Moi Ver (Moshe Raviv Vorobeichic)

Bauhaus Moshe Raviv Moi Ver Abstract Oil Painting Lithuanian Israeli Modern

Title: (Baseball) Mits 25.5" W x 25.5" H x 2.25" framed; canvas measures 24" W x 24" H. Provenance: The Rails Collection, Washington, DC (with their label verso) This depicts floating baseball gloves inn an abstract pattern. This is not signed on the front and might be signed verso. We have not examined out of frame. Patrick LoCicero was born in Youngstown, Ohio, in 1959. He attended Youngstown State University, Ohio, and the Columbus College of Art and Design. He completed a B.F.A. at Ohio State University in 1982 and an M.F.A. at the San Francisco Art Institute in 1986. His paintings, installations, prints, and multimedia work have been shown in California, Pennsylvania, and Ohio. LoCicero's richly layered imagery is characterized by unusual juxtapositions of everyday objects and classical motifs, which play with the viewer's perception of materials and subjects. LoCicero’s assemblage paintings combine collage with painting. The overlap and collage elements relate directly to the images he depicts, guiding him in his choice of subjects, and come from a variety of sources including the Kama Sutra, antique children’s books...

Gurevich Anatole Anatol Gurevitch Anatol Gurewitsch (1916-2005) Per the hebrew label on the back, this was exhibited in 1951. I believe at the Tel Aviv museum of art (as per the Israel Museum (Jerusalem) website)m in a manner reminescent of Bezalel Schatz, Moshe Castel, Jean david and other Israeli artists of the New Horizons prominent in that period ts a nude crouching figure against a colorful abstract background. Israeli Painter and stage designer. Yakir of Tel Aviv. Born in Russia, Moscow in the mid-teens of the twentieth century. Studied painting in Berlin. Immigrated to Palestine from Germany in 1934. Served in the British Army (1941-1946). Known for his pantings of Jewish rabbis and other Judaica subject matter. He specialized in stage design for dance troupes: the dance troupe led by Gertrude Kraus, Inbal, the Batsheva Dance Company, the international black dancer tali bati. His first wife was the late dancer and choreographer - the girl Kesten, His son is theater director Michael Gurevich. His second wife was the actress - Rivka Gur, who gave birth to his second son, Eyal. He died at the age of 89 after a serious illness. He left behind two sons: Michael (Miki) Gurevitch and Eyal Gurevitch. He was the uncle of the artist and sculptor - Igael Tumarkin. He was a stage designer in the theaters The brothel of Hunzo from Kibbutz Givat Haim, the British military band of this type, the British army, Gertrud Kraus, the Inbal Dance Theater, the Israeli Ballet, the Batsheva Dance Company and more. He designed a stage for plays The girl and the Negro, the Threepenny Opera, a band on the Thames, the singer of the land (in the military band of 1944), the banknote to Shlomo, the tea department, Nathan the Wise, Herod and Miriam. Awards Yakir Tel Aviv Prize, on behalf of the Tel Aviv Municipality. Anatol Gurewitsch, painter and Stage designer, born 1916, Moscow. After Second World War worked as stage designer. Designed costumes for dancer Gertrud Krausz. Uncle of Igael Tumarkin, and father of the theater Director Miki Gurewitsch. Education Academy of Fine Arts, Berlin, art 1936 with Frenel Frankel 1937 with Miron...

Jules Perahim (Born: 1914; Bucharest, Romania - Died: 2008; Paris, France) Oil painting on paper depicting a figure with abstract multicolor design. (thi...

Matthias Alfen’s series of Janus figures are an innovation in figural art predicated on the advances made by the Futurist sculptor and painter Umberto Boccioni and the Modernist Alberto Giacometti. The qualities of chance and spontaneity, necessarily excluded in the sculptural work, are clearly evident in his drawings and paintings. “Psychograms” of unchoreographed hand movements display wide variation, repeatedly playing through one form after another. In the end, this multitude of variation serves to enhance the logic, consistency, and seductively rich appearance of Alfen’s designed sculptural works. Represented by Gallery Schuckin in New York, Paris, France, and Moscow, Russia. Matthias Alfen’s was strongly influenced by his family’s experience during World War II. His grandfather Klemens Alfen (1894-1955) was an accomplished painter and photographer, recognized for his landscape photography and for his technique (Special Honors for Excellence in Photo-Print Technology, 1932). He enjoyed the friendship and support of many in the artistic community, a community largely influenced by its German Jewish members. Having lost his entire circle of friends under Nazi oppression. Klemens, although not Jewish, also suffered under the Nazis for refusing to join them and struggling in post-war Germany, which had nothing to offer an artist like him, Klemens took his own life. At around the age of 16 he worked for some weeks as an assistant at his uncle’s art studio. Fritz Koenig...

