Lilly McElroy Art

Etching on paper, signed Gaetano Carboni A painter and engraver, Gaetano Carboni was born in 1928 in Ascoli Piceno and, between 1940 and 1950, implemented his first figurative experi...

'Lily in Charcoal' 2023 From raw energy to sublime. 'Lily in Charcoal' is an expression piece combining an abstract charcoal drawing with a live lily emerging from a gash. The charc...

Grey tonal painting of a Falcon perched on a branch. The work is framed in a silver frame with a white matte. The artist signed the work in the bottom right corner. Artist Biograph...

Nazanin Moghbeli is an Iranian-American artist with training in Persian calligraphy, miniature painting, and music. She borrows techniques from Irania...

Ron Gorchov Untitled, inscribed to Robert Vogele, 1978 Watercolor and etching on paper with 2 deckled edges. Hand signed in pencil and inscribed on lower front. Inscription reads as ...

Nazanin Moghbeli is an Iranian-American artist with training in Persian calligraphy, miniature painting, and music. She borrows techniques from Irania...

“I have been living in Berlin as a painter for 45 years and since then a lot of water has flowed down the Spree, many ‘big’ and little names, many art scenes, a lot of noise and lots of hope have come along. There was the great period of 1920-1933, when Berlin was a real and free art city, when the public still visited the exhibitions and the painters had not yet invented the publicity. There was the ’12th Reich’, which eliminated art. And there came the laborious new beginnings after 1945. When I was a beginner, around 1925, I plunged rather carelessly into the lively art scene: first exhibition in the then very turbulent jury-free show. In 1927, for the first time, I succeeded in conquering a wall space in the academy on Pariser Platz, where Liebermann led a strict regiment. Many young exhibitions were organized and critically acclaimed (Paul Westheim). Paul Cassirer showed three generations in two beautiful exhibitions, I was one of the youngest. My first collective exhibition was in the Galerie Möller in 1928, after which I received a master studio in the ‘Akademie der Künste’ for three years. In the printing workshop on the Steinplatz I learned the etchings on the same press, on which I still create the plates at our university today. This was followed by further exhibitions, again at Möller in 1931, etchings in the gallery Gurlitt in 1932, in the Szczecin Museum, whose director Riezler acquired several pictures that were destroyed during the Nazi era. The Kronprinzenpalais had also bought a picture and the Kupferstichkabinett some etchings. Everything went ahead, and then, with one hit, it was over. In 1934, all free, progressive exhibitions were closed and the associations liquidated (Künstlerbund, Sezession). The end of painting. I learned ceramics and painted tiles and tiled stoves; The war...

“I have been living in Berlin as a painter for 45 years and since then a lot of water has flowed down the Spree, many ‘big’ and little names, many art scenes, a lot of noise and lots of hope have come along. There was the great period of 1920-1933, when Berlin was a real and free art city, when the public still visited the exhibitions and the painters had not yet invented the publicity. There was the ’12th Reich’, which eliminated art. And there came the laborious new beginnings after 1945. When I was a beginner, around 1925, I plunged rather carelessly into the lively art scene: first exhibition in the then very turbulent jury-free show. In 1927, for the first time, I succeeded in conquering a wall space in the academy on Pariser Platz, where Liebermann led a strict regiment. Many young exhibitions were organized and critically acclaimed (Paul Westheim). Paul Cassirer showed three generations in two beautiful exhibitions, I was one of the youngest. My first collective exhibition was in the Galerie Möller in 1928, after which I received a master studio in the ‘Akademie der Künste’ for three years. In the printing workshop on the Steinplatz I learned the etchings on the same press, on which I still create the plates at our university today. This was followed by further exhibitions, again at Möller in 1931, etchings in the gallery Gurlitt in 1932, in the Szczecin Museum, whose director Riezler acquired several pictures that were destroyed during the Nazi era. The Kronprinzenpalais had also bought a picture and the Kupferstichkabinett some etchings. Everything went ahead, and then, with one hit, it was over. In 1934, all free, progressive exhibitions were closed and the associations liquidated (Künstlerbund, Sezession). The end of painting. I learned ceramics and painted tiles and tiled stoves; The war...

Evergreen Lane (Abstract print) Etching - Unframed. This print is last in edition. This etching refers to a Steamboat Springs, Colorado street. It...

Blue Minimal Painting is an original artwork realized by TUSET in 2020. We can frame it in natural wood or black on request. The title of this works is "From the Apollonian pictori...

Evergreen Lane (Abstract print) Etching - Unframed. This print is last in edition. This etching refers to a Steamboat Springs, Colorado street. It...

Nazanin Moghbeli is an Iranian-American artist with training in Persian calligraphy, miniature painting, and music. She borrows techniques from Iranian calligraphy to create abstract...