Carlo Pittore

Figurative Expressionist Bold Pop Art Oil Painting Self Portrait Carlo Pittore

1984

Itamar Siani, Israeli artist, painter, engraver, born 1941, Yemen His art commemorates the unique cultural heritage and traditions of the Yemenite Jewish community, who returned to the Promised Land on "Eagles' Wings," the code name of the Israeli rescue of Yemenite Jewry in 1949. Among his notable works is a ten-meter long oil painting depicting the immigration of the Yemenite Jews, which he worked on for 30 years.He did a celebrated series titled "The Magic Carpet" etchings depicting stages in the artist’s life including: Liberation, The Magic Carpet, Refugees, New life in Israel, Family, Mount Sinai. published in Jerusalem 1973. The artist was born in Sana’a in Yemen and flown to Israel aged 5 years old as part of operation ‘Magic Carpet’ the mass migration that transported almost the entire Jewish population of this part of the Arabian peninsula to the new State. The etchings continue and develop a long tradition of Yemenite artistry. Yemenite born Israeli painters Avshalom Okashi...

Older, realistic portrait of an older Jewish shtetl tailor by Polish artist. Here the artist conveys a sense of quiet grandeur through the eyes of his subject and the way it's render...

Ozer Shabat 1978-1901 Ozer Shabbat was an Israeli painter, a resident of Haifa. Belonged to the Palestine Expressionist group of the late 1920s and early 1930s. Shabbat was born in Wolbrom, Poland. At the end of the First World War he went to Holland for agricultural training in the framework of the HeChalutz movement, prior to his immigration to Palestine. In 1920 he immigrated to Eretz Israel and joined the Hulda group. Later he joined the Merhavia group and there he began painting. Because of his desire to study drawing, he left the group and moved to Jerusalem. In 1921, he wrote articles in the newspaper "HaSadeh" on the subject of agriculture and Dutch cheese. Ozer Shabath won the first prize in a competition for the design of the Dutch Consulate's Garden in Jerusalem, enabling him to travel to Paris in 1923 to study painting. Until 1925 he studied painting at the Grande Chaumiere Academy in Paris. This year he returned to Eretz Israel and settled in Haifa, where he lived until his death. In 1928 he participated for the first time in an exhibition of Eretz Israel artists at the Tower of David. Since then he has participated in all the general exhibitions of Israeli artists. In 1934, together with painters Menachem Shemi, Avraham Mohar, Zvi Meirovitch and others, he founded the Haifa Artists' Group. In 1935-36 he toured Europe and visited Italy, France and England. During his visit, he maintained contacts with artists from the Jewish school of Paris. He has exhibited in several solo exhibitions, represented Israel in exhibitions in Europe and participated in international exhibitions in New York, Johannesburg and Zurich. In 1958 he represented Israel in the Venice Biennale. In 1960, Shabat, together with Elchanan Halpern he represented the Israeli Painters Association at the International Congress of Plastic Arts held in Vienna, Austria . In the 40s and 50s he focused on landscape pictures. However, despite the focus on the Israeli landscape, the approach is universal in the framework of the post-Impressionist painting school. In the 1960s, his approach changed and he turned more to abstraction. The abstract direction gradually evolved. The point of departure of the abstract approach is the architectural landscape, but this view loses its real character and becomes only imaginary: the buildings lose their real character and turn into exclusive geometric areas that are usually set against a dark background. Over time, architecture captured the lion's share of his paintings. Cities like Safed, Jaffa and Jerusalem are the subject of many pictures. He taught painting and art at the schools of the kibbutzim in Ramat Yochanan and Kfar Yehoshua, in high schools in Haifa and in the IDF and Gordon seminars. His paintings were purchased and are in the permanent collection of the Bezalel National Museum (now the Israel Museum), Haifa Museum of Art, Haifa Maritime Museum, Acre Municipal Museum. Select Solo exhibitions 1936 - Nadler Gallery, Haifa. 1943 - The Tel Aviv Museum of Art. 1952 - Artists House, Haifa. 1953 - Bezalel House, Jerusalem. 1955 - Gallery in Geneva, Switzerland. 1955 - The Writers' Club, Haifa. 1959 - Artists House, Haifa. 1960 - Museum of Modern Art, Haifa. 1962 - Museum of Modern Art, Haifa. 1963 - Gallery 220, Tel Aviv. 1968 - The Municipal Museum of Beit Emanuel, Ramat Gan. 1979 - Memorial exhibition marking the first anniversary...

