Studio Mirror
View Similar Items
Emil GansoStudio Mirror
About the Item
- Creator:Emil Ganso (1895 - 1941, German)
- Dimensions:Height: 14.25 in (36.2 cm)Width: 9.25 in (23.5 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New Orleans, LA
- Reference Number:1stDibs: LU84136074862
Emil Ganso
Emil Ganso was born in Halberstadt, Germany, in 1895 and came to the United States as a teenager. By 1914, Ganso was taking evening classes at the National Academy's School of Fine Arts while supporting himself as a baker. His work was soon identified by Erhard Weyhe who went on to show Ganso's work at the Weyhe Gallery. Ganso first exhibited at the Society of Independent Artists in 1921, as well as at the Salons of America from 1922–25. By 1925, Weyhe Gallery began to represent Ganso, which gave him the funds to spend his first summer in the art colony of Woodstock, New York in 1926. Weyhe Gallery continued to exhibit Ganso's work through the 1940s. In Woodstock, Ganso met George Ault, Doris Lee, Charles Rosen, Katherine Schmidt, Eugene Speicher, Alexander Brook, Louis Bouché, Konrad Cramer, Leon Kroll and George Bellows leading Ganso to settle in Woodstock and continue to benefit from Woodstock connections throughout his life. In 1927, the same year he settled in Woodstock, Ganso began to share a studio with Jules Pascin. Ganso printed Pascin's lithographs and prepared a paper for him in 1927–28 while Pascin was in America. In 1929, Ganso visited Pascin in Paris. Perhaps it was this Paris trip that sparked Ganso's interest in photography. By 1930, he was exploring photography as an art form, as well as an aid to his art compositions. Konrad Cramer, Yasuo Kuniyoshi, and Russell Lee were other Woodstock artists who joined Ganso in these photography pursuits. Ganso received a Guggenheim Fellowship in 1933, which he used to study and paint in Europe. In the 1930s, Ganso also kept a studio at 54 West 74th Street, an artists' building, where Walter Pach and Theresa Bernstein also had studios. Leonard Bocour who founded Bocour Artists Colors, which in the late 1940s developed Magna paints and the first acrylics credits Ganso, inspiring him to create artist paints and introduced him to the major artists of the 1930s, including Yasuo Kuniyoshi and Reginald Marsh. Ganso was the first artist Bocour visited while still in high school in 1930 and Ganso taught Bocour how to mix paints and grind his pigments. According to an oral history Bocour gave to the Archives of American Art, Ganso was the master theoretician and leading technical person in Woodstock who all the major artists came to for help with their color due to Ganso's library of German art books including Alexander Dorner's The Way Beyond "Art": The Work of Herbert Bayer which was not translated into English until 1947. In 1930, Ganso began to be invited to exhibit at the Corcoran Gallery of Art, Washington, DC (1930–35); the Art Institute of Chicago; the Wichita Art Museum, Kansas; the Pennsylvania Academy of the Fine Arts (1931–38); and the Whitney Museum of American Art (1927–41). Ganso also exhibited at both the 1939 New York World's Fair and the Golden Gate Exposition in San Francisco that same year. Ganso was awarded the “Pennell Memorial Medal” from the Pennsylvania Academy of the Fine Arts in 1938. As a result of the success of his art, Ganso was offered an artist-in-residence position in 1940 at the University of Iowa. It was there that he died in 1941. A retrospective exhibition for Emil Ganso was held at the University of Iowa Museum of Art both upon his death and in December 1979.
