Xiu-ping Liao Art

Marcel Janco, was a Romanian and Israeli visual artist, architect and art theorist. He was the co-inventor of Dadaism and a leading exponent of Constructivism in Eastern Europe. In...

Edward Landon 'River View, color serigraph, 1942, edition 50, Ryan 159. Signed in pencil in the image, lower right. Titled, dated, and annotated '9 COLORS – 50 PRINTS' in the screen,...

The Wounded One (El Herido) from Violence (La Violencia) 1969 signed, dated and titled in pencil Dimensions: sheet: 22 1/16 x 30 1/16" (56 x 76.4cm) Rafael Canogar ( Toledo , 1935) is a Spanish painter, one of the leading representatives of abstract art in Spain. Disciple of Daniel Vazquez Díaz (1948-1953), in his first works he found a way to reach the avant garde and, very soon, to study abstraction deeply. He initially used a sculpture technique: with his hands he scratched or squeezed the paste that vibrated on flat colored backgrounds. It was a painting in which the initial gesture comes directly from the heart. At this point, Canogar embodied the best of painting material . In 1957 he founded with other artists the EI Paso group. With artists like Luis Feito, Manolo Millares, Pablo Serrano, Manuel Rivera and Antonio Saura, he begins the Spanish avant-garde movement and continues to do so until 1960. It is influenced by Action painting. They defended, between 1957 and 1960 , an informal aesthetic and the opening of Franco Spain...

Edward Landon, 'Flyable Objects Identified', color serigraph, 1969, edition 30, Ryan 83. Signed, titled, and annotated 'Edition 30' in pencil. A fine impression, with fresh colors, o...

Michael Gross (Hebrew: מיכאל גרוס‎; 1920 – 4 November 2004) was an Israeli painter, sculptor and conceptual artist. Michael Gross was born in Tiberias in the British-administered Palestine in 1920. He grew up in the farming village of Migdal. In 1939-1940, he left to study at the Teachers’ Training College in Jerusalem. In 1939, while he was away, his father was murdered by Arabs, and the family farm and home were destroyed. This event impacted on his work as an artist. From 1943 to 1945, he studied architecture at Technion – Israel Institute of Technology in Haifa. From 1951 to 1954, he studied art at the École nationale supérieure des Beaux-Arts in Paris. He returned to Israel in 1954 and settled in the artists’ village of Ein Hod. Gross's works are imbued with the light and spirit. They are minimalist, but never pure abstraction, always tied to natural form and laden with feeling. In his early paintings, Gross simplified form in order to concentrate on proportion, broad areas of color, and the size and placement of each element. This reductive process was also notable in his sculptures, whether in painted iron or other materials such as white concrete. In later paintings, he often juxtaposed large off-white panels with patches of tone, adding textured materials such as wooden beams, burlap and rope. Gross’s rough, freely-brushed surfaces, along with the use of soft pastel coloring, conjure up images of the Israeli landscape. Education 1936-1940 Teachers Seminary, Jerusalem 1943-1945, Technion, Haifa, architecture, studied sculpture with Moshe Ziffer. 1951-1954 Beaux Arts, Paris with Michel Guimond Teaching 1954 - 1954 Higher School of Education, Haifa. 1957-1960 Bezalel Academy of Arts and Design, Jerusalem 1960-1980 Oranim Art Institute, Tivon Awards 1964: Hermann Struck Prize 1967: Dizengoff Prize 1971...

This serigraph has never been framed. Chicago born Modernist. Showed at Andrew Crispo Gallery and Tibor de Nagy Gallery. Schwedler could not help but be influenced by the local artistic milieu particularly with those contemporaries and friends who formed the Hairy Who in the Mid - 1960's Schwedler's Paintings from the beginning to his young end were ripe with a surreal, abstract poetry filled with references to landscapes, architecture, texture (cracked), line (broken,chopped, and Pulled to pieces), and delicate, but voluptuous color. Studying at the Art institute of Chicago with his friends Cynthia Carlson, Jim Nutt...

Robert Vale Faro, untitled (African Idol), serigraph, c. 1940, edition 6. Signed in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet with margins(5/8 ...