Large magnificent colorful Ruth Schloss oil painting of a child with a wagon with a doll or a baby in a carriage stroller.. Signed in Hebrew size measures 31x43 with frame , 23x35.25 without the frame. (this is being sold unframed). Ruth Schloss (22 November 1922 – 2013) was an Israeli painter and illustrator who mainly depicted neglected scenes such as Arabs, transition camps, children and women at eye-level as egalitarian, socialist view via social realism style painting and drawing. Schloss became Israeli painting’s sensitive, conscious, remembering eye. Ruth Schloss was born on 22 November 1922, in Nuremberg, Germany, to Ludwig and Dian Schloss, as the second of three daughters of bourgeois assimilationist Jewish family well-integrated into German culture. As the Nazis came into power in 1933, her family immigrated to Israel in 1937, and settled in Kfar Shmaryahu, then an agricultural settlement. Schloss studied at the Department of Schloss graphic design at "Bezalel" from 1938 to 1942 alongside Friedel Stern and Joseph Hirsch. She was a realistic painter who focused on disadvantaged people in the society and social matters as an egalitarian. Her realism was thus an “inevitable realism,” motivated by an inner necessity: the need to observe reality as it is. Her painting repeatedly addressed the door pulled from its frame, employing drawing’s unique ability to stop time and prolong the image’s persistence in the retina, she repeatedly committed to paper - in a matter-of-fact, non-evasive manner devoid of mystery – man’s tendency to generate chaos, suffering and pain. Throughout her life, Schloss remained minimalist. Painting about human fate was the main subject of her artworks. Her natural inclination was to describe the darker aspect of human existence. 1930s The Schloss household was characterized by open, liberal spirit, in keeping with the parents’ progressive views. It deeply influenced Ruth’s mental development, as she learned to tie culture and art with sensitivity towards the weak and underprivileged. In Jerusalem, she joined a commune of Hashomer Hatzair in which she shaped her socialist views, which she maintained throughout her long career. 1940s In this period she mainly depicted landscapes of kibbutz and wretched women living hard life, children in huger, older people, refugees. After completing her art studies, Schloss joined a training group at Kibbutz Merhavia in 1942, and after two years moved to Karkur region, the nucleus established Kibutz Lehavot Habashan in the Upper Galilee. Through this time, she fell in love with the surroundings and drew landscapes. They are simple and direct with fresh, lucid lines. These paintings were selected as the main works of her first exhibition in 1949. In early 1945, Schloss started to draw illustrations in the children’s magazine Mishmar Leyeladim, and designed the logo of Al Hamishmar, the paper’s new name in 1948. In 1948, upon the founding of Mapam (United Workers’ Party), she designed her party’s emblem, which became a well-known icon. She kept working as an illustrator for Mishmar Layeladim until 1949. "Mor the Monkey" project yielded financial profits and this income was used for a study trip to Paris for two years. She was succesfull as illustrator however, she had inner conflicts of her identity as witnessed painter toward neglected class in Israeli society. First Exhibition at Mikra-Studio Gallery, 1949 She presented forty drawings on paper in her first solo exhibition, representing a selection of the themes of kibbutz landscape, its lifestyle. Schloss confidently proposed her direction through simplicity without using colors in her drawings. 1950s Between 1949 and 1951, she studied at the Académie de la Grande Chaumière in Paris. She began working in oils, with which she continued throughout the 1960s. The exhibition “Back from Paris” opened in November 1951 at Mikra-Studio Gallery . In 1951 she married Benjamin Cohen, who served as chairman of the national leadership of Hashomer Hatzair Workers Party in Tel Aviv. He was a theoretician and a man of principle, highly esteemed by its leaders who became a professor of history at Tel Aviv University. In 1953, following the Mordechai Oren affair and the publication of Moshe Sneh 's followers from Kibbutz Artzi, she and her husband left the kibbutz and moved to the agricultural farm, Kfar Shmaryahu, where she lived until her death. At a certain point in Israeli history, segments of the socialist movement felt that Israel should become part of the Communist bloc, rather than seek the support of the western world. Because the Schloss couple support of Moshe Sneh’s left-wing party, they had to leave the kibbutz. She loved to depict ordinary women as figurative on her painting without hiding or making up anything. The poet Natan Zach wrote about her works in 1955: “Her motto remains that which has been all these years: life as it is, without bluffing." Schloss’s “Pietà” (1953) became a universal cry expressing the pain of mothers on either side of the divide. In the late 1950s, she was the mother of two daughters. When she drew her daughters, unlike the universal babies she depicted, naked and with clenched fists, the painting of her children employed babyish sweetness to the full in a quiet, peaceful and heart-stirring filling rather than urgency. She also painted children in the transition camp and Jaffa in the 1950s and 1960s. 1960s-1980s – The period of Studio in Jaffa Schloss painted at a studio in Jaffa from 1962 till 1983. In this time, she turned her interest to people around her more than kibbutz – the children, mothers, and poor workers, the alleys and houses. She opened the space to the street and its dwellings, built interactions around it, and was nurtured by the presence of the outside in her work. 1960s Schloss familiarized to an Arab woman, Nabava, lived in poor. Schloss returned to painting images of old people later, and she called her painting figurative elderly people in the old age homes “waiting”. In the late 1960s, Ruth discovered acrylic paint and never turn back to oil painting. In 1965 Schloss devoted a series “Area 9 (1965)”, dedicated to the demolition of Israeli-Arab houses and the expropriation of the land, and carried a definite socio-political messages. The series was exhibited at Beit Zvi, Ramat Gan, in 1966. She was the only artist who addressed the result of the Six-Day War immediately afterward. In 1968, Schloss and Gansser-Markus presented “Drawing of War” in Zurich gallery. She expressed the war as an ultimate expression of destruction and ruin, regardless of victors and vanquished. 1970s In late 1970s Schloss began printing the selected photograph directly on the canvas, posterior reworking it in acrylic. She decided to print her work at Har-El Printers in Jaffa, and these became the surface of her painting. This technique was mainly adopted in two large series: Anne Frank (1979-1980) and Borders (1982). Through this technique she placed the figure of elder Frank next to that of the famous young Frank, and released it at the exhibition at Bet Ariela Cultural Center, Tel Aviv, in 1981. The series touched upon the Nazi Holocaust. 1980s The Lebanon War raised the question of “The Good Fence” and the effect of the war. She dedicated a large series Boarders, one of the most powerful image linked to the series is the figure of Yemenite woman raising her hand. She was the first to raise the Black Panthers demonstration to the level of a social icon. In the 1980s and again in 2000, the Intifada uprisings also led Schloss to the easel to render a good number of representational and symbolic works that in their way denounced Israel's political and military actions. 1990s – 2000s Ruth Schloss never had an exhibition in a major Israeli museum. Her works were presented in private galleries and small museums. The main museums, the Tel Aviv Museum of Art and the Israel Museum, included her works only in group exhibitions, and only in 1991 was her retrospective exhibited at the Herzliya Museum. In the 2000s, Schloss’s metaphors turned into animal kingdom and Bedouins in the south. A huge rhinoceros, birds of prey, and other "bad animals," as Cohen Evron, daughter of Ruth, calls them and "I connected this to the Nazis," said Schloss. Schloss' work after she didn't find human expression able to transmit the endless cruelty she saw in Israel's political mentality. Schloss also continued to follow and collect documentary photographs of destructions of houses from the war, the Intifada, the sequence of her work about ruin from 1949 to 2005, was a cumulative testimony about the painful history of Israel and Palestine. In 2006, a large retrospective exhibition of her work was presented at the Museum of Art in Ein Harod, curated by Tali Tamir. Education 1938-41 Bezalel Art Academy, Jerusalem, with Mordecai Ardon 1946 painting course for Kibbutz Artzi artists with Yohanan Simon and Marcel Janco 1949-51 Académie de la Grande Chaumière, Paris Awards and recognition 1965 Silver Medal, International exhibition in Leipzig, Germany 1977 Artist-in-Residence, The Cité Internationale Universitaire de Paris Selected solo exhibitions 2004 “Micha...