- Man at MastBy Rockwell KentLocated in New Orleans, LAA lookout starkly rendered in the art deco style straddles the mast of a ship as he surveys the landscape. Rockwell Kent's wood engraving issued in 1930 in an edition of 120. it is ...Category
Early 20th Century American Modern Figurative Prints
MaterialsWood, Engraving
- September MornBy Joseph HirschLocated in New Orleans, LAThree women strolling on a beach. This impression is one of the rare impressions printed monochromatically. Hirsch natural inclination was to print in lack and white but reprinted ...Category
1960s American Modern Nude Prints
MaterialsLithograph
- Nude drawing (Nude on her haunches draws )By Joseph HirschLocated in New Orleans, LAA nude woman squats on her haunches as she draws an image on a sheet of paper. Joseph Hirsch created this lithograph in 1963 in an edition of 50. It was printed by Lucien Dutruit i...Category
1960s American Modern Nude Prints
MaterialsLithograph
- Eclipse IBy Mikio WatanabeLocated in New Orleans, LAEclipse I is from an edition of 90 Mezzotint artist Mikio Watanabe was born in 1954 in Japan and currently lives in France. He is most known for his elegant, evocative black and wh...Category
Early 2000s Modern Figurative Prints
MaterialsMezzotint
$476 Sale Price31% Off - Confident (profile of sensual young woman with wisps of hair on her neck)By Mikio WatanabeLocated in New Orleans, LAMikio Watanabe created "Confident", a side view of a sensuous female nude, exclusively for Stone and Press Gallery. The 2004 black and white mezzotint was issued in an edition of on...Category
Early 2000s Contemporary Nude Prints
MaterialsMezzotint
- Kirill / Boy with Crossed Legs (peekaboo)Located in New Orleans, LAA signed Certificate of Authority will be included with all photographs. A nude boy faces the viewer siting in front of an open window. This impression is printed on Hahnemuhle arc...Category
2010s Photorealist Nude Prints
MaterialsPhotographic Paper, Digital
- 'Madman's Drum (Plate 41)' — 1930s Graphic ModernismBy Lynd WardLocated in Myrtle Beach, SCLynd Ward, 'Madman's Drum, Plate 41', wood engraving, 1930, edition small. Signed in pencil. A fine, black impression, on off-white tissue-thin Japan paper; the full sheet with margins (1 5/8 to 2 1/2 inches); a small paper blemish in the upper right margin, away from the image, otherwise in excellent condition. Scarce. Matted to museum standards, unframed. Image size 5 1/2 x 3 3/4 inches (140 x 95 mm); sheet size 9 5/8 x 7 1/8 inches (244 x 181 mm). From Lynd Ward’s book of illustrations without words, 'Madman’s Drum', Jonathan Cape and Harrison Smith, New York, 1930. Illustrated in 'Storyteller Without Words: The Wood Engravings of Lynd Ward', Harry Abrams, New York, 1974. Reproduced in 'Storyteller Without Words, the Wood Engravings of Lynd Ward', Harry N. Abrams, New York, 1974. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage...Category
1930s American Modern Figurative Prints
MaterialsWoodcut
- 'Dancing' — 'les années folles' Paris Masterwork, 1928By Yasuo KuniyoshiLocated in Myrtle Beach, SCYasuo Kuniyoshi, 'Dancing', lithograph, 1928, edition 30, Davis L-29. Signed, dated, and numbered '8/30' in pencil. A superb, richly-inked impression, printed on cream chine appliqué on heavy off-white wove backing; the full sheet with wide margins (1 3/8 to 4 7/8 inches), in excellent condition. Printed by Desjobert, Paris. Scarce. Matted to museum standards, unframed. Impressions of this work are in the collections of the Museum of Modern Art, Whitney Museum of Modern Art, and Yasuo Kuniyoshi Museum (Japan). ABOUT THIS WORK The French economy boomed from 1921 until the