Valerio Adami

Vulcano con figure

1998

Come dare i primi soccorsi ann cane. 1971 Artwork size: 81×100 cm. Frame size: 96,5 × 114,5 × 4,5 cm. Provenance: Galerie Maeght. Zürich – Schweiz. This artwork is accompanied by a...

Unique artwork This work is recorded in the Arman Studio Archives New York under number: APA# 1001.87.013. The painting was executed by Arman at a happening at Malmö Konserthus for t...

Artwork size: 97 x 130 cm. Frame size: 109 x 142 cm. Free shipment worldwide. Signed, titled and dated on the verso. Acquired directly from the artist. “Adami is the maestro of the ...

Gentlemen prefer them blondes and pop artists as well. Silkscreen and acrylic on canvas Artwork size: 75 x 75 x 3 cm. Frame size: 87 x 86 x 5 cm. Acquired directly from the artist...

Painting Antonio de Felipe "Marilyn puntos rojos" Acquired directly from the artist. Free shipment worldwide. Painted on the sides. No frame needed. The work of Antonio de Felipe is a constant source of fascination and surprises. It is a great pleasure to witness how the artist’s inge-nious world of ideas and his sense of humour are constantly evolving. Antonio de Felipe was born in Valencia in 1965. Ever since a very young age he has felt an artistic drive that led him to earn a fine arts degree at the University of Valencia. During his studies he worked as a creative designer in an advertising agency which undoubtedly influenced what would be his future pictorial style. In 1996 he moved to Madrid where he has his studio. Antonio de Felipe has developed his extensive work in different series. His subject worlds form a surprising genre blend, a linking of series characters, classical art and commercialism side by side with contemporary icon worship. His motifs are often painted in constellations that pay homage to great artists, including Velázquez, Picasso, Mondrian and others. Many of his works exhibit an ingenious ability to express powerful paradoxes. One example of this can be seen in the paraphrase on Diego Velázquez famous Las Meninas (Spanish for The Maids of Honour), painted in 1656. Instead of the glass of cold, perfumed water in the original, Antonio de Felipe places a Fanta soft drink in the hand of the young Spanish princess Margarita. The painting is part of the series LOGOTIPOS (logos) devoted to the world of art and advertising. This series was followed by VACAS (cows), with paintings such as Vaca Vogue, a pink cow on the cover of a Vogue magazine. Then, CINEMASPOP where actors like Marilyn Monroe and Audrey Hepburn among others were revived as pop icons, with well-known creations such as Black Audrey. In 2009 Antonio de Felipe presented POPSPORT in which the artist mixes the world of sport with cartoons and art history, uch as in La carrera where Picasso’s Demoiselles d’Avignon are participating in a run at a stadium. And latest, the LPop series where the artist is playing with the motifs and titles of famous LP album covers, such as Bad Bart where Bart Simpson...

Artwork size: 81 x 119 cm. Frame size: 94 x 132 cm Free shipment worldwide. Acquired directly from the artist. Signed and dated on the verso. “I paint because painting is a private Utopia,” Erró writes of his art. The landscapes in Erró’s work are a constantly changing kaleidoscope of images, multivalent and mysterious, not infrequently controversial, bursting with life – and titillating, too! There is room in his pictures for both paradise and visions of fear. Erró is the alias of Gudmundur Gudmundsson, born on 19 July 1932 in Olafsvik, in north-western Iceland. Since Gudmundur first became enthralled by pictures of works of art in a catalogue from the Museum of Modern Art in New York at the tender age of ten, painting has been his passion and his mission in life. He was accepted into art school in Reykjavik as a 19-year old, subsequently complementing what he had learned there with further studies in Oslo. Erró travelled extensively in Spain, Italy, France and Germany in the 1950s, studying at the Florence Academy of Art in 1954 and at the School of Byzantine Mosaic Art in Ravenna in 1955. It was around this time that he began to exhibit his works, first and foremost in Paris, where he chose to make his home in 1958. During the 1960s he established contact with the Swedish museum director Pontus Hultén, who encouraged him and took him under his wing. Over the years Erró has taken part in hundreds of exhibitions and today his works are on show in museums all over the world, including the Centre Pompidou in Paris. Erró’s pictorial world is peopled by comic-strip characters and autocratic despots alike. Donald Duck with his Daisy, Chip & Dale, and other Walt Disney creations are unselfconsciously juxtaposed with Greek gods and madonnas. Elsewhere the German dictator Adolf Hitler stands shoulder to shoulder with his Iraqi counterpart Saddam Hussein...