Johnny Friedlaender (26 December 1912 – 18 June 1992) was a leading 20th-century artist, whose works have been exhibited in Germany, France, Netherlands, Italy, Japan and the United States. He has been influential upon other notable artists, who were students in his Paris gallery. His preferred medium of aquatint etching is a technically difficult artistic process, of which Friedlaender has been a pioneer. Gotthard Johnny Friedlaender was born in Pless (Pszczyna), Prussian Silesia, as the son of a pharmacist. He was graduated from the Breslau (Wrocław) high school in 1922 and then attended the Academy of Arts (Akademie der Bildenden Kunste) in Breslau, where he studied under Otto Mueller. He graduated from the Academy as a master student in 1928. In 1930 he moved to Dresden where he held exhibitions at the J. Sandel Gallery and at the Dresden Art Museum. He was in Berlin for part of 1933, and then journeyed to Paris. After two years in a Nazi concentration camp, he emigrated to Czechoslovakia, where he settled in Ostrava, where he held the first one-man show of his etchings. In 1936 Friedlaender journeyed to Czechoslovakia, Switzerland, Austria, France and Belgium. At the Hague he held a successful exhibition of etchings and watercolours. He fled to Paris in 1937 as a political refugee of the Nazi regime with his young wife, who was an actress. In that year he held an exhibition of his etchings which included the works: L ‘Equipe and Matieres et Formes. From 1939 to 1943 he was interned in a series of concentration camps, but survived against poor odds. After freedom in 1944 Friedlaender began a series of twelve etchings entitled Images du Malheur with Sagile as his publisher. In the same year he received a commission to illustrate four books by Freres Tharaud of the French Academy. In 1945 he performed work for several newspapers including Cavalcade and Carrefour. In the year 1947 he produced the work Reves Cosmiques and in that same year he became a member of the Salon de Mai, which position he held until 1969. In the year 1948 he began a friendship with the painter Nicolas de Staël and held his first exhibition in Copenhagen at Galerie Birch. The following year he showed for the first time in Galerie La Hune in Paris. After living in Paris for 13 years, Friedlaender became a French citizen in 1950. Friedlaender expanded his geographic scope in 1951 and exhibited in Tokyo in a modern art show. In the same year he was a participant in the XI Trienale in Milan, Italy. By 1953 he had produced works for a one-man show at the Museum of Neuchâtel and exhibited at the Galerie Moers in Amsterdam, the II Camino Gallery in Rome, in São Paulo, Brazil and in Paris. He was a participant of the French Italian Art Conference in Turin, Italy that same year. Friedlaender accepted an international art award in 1957, becoming the recipient of the Biennial Kakamura Prize in Tokyo. In 1959 he received a teaching post awarded by UNESCO at the Museum of Modern Art in Rio de Janeiro. By 1968 Friedlaender was travelling to Puerto Rico, New York City and Washington, D.C. to hold exhibitions. That year he also purchased a home in the Burgundy region of France. 1971 was another year of diverse international travel including shows in Bern, Milan, Paris, Krefeld and again New York. In the latter city he exhibited paintings at the Far Gallery, a venue becoming well known for its patronage of important twentieth-century artists. From his atelier in Paris Friedlaender instructed younger artists who themselves went on to become noteworthy, among them Arthur Luiz Piza, Brigitte Coudrain...

Edward Landon, 'Salient in February', color serigraph, 1945, edition 25, Ryan 166. Signed in pencil. Titled, dated, and annotated 'ED. 40' in pencil. A fine impression, with fresh colors, on cream, wove paper; with full margins (1 3/4 to 2 5/8 inches, top sheet edge deckle); in excellent condition. Image size 9 x 11 inches; sheet size 12 3/4 x 16 inches. Matted to museum standards, unframed. ABOUT THE ARTIST Born in Hartford, Connecticut, Edward Landon dropped out of high school to study art at the Hartford Art School. In 1930 and 1931, he was a student of Jean Charlot at the Art Students League in New York, after which he traveled to Mexico to study privately for a year with Carlos Merida. In 1933 he settled near Springfield, Massachusetts, painted murals in the local trade school, and exhibited with the Springfield Art League. His painting 'Memorial Day' won first prize at the fifteenth annual exhibition of the League at the Springfield Museum of Fine Arts. Landon became an active member of the Artists Union of Western Massachusetts, serving as president from 1934-1938. Landon acquired Anthony Velonis’s instructional pamphlet on the technique of serigraphy in the late 1930s. With colleagues Phillip Hicken, Donald Reichert, and Pauline Stiriss, he began experimenting with screen printing techniques. The artists' groundbreaking work in screen printing as a fine art medium was the subject of the group’s landmark exhibition at the Springfield Museum of Fine Arts in 1940. Landon became one of the founding members of the National Serigraph Society and served as editor of its publication, 'Serigraph Quarterly,' in the late 1940s and as its president in 1952 and 1953. The Norlyst Gallery in Manhattan held a one-person show of his prints in 1945. Awarded a Fulbright Fellowship in 1950, Landon traveled to Norway, where he researched the history of local artistic traditions and produced the book 'Scandinavian Design: Picture and Rune Stones...

