Edwin David Porter

Eye of the Peacock, Cubist Abstract Silkscreen by David Porter

1971

Artist: after Alberto Magnelli, Italian (1888 - 1971) Title: San Lazzaro Year: 1975 Medium: Lithograph, signed in the plate Edition: 400/575 Paper Size: 14...

Pablo Picasso's print featuring his former wife and muse, Olga Picasso (Khokhlova/Kaklowa, is a great example of the artist's more naturalistic representations. Reclining on a chaise...

In this spirited beach scene, Pablo Picasso depicts three nude female figures playing with a ball. Full of movement and bursting with color, this print showcases the artist's ability...

Reclining into an armchair, the nude woman in this print appears fragmented and reduced to angular shapes. While recognizable, the figure of the woman is seen through multiple perspectives and is represented in a more abstracted manner as a result. A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Femme Nue...

Artist: Alberto Magnelli, Italian (1888 - 1971) Title: II from La Magnanerie de la Ferrage Year: 1971 Medium: Linocut on Japon, signed in pencil Edition: Pour Leon Amiel Image S...

Leaning against a blue and red flag, the woman in this print by Pablo Picasso stares back at the viewer with her large blue eyes. Wearing a patterned outfit, she is portrayed through...

Modern Cubist Abstract in Primary Colors, A/P by Juan Quevedo "Linias Emocionales", a bold and bright cubist abstract artist proof screen print by Juan...

Reclining Cubist Nude Woman Max Weber (April 18, 1881 – October 4, 1961) was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to more figurative Jewish themes in his art. He is best known today for Chinese Restaurant (1915), in the collection of the Whitney Museum of American Art, "the finest canvas of his Cubist phase," in the words of art historian Avis Berman. Born in the Polish city of Białystok, then part of the Russian Empire, Weber emigrated to the United States and settled in Brooklyn with his Orthodox Jewish parents at the age of ten. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow. Dow was a fortunate early influence on Weber as he was an "enlightened and vital teacher" in a time of conservative art instruction, a man who was interested in new approaches to creating art. Dow had met Paul Gauguin in Pont-Aven, was a devoted student of Japanese art, and defended the advanced modernist painting and sculpture he saw at the Armory Show in New York in 1913. In 1905, after teaching in Virginia and Minnesota, Weber had saved enough money to travel to Europe, where he studied at the Académie Julian in Paris and acquainted himself with the work of such modernists as Henri Rousseau (who became a good friend), Henri Matisse, Pablo Picasso, and other members of the School of Paris. His friends among fellow Americans included some equally adventurous young painters, such as Abraham Walkowitz, H. Lyman Sayen, and Patrick Henry Bruce. Avant-garde France in the years immediately before World War I was fertile and welcoming territory for Weber, then in his early twenties. He arrived in Paris in time to see a major Cézanne exhibition, meet the poet Guillaume Apollinaire, frequent Gertrude Stein's salon, and enroll in classes in Matisse's private "Academie." Rousseau gave him some of his works; others, Weber purchased. He was responsible for Rousseau's first exhibition in the United States. In 1909 he returned to New York and helped to introduce Cubism to America. He is now considered one of the most significant early American Cubists, but the reception his work received in New York at the time was profoundly discouraging. Critical response to his paintings in a 1911 show at the 291 gallery, run by Alfred Stieglitz, was an occasion for "one of the most merciless critical whippings that any artist has received in America." The reviews were "of an almost hysterical violence." He was attacked for his "brutal, vulgar, and unnecessary art license." Even a critic who usually tried to be sympathetic to new art, James Gibbons Huneker, protested that the artist's clever technique had left viewers with no real picture and made use of the adage, "The operation was successful, but the patient died."[8] As art historian Sam Hunter wrote, "Weber's wistful, tentative Cubism provided the philistine press with their first solid target prior to the Armory Show." The Cellist...

This is a proof print and is unsigned. it has Jewish Hebraic motifs, a menorah with a Jewish star, a mezusah or megilla scroll by this talented Jewish woman artist. Her whole life lo...

PABLO PICASSO 1881-1973 Málaga 1881- 1973 Mougins (Spanish) Title: Woman Reclining and Man with a Guitar Femme couchée et homme à la guitare, 1959 ...

PABLO PICASSO 1881-1973 Málaga 1881- 1973 Mougins (Spanish) Title: The Grape Harvesters Les Vendangeurs, 1959 Technique: Original Hand Signed and Numbere...

GEORGES BRAQUE 1882-1963 Argenteuil-sur-Seine, 1882-1963 Paris (French) Title: Still Life on a Table (Paris 1910) Nature morte sur une table (Paris 1910), 1910-11 Technique: Ori...