Archaic Hercules Skinning a Rabbit, 2019 Acrylic on canvas 53.14 H x 55.11 W in. 135 H x 140 W cm In classical mythology, Hercules is famous for his strength and his numerous far-ra...

Coulombe-Bégin's dynamic acrylic on canvas works seek to produce a metamorphic interpretation of the artist's inner identity. Her paintings make ample use of contrasting colors to cr...

Luis Miguel Valdes (Cuba, 1949) 'La soledad de las columnas', 2018 oil on canvas 55.2 x 181.2 in. (140 x 460 cm.) ID: VAL-334

Gyre acrylic, spray paint on canvas 80" x 96" 2022 Part of the New Minority Series Dennis Jones was first introduced to the use of a bidet while being extremely ill in Hurghada, Egypt. He has played the game of ‘Jenga’ with prostitutes in Phuket, Thailand. Once he hiked down to the bottom of the Grand Canyon from the North Rim and back in twelve hours. Jones has also visited fifty US National Parks. The work of Dennis Jones is growth oriented. There is diversity among his oeuvre and much risk in such an approach. Eschewing a ‘signature style’ that he considers to be boring, creatively limiting and market driven, he prefers to consider how method and expression intermingle and form a conceptual basis. A cursory glance may consider his prodigious output to lack focus, but a deeper reading reveals that he remains true to himself and allows his work to take him where it needs to go. There has always been the presence of a figure in his work, either implied, or directly visible. One can trace several years of development from his interest in figurative and cartoon-like imagery in, Toyland (2006), through his foray into text based work (2007-13) and a later influence of abstraction (2012-18). Following this trajectory brings one to his current body of work that combines figuration, cartoons and abstraction. He is a visual artist, educator, and architect. Each of the ‘hats’ he wears directly influence his work. He states that ‘a fascination with an integration of material, process and expression, truth of emotion and visually communicating thought are what sustain and drive him as an artist. Jones has participated in over seventy solo and group shows that include local, national and international venues. His creative output includes paintings, sculptures, drawings, installations, videos, photos, books, teaching and residential architecture. Jones’ work was selected to be included in the New American Paintings 2019 Midwest Competition Publication, juried by Staci Boris, Associate Director of Exhibitions, School of the Art Institute of Chicago. Currently, his focus is on a growing body of paintings, in mixed media, on canvas that combine abstraction, figuration and cartoon imagery. Jones had a one person exhibition at the University of Michigan in September through December of 2018. A review of the show can be read on the page titled, Candyland Review. Earlier the same year, He curated an exhibition titled, SIX, that opened in January of 2018, at The Janice Charach Gallery; a five thousand square foot space, located in West Bloomfield, Michigan. The exhibition featured the work of six Detroit artists and provided adequate space for each to show a body of work…essentially six individual shows in one space. Selected venues that have shown Jones’ work include: The OK Harris Gallery, New York; Galerie Protege, NY; The Mary Washington Galleries, Mary Washington University, Fredericksburg, Maryland; The Kraft Lieberman Gallery, Chicago; The Drift Gallery, Portsmouth, NH; The Project Room, Lincoln, NE; The Art Gallery of Windsor, Windsor, Canada; Artcite, Windsor, CA; The Thames Gallery, Chatham, Ontario, Canada; The Kenderdine Art Gallery, University of Saskatchewan, Saskatchewan, CA; Definitely Superior Gallery, Thunder Bay, ON, CA; Gallery Lambton, Sarnia, ON, CA, WKP Kennedy, North Bay...

"Luis Miguel Valdes (Cuba, 1949) 'Strong Tower', 1998 acrylic, marbel dust on canvas 78.8 x 78.8 in. (200 x 200 cm.) ID: VAL- "

"Luis Miguel Valdes (Cuba, 1949) 'Cuarto', 2017 oil, acrylic on canvas 76.8 x 76.8 in. (195 x 195 cm.) ID: VAL- "