Matthias Alfen’s series of Janus figures are an innovation in figural art predicated on the advances made by the Futurist sculptor and painter Umberto Boccioni and the Modernist Alberto Giacometti. The qualities of chance and spontaneity, necessarily excluded in the sculptural work, are clearly evident in his drawings and paintings. “Psychograms” of unchoreographed hand movements display wide variation, repeatedly playing through one form after another. In the end, this multitude of variation serves to enhance the logic, consistency, and seductively rich appearance of Alfen’s designed sculptural works. Represented by Gallery Schuckin in New York, Paris, France, and Moscow, Russia. Matthias Alfen’s was strongly influenced by his family’s experience during World War II. His grandfather Klemens Alfen (1894-1955) was an accomplished painter and photographer, recognized for his landscape photography and for his technique (Special Honors for Excellence in Photo-Print Technology, 1932). He enjoyed the friendship and support of many in the artistic community, a community largely influenced by its German Jewish members. Having lost his entire circle of friends under Nazi oppression. Klemens, although not Jewish, also suffered under the Nazis for refusing to join them and struggling in post-war Germany, which had nothing to offer an artist like him, Klemens took his own life. At around the age of 16 he worked for some weeks as an assistant at his uncle’s art studio. Fritz Koenig...

Jichak Pressburger, Painter. b. 1933, Bratislava, Czechoslovakia. A concentration camp survivior. Came to Israel aboard the ship, "The Exodus". 1964 Went to Paris. In 1979 Returned as new immigrant. Education Tel Aviv University, B.A. in art, with Marcel Janco and Isidor Ascheim at Avni art school. Beaux Arts, Paris with Professor Coutaud. Itzchak Pressburger Stays in Paris from 1963 – 1979, Resident of the “Cité des Arts” 1969-1972. Lives and works in Jerusalem since 1979. One-Man Exhibitions 1963 Gallery Dugit, Tel-Aviv 1968 Cultural Center Enkhuizen, Netherlands 1968 Gallery Zunini, Paris (chosen by the art critic of « Opus : Jean-Jacques Lévèque) 1970 Gallery Zunini, Paris 1973 Gallery Maitre Albert, Paris. Cultural Center Verfeil sur Seye, France 1974 Gallery Maitre Albert, Paris 1976 Gallery Mundo, Barcelone 1980 Artists’ House, Jerusalem 1981 Gallery Alain Gerard, Paris Group Exhibitions 1966 Rathaus Charlottenburg, Berlin. (The first show of Israeli painters in Germany Artists Center of Silvarouvres, Nantes, Ffance XXXth Salon of Finances at “l’Hotel des Monnaies”, Paris 1969 Maison de Culture, Le Havre, France 1968 Gallery Zunini, Paris (chosen by the art critic of « Opus : Jean-Jacques Lévèque) Salon « Grands et Jeunes d’Aujourd’hui », Paris Museum of Fine Arts, Nantes, France Cultural Center Vitry, France Gallery Il Giorno, Milan Cité des Arts, Paris 1972 Salon “Grands et Jeunes d’Aujourd’hui”, Paris Salon de Mai, Paris 1973 Städtische Galerie, Siegen, Germany 1974 Jewish Cultural Center, Paris Publicis, Paris 1975 Réalitiés Nouvelles, Paris 1976 Salon de Mai, Paris 1977 “Perspectives Israeliennes”, Grand Palais, Paris 1981 Salon Alain Gerard, Paris 1984 Artists’ House, Jerusalem Publication 1990 Haggadah Yom Kippour (Hebrew/French) Abraham Bliah (private edition), Paris Acquisitions 1968 The City of Paris 1972 The State of France The Yitzchak Pressburger artist was born in Bratislava – known for centuries by its German name of Pressburg – but the outbreak of World War II found him and his family in Prague. His father realized they had to escape from the Nazi occupiers and tried to get the family across the border into Hungary. However, they were caught near the crossing point, arrested and incarcerated overnight at the nearby railway station. The Czechs put them on a train to Hungary early the next morning. That was their first miracle in their quest for survival. They survived with relative ease until late 1943, when the father was taken away to a forced labor camp. He subsequently died in a death march. Things became even more precarious in early 1944, when the Holocaust made its full-blown presence felt in Hungary. “It wasn’t the Germans, it was the Hungarian Nazis who did the dirty work,” Pressburger points