Edward MarecakLiberty Rides the Goose, Semi Abstract, Lady Liberty, Yellow Red White Blue1983
1983
About the Item
- Creator:Edward Marecak (1919 - 1993)
- Creation Year:1983
- Dimensions:Height: 47.75 in (121.29 cm)Width: 29.75 in (75.57 cm)Depth: 0.4 in (1.02 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Frame IncludedFraming Options Available
- Condition:very good vintage condition.
- Gallery Location:Denver, CO
- Reference Number:
Edward Marecak
Edward Marecak was an American painter who was born in 1919. Growing up in the farming community of Brunswick, Ohio, he showed early artistic promise, hired by the National Youth Administration to document historic barns. In 1946, Marecak came to the Colorado Springs Fine Arts Center for a year and after a semester interlude at Cranbrook returned to study lithography with Lawrence Barrett. There he also met his future wife and sometime collaborator, ceramicist Theresa Madonna Fortin. Given the opportunity to teach a summer course at the University of Colorado, he decided to obtain a teaching certificate at the University of Denver and subsequently embarked on his 25-year career in the Denver Public School system. Rather than pursue fame, Edward Marecak directed his zeal toward fostering younger generations in the principles of art as well as his simple philosophies. Moreover, his teaching salary allowed him to ply his prodigious talent at whatever he pleased, instead of bending to the dictates of trends and sales. Having inherited his faith in education from his Slovakian immigrant parents, Marecak could add the shaping of lives to his mastery of art forms, including lithographs, monoprints, drawings, hooked rugs, ceramics, paintings, wood sculptures, stained-glass windows and jewelry. While exhibiting in his lifetime, he was, in his wife’s words, “his own greatest collector”, but shows and his popularity at the Kirkland Museum have positioned Marecak posthumously among Colorado’s pre-eminent modernists. As a child, Marecak was enthralled by the Carpathian tales of magic and supernatural beings told by his grandmother. As with other artists with roots in Eastern Europe, his artistic turn to folk tradition would free him from learned practices of perspective and modeling in favor of flat patterns within patterns and brilliant, throbbing color. While others ventured further into abstraction, Marecak stylized figurative elements into crowded compositions that appeared like a mosaic or stained glass. As he matured, he could declare, “I am still very much a Byzantine designer and my joy with what color can do grows all the time”. The traceries of strong outlines and bold shapes provide compartments for vibrant colors, contrasts and rough textures that can scarcely be contained. The Kirkland Museum staged a retrospective of Edward and Donna Marecak in 2007.
- ShippingRetrieving quote...Ships From: Denver, CO
- Return PolicyA return for this item may be initiated within 7 days of delivery.
- 1970s Abstract Figurative Framed Oil Painting, Modernist City Scene With CoupleLocated in Denver, CO1950s oil on board painting by George Cecil Carter portraying a modernist couple, thought to be Alfred Stieglitz & Georgia O'Keefe. Presented in a custom frame, outer dimensions measure 20 ⅝ x 13 ½ x 1 ⅞ inches. Image sight size is 16 ⅞ x 9 ⅞ inches. Painting is clean and in very good vintage condition - please contact us for a complete condition report. Provenance: Private Collection, Denver Colorado Expedited and international shipping is available - please contact us for a quote. About the Artist: George Cecil Carter was born in Oklahoma in 1908 and became a noted Colorado abstract expressionist alongside contemporaries including Al Wynne, Mary Chenoweth...Category
1950s American Modern Figurative Paintings
MaterialsOil, Board
- Sybil (The Prophetess), 1970s Abstract Figurative Oil Painting, Pink Blue RedBy Edward MarecakLocated in Denver, COSemi-Abstract figurative oil on burlap painting titled 'Sybil (The Prophetess)' by Edward Marecak (1919-1993) painted in 1976. Signed and dated by the artist in the lower right corne...Category
1970s American Modern Figurative Paintings
MaterialsBurlap, Oil
- 1950s Abstract Figurative Composition with Brown, White, and Black, Oil PaintingLocated in Denver, CO1950s abstract oil on canvas painting by Henriette "Yetti" Stolz from 1956. Completed in shades of brown, white, black, and gray. Signed by the artist in the lower right corner. Presented in a vintage frame measuring 42 ¾ x 16 ¾ inches. Image size measures 42 ¼ x 16 ¼ inches. Provenance: Estate of the Artist, Henriette "Yetti" Stolz Painting is in good condition - please contact us for a detailed condition report. About the Artist: Henriette “Yetti” Stolz was born in Serbia in 1935 ( and is still living ). Her family emigrated to Denver, Colorado, in the early 1950s after WWII and she attended East High School before studying art at Colorado College, in Colorado Springs in the mid to late 50s. While there studying she would have been exposed to modernist artists working both at the college ( ie. Mary...Category
1950s American Modern Abstract Paintings
MaterialsCanvas, Oil
- The Vendor of Masques (Masks), Modernist Gouache Painting by Boardman RobinsonBy Boardman RobinsonLocated in Denver, CO"The Vendor of Masques", 1930s modernist painting by Boardman Robinson (1876-1952) of a Mask vendors display with male and female figures (lik...Category
1930s American Modern Figurative Paintings
MaterialsGouache
- Fetishes, 1940s Abstract Figurative Southwestern Mixed Media Painting, Red GrayBy Howard SchleeterLocated in Denver, COAn original gouache and wax painting by New Mexico modernist, Howard Schleeter (1903-1976) signed and dated lower right from November 18, 1949. Presented in a custom frame created b...Category
1940s American Modern Abstract Paintings
MaterialsWax, Gouache, Archival Paper
- Modernist Bicycle, Semi Abstract Vintage Painting 1960s Blue Orange White BrownLocated in Denver, COVintage midcentury modern large format oil painting on canvas from the 1960s by 20th century Colorado woman artist, Mary Chenoweth. A cheerful post-mod...Category
Mid-20th Century Modern Abstract Paintings
MaterialsOil, Canvas
- Vintage Expressionist Portrait of a Man with a Bowtie Oil on WoodBy Michael PaukerLocated in Soquel, CAExpressive portrait, a caricature of a man with bowtie by Michael Pauker (American, b. 1957). Unsigned, but was acquired with a collection of the artist's work. Another version of th...Category
Late 20th Century American Modern Figurative Paintings
MaterialsOil, Fiberboard
- Mid-Century Modern Abstract Geometric Trapeze Artists by Hilda ArpBy Hilda ArpLocated in Soquel, CAFanciful mid-century modern abstract of trapeze artists by Brooklyn artist Hilda Dora Pape Arp (b. 1909). This 1962 highly abstracted depiction of trape...Category
1960s American Modern Abstract Paintings
MaterialsOil, Linen
- St. Atomic oil and tempera painting by Julio de DiegoBy Julio de DiegoLocated in Hudson, NYJulio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...Category
1940s American Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- Inevitable Day – Birth of the Atom oil and tempera painting by Julio De DiegoBy Julio de DiegoLocated in Hudson, NYJulio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Bibliography Art in America, April 1951, p.78 About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...Category
1940s American Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- The Magician oil and tempera painting by Julio de DiegoBy Julio de DiegoLocated in Hudson, NYJulio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...Category
1940s American Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- 20th C. Figurative Abstract Painting Cleveland School African American ArtistBy Beni E. KoshLocated in Beachwood, OHBeni E. Kosh/Charles Elmer Harris (American, 1917-1993) Untitled Oil on canvas board Estate stamped #611 verso 24 x 18 inches Charles Elmer Harris was born in 1917 in Cleveland, Oh...Category
20th Century American Modern Figurative Paintings
MaterialsOil