James Houston McConnell, 'Equus Uirumpu' (The Man's Horse), color serigraph, c. 1945, edition not stated but small. Signed and titled in pencil. Initialed in the image, lower right. ...

Cozette de CHARMOY (1939-) In the Blur of Numbers Screen Print Handsigned in pencil Limited to 75 copies and a few EA (here an EA proof) On Arches vellum 88 x 60 cm (c. 35 x 24 inch...

Eugenio Carmi is an Italian painter born in 1920 in Genoa. He studied in Turin in Felice Casorati’s studio. His experience as a graphic designer in the ‘50s, is decisive for his pictorial research, based on a rigorous geometrical structure and on a fine analysis of the perception of colors. He participated in the Venice Biennale in 1966. In 1967 he showed some electronic works in the Superlund exhibition organized by Pierre Restany in Lund, Sweden. In 1968, he introduced the “Carm-o-matic”, during the Cybernetic Serendipity show at the Institute of Contemporary Art in London. In 1973, he produced an entirely abstract 25-minute show for RAI’s Experimental Programs Service. The same year, he taught visual art seminars at the Rhode Island Institute of Design in the United States. In the ‘70s, he gave courses at the Accademia of Macerata and at the Accademia of Ravenna (Italy). He produced illustrations for three of Umberto Eco’s stories, published in Italy by Bompiani and in many other countries. The French Ministry of Education has selected them for libraries and schools in France. The most important retrospective of his work was organized by the Milan town hall in 1990, followed by a prestigious exhibition in Budapest, in the halls of the Royal Palace, in 1992. In 1991 he exhibited at the San Francisco Italian American Museum. In 1996 the “Carmi” book is published by Umberto Eco and Duncan Macmillan and presented at the Milan Triennial: a synthesis of his life. From 1957 to 1965 he will play the role of artistic director of Cornigliano's corporate magazine. During this time iron and steel are materials that Carmi meets every day and become a strong creative stimulus for him. In his first solo exhibition - presented by Gillo Dorfles in 1958 at the Galleria Numero di Firenze - the protagonists are the enamels on steel and since 1960 he made various iron and steel works welded and lithographed milk. Iron and steel is the work that in 1962 presented at Spoleto Sculpture exhibition in the city , organized by Giovanni Carandente under the V Festival of the Two Worlds . In this period, he is involved not only in the cultural politics of the Istallier ( Victor Vasarely , Umberto Eco , Max Bill , Konrad Wachsmann , Furio Colombo , Ugo Mulas , Kurt Blum , Emanuele Luzzati , Flavio Costantini ) , But also in the cultural activity of the Warehouse Gallery , which Carmi founded in Boccadasse in 1963. The Warehouse Gallery with multiples intends to propose a serial art accessible to a wider audience and is placed in international discussions on 'Multiplied Art, representing one of the most important examples. The friendship and mutual esteem that binds him to Umberto Eco has two very important fruits at this time: Children's Fables and Stripsody . In 1966 for the publishing house Bompiani came three Eco fables illustrated by Carmi and then re-introduced in 1988 with new Carmi illustrations and a fable more. Stripsody is a musical project on cartoon sound, designed and then interpreted by the genius singer Cathy Berberian, with Eco texts and illustrations by Carmi. Eugenio Carmi, who is always fascinated by the new technological possibilities in the 1960s and 1970s, is the author of experimental cinematic and audiovisual artwork and also realizes those who will call electrical imagery signals that will also be at the center of a provocative installation on the streets of the city of Caorle . It is at this stage that in 1966 he was at the XXXIII edition of the Venice Biennale with the electronic work SPCE (electronically controlled polycyclic structure), which is also the invitation of Pierre Restany to participate with electronic works at the SuperLund exhibition in Sweden. In 1971, he moved to Milan with his family, where he established his study. At this point, though with incursions in other parallel fields such as the realization of mirrors and stained glass, painting, and sporadically sculpture - which had approached the Istal period - is at the center of its activity. It is at the beginning of the seventies that it deepens the geometric language, already open with some previous experiences (accident prevention signs for the Italsider, some multiples for the Deposit and electrical imagery signals), replacing it with the informal one. In 1979 he produced a magazine - which will remain the same number - by the name of Res Publica , for which he receives the contributions of intellectuals and artists, including Umberto Eco, Antonio Porta , Gillo Dorfles , Richard Paul Lohse...