Great Depression reached Paris in 1931. This period called 'Les années folles' or the 'Crazy Years', saw Paris reestablished as a capital of art, music, literature, and cinema. Paris in the 1920s and 1930s was the home and meeting place of some of the world's most prominent painters, sculptors, composers, dancers, poets, and writers. For those in the arts, it was, as Ernest Hemingway described it, "A moveable feast". Paris was home to an exceptional number of galleries, art dealers, and a network of wealthy patrons who offered commissions and held salons. Pablo Picasso, perhaps the most famous artist in Paris, shared renown with a remarkable group of others, including the Romanian sculptor Constantin Brâncuși, the Belgian René Magritte, the Italian Amedeo Modigliani, the Russian émigré Marc Chagall, the Catalan and Spanish artists Salvador Dalí, Joan Miró, Juan Gris, and the German surrealist...Category
1920s American Modern Nude Prints
MaterialsLithograph
- 'Eyes for the Night' — Mid-century ModernismBy Benton Murdoch SpruanceLocated in Myrtle Beach, SCBenton Spruance, 'Eyes for the Night', lithograph, 1947, edition 35, Fine and Looney 260. Signed, dated, titled, and annotated 'Ed 35' in pencil. A fine impression, on heavy, cream ...Category
1940s American Modern Figurative Prints
MaterialsLithograph
$720 Sale Price20% Off - HellasBy Clinton Blair KingLocated in San Francisco, CAThis Artwork Titlled "Hellas" 1974 is an original color etching and aquatint on Arches paper by noted American artist Clinton Blair King, 1901-1979 It is hand signed, dated, titled, dedicated and numbered 26/50 in pencil by the artist. The plate mark (image) size is 17.5 x 22.75 inches, sheet size is 22 x 29.85 . It is in very good condition. The work of Clinton Blair King is held in many corporate, private collections and museums, among them: The Metropolitan Museum of Art, New York, Museum of New Mexico, Smithsonian Museum of Art, Washington and National Gallery of Art, Washington. About the artist: EDUCATION 2005 MFA Sculpture: School of the Art Institute of Chicago 2000 BFA Painting: Columbus College of Art and Design SOLO EXHIBITIONS 2016 SPECTRAL EVIDENCE, Stellan Holm Gallery, New York City, NY 2015 OPEN ENDED, Transmitter, Brooklyn, NY. 2008 APATHY, Shiraya Art Space, Tokyo Japan 2001 FOR THE TIME BEING, Ohio Art League, Columbus, OH GROUP ExHIBITIONS 2017 YELLOW CHAIR, David & Schweitzer Contemporary, Brooklyn, NY DECONSTRUCTED Terrault Gallery, Baltimore MD TRANSCENDENCE OF US, Trans-cen-der space, Brooklyn NY 2016 THIS STRANGE GAME, Landmark Arts Building, Chelsea, NY STONE SOUP NASTY, Orgy Park, Brooklyn, New York, NY COLD SUMMER, Curated by Peter Shear, The Provincial, Chief, Michigan "TIKI" Helper Gallery, NADA art fair, Miami FL 2014 BRUTE MODERATES, with Peter Shear, Firework Gallery, Brooklyn, NY BROOKLYN BRIDGE, Curated by Justine Frischmann. George Lawson Gallery. SF, CA SUDDENLY THERE, Garis and Hahn, Bowery NYC DO IT YOURSELF, Curated by Julie Torres / Julia Schwartz B.O.S. Brooklyn NY LOOK & LISTEN, Curated by Yifat Gat. Espace Art / Galerie & Ateliers. Marseille France SORRY I"M LATE, Brooklyn Fireproof. Brooklyn NY. 2013 WHAT I LIKE ABOUT YOU, Parallel Art space, Brooklyn, NY DONUT MUFFIN Dorsky Gallery, Long Island City, NYC 2012 ART BLOG "LOVE", One River Gallery, Englewood NJ BUSHWICK BASEL, Jules de Balincourt Studio, Brooklyn NY. ALTER MINIMAL, Lexicon Series Vol. 1, Parallel Art Space, Brooklyn, NY HIATUS, Urban Institute For Contemporary Art, Grand Rapids, MI 2011 I CAN"T GO ON I MUST GO ON, Tempus Projects, Tampa, FL. VIS -A -VIS, Backyard Projects- New York, NY NEITHER A BEGINNING OR END, Possible Projects, Philadelphia, PA 2010 A VAUGE WHOLE, Spaces, with Benjamin Bellas and Steffani Jemison Cleveland, OH 2009 i.e. ARTIST COLLECTIVE, University of Green Bay, WI i.e. ARTIST COLLECTIVE, Boots Contemporary, St. Louis, MO 2008 FLAT BLACK , Zaim Space, Yokohama, Japan. i.e.llusions, Alogon Gallery, Chicago, IL 2007 i.e. BETWEEN, Harold Washington College, Chicago, IL SPLIT ENDS, with Julie Curtiss...Category