Signed with monogrammed initials and has his name written on verso. Realistic portrait of an older rabbi. CHARLES E. HANNAFORD, English; 1863-1955, Hannaford was a British waterco...

Realistic portrait of an older rabbi visiting and blessing a child in a European marketplace. Here the artist conveys a sense of quiet grandeur th...

Oil on canvas by Louis BERTHOMME SAINT-ANDRE, France, 1940s. Young Red-haired Woman. with frame: 74x63 cm - 29.1x24.8 inches ; without frame: 61x50 cm - 24x19.7 inches. Format 12F. ...

An old bearded man, a philosopher, in dark green and black shades. Smooth lines and geometrical forms , by E. Malafouris. Oil on canvas ,ready to hang. A closer look at Malafouris’...

Oil on canvas by Vicente CRISTELLYS (1898-1970), School of Paris, late 1950s. "Lolo", portrait of Gina Lollobrigida in Notre-Dame de Paris (film). Arriving in Paris during the 1920s, Vicente Cristellys settled in Montparnasse like many of his colleagues from the Ecole de Paris. He paints characters and scenes largely inspired by his native Spain. It was after a bohemian period that he began to illustrate cinema posters and he managed to settle in the Parisian cinematographic milieu. For example, he will sign posters for The Big Sleep, The Man in The iron mask...

Different Dimension is a thought-provoking artwork created by the talented artist, Chinedu Chidebe. It's a piece that explores the concept of multi-dimensionality and the possibility...

Chidebe's work explores the complexities of personal identity. "The Lost One" portrays a solitary figure set against a backdrop of muted space, symbolic of the protagonist's journey ...

"Onye Nchekwa" by Chinedu Chidebe: A Thought-Provoking Exploration of Connection and Isolation Chinedu Chidebe's artwork "Onye Nchekwa" is a striking ...