and subject matter."
An idiosyncratic artist proficient in oil, acrylic, watercolor, gouache and casein, he did not draw upon Colorado subject matter for his work, unlike many of his fellow painters in the state. Instead he used Midwest landscape imagery, bringing to life in it witches and spirits adapted from the Slovakian folk tales he heard growing up in Ohio. A number of his paintings depict winter witches derived from the Slovak custom in the Tatra Mountains of burning an effigy of the winter witch in the early spring to banish the memory of a hard winter. The folk tale element imparts a dream-like quality to many of his paintings.
A devote of Greek mythology, he placed the figures of Circe, Persephone, Sybil, Hera and others in modern settings. The goddess in Persephone Brings a Pumpkin to her Mother, attired as a Midwestern farmer’s daughter, heralds the advent of fall with the pumpkin before departing to spend the winter season in the underworld. Train to Olympus, the meeting place of the gods in ancient Greece, juxtaposes ancient mythology with modernity creating a combination of whimsy and thought-provoking consideration for the viewer. Voyage to Troy #1 alludes to the ancient city that was the site of the Trojan Wars, but has a contemporary, autobiographical component referencing the harbor of the Aleutian Islands recaptured from the Japanese during World War II. In the 1980s Marecak used the goddess Hera in his painting, Hera Contemplates Aspects of the Art Nouveau, to comment on art movements in the latter half of the twentieth century
Marecak’s love of classical music and opera, which he shared with his wife and to which he often listened while painting in his Denver basement studio, is reflected in Homage of Offenbach, an abstract work translating the composer’s musical colors into colorful palette. Pace, Pace, Mio Dio, the title of his earliest surrealist painting, is a soprano aria from Verdi’s opera...
Category
1980s Abstract Edward Marecak Figurative Paintings
Materials
Canvas, Oil
H 36 in W 36 in D 0.75 in
The Potters, 1960s Mid Century Semi Abstract Figurative Framed Oil Painting
By Edward Marecak
Located in Denver, CO
The Potters, vintage 1960s semi-abstract oil painting of two female figures with their pottery by Denver modernist, Edward Marecak (1919-1993). Painted in oil paint on canvas, estate...
Category
1960s Abstract Edward Marecak Figurative Paintings
Materials
Canvas, Oil
H 36.5 in W 48.5 in D 1.75 in
Witch with Still Life, Abstract, Cubist Painting, Red, Blue Black, Orange, Green
By Edward Marecak
Located in Denver, CO
Witch with Still Life, vintage oil painting with a semi-abstract, cubist, female figure with an interior still life by Denver artist, Edward Marecak (1919-1993), mid-century modern s...
Category
1960s Abstract Geometric Edward Marecak Figurative Paintings
Materials
Burlap, Oil
H 36.75 in W 36.5 in D 1.25 in
The Return Of Ulysses, 1960s Mid Century Modern Abstract Figural Cubist Painting
By Edward Marecak
Located in Denver, CO
The Return Of Ulysses, vintage 1960 oil painting, semi-abstract with cubist figures including a male nude, by Edward Marecak (1919-1993). Painted in colors of red, blue, golden yell...
Category
1960s American Modern Edward Marecak Figurative Paintings
Materials
Burlap, Oil
Edward MarecakThe Return Of Ulysses, 1960s Mid Century Modern Abstract Figural Cubist Painting, 1960
H 36.5 in W 48.75 in D 1.75 in
Edward Marecak figurative paintings for sale on 1stDibs.
Find a wide variety of authentic Edward Marecak figurative paintings available for sale on 1stDibs. If you’re browsing the collection of figurative paintings to introduce a pop of color in a neutral corner of your living room or bedroom, you can find work that includes elements of orange and other colors. You can also browse by medium to find art by Edward Marecak in oil paint, paint, fabric and more. Much of the original work by this artist or collective was created during the 20th century and is mostly associated with the abstract style. Not every interior allows for large Edward Marecak figurative paintings, so small editions measuring 19 inches across are available. Customers who are interested in this artist might also find the work of Donald Stacy, Simka Simkhovitch, and Byron Browne. Edward Marecak figurative paintings prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $2,200 and tops out at $12,750, while the average work can sell for $5,225.