Late 20th Century American Modern Nude Prints
MaterialsEtching
- Last Year at MarraketchBy Clinton Blair KingLocated in San Francisco, CAThis Artwork Titlled "Last Year at Marraketch" 1972 is an original color etching and aquatint on B.F.K Rives paper by noted American artist Clinton Blair King, 1901-1979 It is hand signed, dated, titled, dedicated and numbered 3/40 in pencil by the artist. The plate mark (image) size is 15.25 x 19.5 inches, sheet size is 21.75 x 29.65 . It is in very good condition. The work of Clinton Blair King is held in many corporate, private collections and museums, among them: The Metropolitan Museum of Art, New York, Museum of New Mexico, Smithsonian Museum of Art, Washington and National Gallery of Art, Washington. About the artist: EDUCATION 2005 MFA Sculpture: School of the Art Institute of Chicago 2000 BFA Painting: Columbus College of Art and Design SOLO EXHIBITIONS 2016 SPECTRAL EVIDENCE, Stellan Holm Gallery, New York City, NY 2015 OPEN ENDED, Transmitter, Brooklyn, NY. 2008 APATHY, Shiraya Art Space, Tokyo Japan 2001 FOR THE TIME BEING, Ohio Art League, Columbus, OH GROUP ExHIBITIONS 2017 YELLOW CHAIR, David & Schweitzer Contemporary, Brooklyn, NY DECONSTRUCTED Terrault Gallery, Baltimore MD TRANSCENDENCE OF US, Trans-cen-der space, Brooklyn NY 2016 THIS STRANGE GAME, Landmark Arts Building, Chelsea, NY STONE SOUP NASTY, Orgy Park, Brooklyn, New York, NY COLD SUMMER, Curated by Peter Shear, The Provincial, Chief, Michigan "TIKI" Helper Gallery, NADA art fair, Miami FL 2014 BRUTE MODERATES, with Peter Shear, Firework Gallery, Brooklyn, NY BROOKLYN BRIDGE, Curated by Justine Frischmann. George Lawson Gallery. SF, CA SUDDENLY THERE, Garis and Hahn, Bowery NYC DO IT YOURSELF, Curated by Julie Torres / Julia Schwartz B.O.S. Brooklyn NY LOOK & LISTEN, Curated by Yifat Gat. Espace Art / Galerie & Ateliers. Marseille France SORRY I"M LATE, Brooklyn Fireproof. Brooklyn NY. 2013 WHAT I LIKE ABOUT YOU, Parallel Art space, Brooklyn, NY DONUT MUFFIN Dorsky Gallery, Long Island City, NYC 2012 ART BLOG "LOVE", One River Gallery, Englewood NJ BUSHWICK BASEL, Jules de Balincourt Studio, Brooklyn NY. ALTER MINIMAL, Lexicon Series Vol. 1, Parallel Art Space, Brooklyn, NY HIATUS, Urban Institute For Contemporary Art, Grand Rapids, MI 2011 I CAN"T GO ON I MUST GO ON, Tempus Projects, Tampa, FL. VIS -A -VIS, Backyard Projects- New York, NY NEITHER A BEGINNING OR END, Possible Projects, Philadelphia, PA 2010 A VAUGE WHOLE, Spaces, with Benjamin Bellas and Steffani Jemison Cleveland, OH 2009 i.e. ARTIST COLLECTIVE, University of Green Bay, WI i.e. ARTIST COLLECTIVE, Boots Contemporary, St. Louis, MO 2008 FLAT BLACK , Zaim Space, Yokohama, Japan. i.e.llusions, Alogon Gallery, Chicago, IL 2007 i.e. BETWEEN, Harold Washington College, Chicago, IL SPLIT ENDS, with Julie Curtiss...Category
Late 20th Century American Modern Nude Prints
MaterialsEtching
- 'Girl with Hands to Face' — Mid-century ModernismBy Benton Murdoch SpruanceLocated in Myrtle Beach, SCBenton Spruance, 'Girl with Hands to Face', two-color lithograph, 1940, edition 30, Fine and Looney 180. Signed, titled, and annotated 'Ed. 30' in pencil. A superb impression, on cr...Category
1940s American Modern Figurative Prints
MaterialsLithograph