Edwin david porter Art

Homme couche et femme accroupie Lithograph on Arches paper, 1956 Signature stamp lower right )see photo) Annotated in pencil lower left: "epreuve d'artiste" (see p[hoto) Edition: 50, plus a few artist's proofs One of at least six artist's proofs apart from the edition of 50 Printed by Mourlot, Paris Inventory number verso: 50. Edition: 50, plus a few artist's proofs One of at least six artist's proofs apart from the edition of 50 Provenance: Pablo Picasso Inventory number verso: 50.014 (recorded in the Picasso Archives, Paris) Marina Picasso Collection...

Selected from the personal collection inherited by Marina Picasso, Pablo Picasso's granddaughter. After Pablo Picasso's death, his granddaughter Marina authorized the printing of t...

An original woodblock print by American artist Werner Drews. This composition comes in an archival frame presentation which measures 26 x 30 on the wall. Werner Drewes (1899-1985) ...

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...

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...

This full-on view of a musician and his bass (also known as an upright bass or string bass), has an air of calm befitting the lowest-pitched bowed instrum...

Unsigned Edition: a proof outside the edition of 50 printed on Japan Hodomura paper and the additional 50 impressions printed for the book Jaime Sabartes, "Dans l'atelier de Picasso...

Cin Cin is an original etching artwork realized by G. I Brook, Signed on the plate. In very good condition. Included a White Passepartout: 49 x 34 cm. The a...

Artist: Pablo Picasso Title: Monogram "J" with Design (Plate VII) Portfolio: Carmen Medium: Etching on Montval wove paper Date: 1949 Edition: 289 Sheet Size: 13" x 10 3/16" Signed: N...

76 x 52 cm. Printed by Fernand Mourlot on rag paper watermarked "Mourlot." A condition. Not in Saphire. .Fernand Mourlot was born in Paris in 1895. He grew up in the family print shop but it wasn't until he took over in the early 1920s that he would change the fabric of printing forever. His influence fostered a resurgence of lithography, revealing it as a new avenue for expression and a new realm of possibilities for likes of Pablo Picasso, Henri Matisse, Marc Chagall, Joan Miró, Georges Braque, Fernand Léger, and Alberto Giacometti to enrich their own work as well as fine art in general. Fernand cultivated the lithograph as a painter's medium and the family studio on Rue Chabrol became a hub where he could invite artists to work directly on the stone, as if creating a poster. In 1937, the studio produced two posters (based on paintings by Matisse...

Toro and Horse Lithograph, 1957 Signed and numbered in pencil by the artist. Titled in pencil lower left. Edition: 25 (24/25) Printer: Ravel, Paris Reference: Freeman L57.11 'Toro and Horse' was inspired by Spanish bullfighting...

Albert Gleizes, 'Descente de Croix', color pochoir, 1928, edition c. 50. Signed and dated in pencil. A fine, painterly impression, with fresh colors, on heavy, cream wove paper; the full sheet with margins (3 to 4 inches), in very good condition. The publisher's ink stamp 'EDITIONS MOLY-SABATA' beneath the image, lower left. Matted to museum standards, unframed. Image size 12 x 14 inches (305 x 356 mm); sheet size 18 x 22 inches (457 x 559 mm). ABOUT THE IMAGE After the 1927 painting 'Descente de Croix', one of three religious-themed works that Gleizes developed as preliminaries for murals at the church at Serrières, France, the project was terminated at its final phase, and Gleizes commissioned master printer Robert Pouyaud to create prints of the paintings, closely overseeing the production. ABOUT THE MEDIUM Pochoir is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique. ABOUT THE ARTIST Albert Gleizes (1881-1953), born in Paris, France, was a pioneering figure in the development of abstract art and one of the leading proponents of Cubism. His contributions to the art world extended beyond his paintings; he was also a prolific writer and theoretician, advocating for a new approach to art that emphasized the geometric abstraction of form and a departure from representational traditions. Gleizes initially studied painting at the Académie Julian and the École des Beaux-Arts in Paris, where he was exposed to the academic conventions of the time. However, his artistic vision was profoundly influenced by encounters with avant-garde movements, including Fauvism and the work of Paul Cézanne. These influences led Gleizes to experiment with form and color, gradually moving away from traditional representation toward a more abstract and geometric style. After completing his secondary schooling, Gleizes spent four years in the French army and then began pursuing a career as a painter, primarily doing landscapes. Initially influenced by the Impressionists, he was only twenty-one years of age when his work titled ‘La Seine à Asnières’ was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year, he was part of the first Salon d'Automne and soon came under the influence of Fernand Léger, Robert Delaunay, Jean Metzinger, and Henri Le Fauconnier. In 1907, Gleizes and some of his friends pursued the idea of creating a self-supporting community of artists that would allow them to develop their art free of any commercial concerns. For nearly a year, Gleizes  , with other painters, poets, musicians, and writers, lived at a large house in Créteil, but a lack of funds forced them to give up their facility in early 1908, and Gleizes moved temporarily into La Ruche, the artist commune in the Montparnasse Quarter of Paris. In the early 1910s, Gleizes became associated with the Cubist movement, which was spearheaded by artists such as Pablo Picasso and Georges Braque...