out. The family lived in so-called “safe houses” that were protected by Switzerland, Finland and Sweden. The havens were dismantled in late 1944, and the Pressburgers moved into one of the two Jewish ghettos in Budapest. The Nazis had found two houses with Jews, including the one where we had been, and took them all out and shot them next to the Danube. Today there is a monument by the river [called Shoes on the Danube Bank]. We should have been with the Jews who were killed by the river,” he says. After the war, Pressburger and his siblings were farmed out to various orphanages run by the Jewish Agency, and things took a decidedly better turn. “We finally had food to eat,” he recalls. “After a while we were put on trains that were protected by the Jewish Brigade [of the British Army], and we were sent to Austria, and then to Germany.” “My uncle was a famous artist, and I learned a lot from him,” he says. While in Germany, Pressburger also took some lessons with a local artist. His mother managed to get him and two of his siblings berths on the Exodus, which set sail from Marseilles for Palestine in July 1947. Pressburger was 13 at the time and clearly recalls the aborted attempt to get to the Promised Land. “It was so crowded on the boat. This was a ship that was made to ply rivers in the United States, with a few hundred people on board, and we had over 4,500 passengers crammed in.” As we know, the British prevented the Exodus from docking in Palestine, and the passengers were shipped – in three far more seaworthy vessels – back to France. After the French government refused to cooperate with the British, Pressburger and the others found themselves back in Germany. The teenager eventually made it here in 1948, just one month before the Declaration of Independence. After a short furlough in Tel Aviv, during the first lull in the fighting in the War of Independence, he moved to Kibbutz Kfar Ruppin, where he worked in the cowshed. All the while he continued feverishly drawing and honing his artistic skills, which he says came in handy when he joined the IDF. After completing his military service, which included a spell as one of the founding members of the Flotilla 13 naval commando unit, he worked in Sdom for a while at the Dead Sea Works before starting his formal arts training in earnest. I was in the first group of students at the Avni Institute [in Tel Aviv],” he says. “There was quite a famous bunch of students and teachers like Moshe Mokadi and Isidore Ascheim and Aaron Giladi.” In such illustrious company, one might have thought Pressburger was set to unleash his burgeoning talents on art connoisseurs across the globe, but it was a while before that happened. Pressburger arrived in the French capital in 1964 and spent close to 15 years there, with a short interlude in Germany, before returning to Israel. His time in Paris was a professionally rewarding period of his life, and he also found love. “[Avni Institute teacher] Yochanan Simon gave me the name and address of a French-Israeli family in Paris, but when I got to the house, a young woman opened the door and told me the family was on vacation in Israel,” he explains. Despite missing his expected hosts’ welcome, he and the German-born young lady who greeted him soon fell for each other, and romance quickly led to wedding bells. By all accounts, Pressburger did well in Europe. He secured a rare three-year berth at Cité Internationale des Arts, where artists are normally provided with accommodation and studio space for between two months and a year. He was also accepted to the prestigious Beaux Arts academy of fine arts, mounted solo exhibitions, and took part in group shows all over Europe. One of these last was a group exhibition at Rathaus Charlottenburg in Berlin in 1966 – the first exhibition of Israeli artists in Germany after the Holocaust. When he arrived in Berlin, the lineup for the Israeli show was already signed and sealed, but somehow his work came to the attention of the German culture minister, who arranged for him to join. The Pressburgers’ year-long sojourn came to an abrupt end following an encounter he had one day while walking through the crowded Berlin streets...

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