Yuri Martinez Ramos

LOVE AT FIRST PIPE

2006

"MEJOR SOLAS" OIL AND ACRILIC ON CANVAS SIGNED AND DATED 2010 EXHIBITED MUSEO DEL BANCO CENTRAL DE COSTA RICA 47.5 X 59 INCHES Sofía Ruiz was born in ...

"UNTITLED" OIL AND ACRILIC ON CANVAS SIGNED 35.5 X 27.5 INCHES Sofía Ruiz was born in 1982. What she expresses through her paintings has to do with whe...

SUENO PROFUNDO OIL AND ACRILIC ON CANVAS SIGNED, 2013 EXHIBITED MUSEO DEL BANCO CENTRAL DE COSTA RICA 43.25 X 35.5 INCHES Sofía Ruiz was born in 1982....

YURI MARTINEZ RAMOS "HOME FIRE OIL ON CANVAS, SIGNED CUBAN-AMERICAN, C.2006 20 X 16 INCHES Home Fire" brings me back to my childhood home when my grandpa visited us every day smoking his pipe and conversing good moments. Yuri Martinez Ramos was born in Havana, Cuba on November 24, 1964. He studied at the Elemental School of Plastic Arts from 1975 – 1979 and the National School of the Arts from 1979 – 1983. Martinez’ figurative paintings have been compared to Botero because of his satirical social commentary. His style, however, is uniquely his own with typically vibrant Latin colors and use of expressive magical realism. His paintings tell his story and the story of the Cuban dilemma. Martinez was granted permission by the US Justice Department after much effort with Cuban authorities to come to the US with his family and pursue his career outside Cuba. He now lives and works in Texas. Papillon Gallery...

Size with frame: 34 x 28 Inches Reza begun studying art seriously at age 15 and was studying at the institute of art in Iran where he graduated with highest honors. He also studied...

Biography from the niece of the artist from during his lifetime. Paintings acquired from the artist.s estate. Max Turner 1925 - 2019 Max Lamar Turner Painter, Sculptor, Teacher and Author. Max Turner was born in Omaha, Nebraska on July 28, 1925. His father was Lance Howard Turner and his mother Mary Irene Turner. In 1927, his family moved to Bingham Canyon, Utah where Max's father extracted copper from a creek that he had diverted to pass through his garage. The town was located in a narrow canyon on the eastern face of the Oquirrh Mountains. In 1938, when Max was 13, his family moved to Midvale, Utah. After completing high school, Max went to work laying rail until he was inducted into the U.S. Navy to serve during W.W. II. There he took an aptitude test and was initially assigned to the medical corp., later transferring to the dental unit. Max was stationed at Port Hueneme, Ventura County, California through the end of the war. When he was discharged in 1946, he remained in Southern California, living in the Los Angeles area. He met a man named Larry Torres and they formed a partnership to do silk screen work primarily for the Colby Poster Printing Company. This lasted about 10 years until the Colby building caught fire and burned down. In 1958, Max began working for Slade Novelty company that made doll parts using a product called plastisol. A year later, Max began producing plastic parts through his own business. One day, a couple of kids brought in a shrunken skull they had made and asked Max if he could reproduce it. Max said he could and he looked around for a business to work with for this task. He ultimately decided he could create his own machine shop to make molds. As a result, Max purchased a lathe, drill press, grinder and other tools to create his own machine shop and went into business making molds. He built a clientele and in 1973, he moved his machine shop to Glendale, California. Painter, Sculptor, Teacher and Author: Max recalls the day when his interest in art took a new direction. He happened to be in a paint store to purchase some supplies when he saw a card posted on a wall that read, "Come paint with Connie Marlo". Max had been interested in art since his youth and he was frequently impressed with paintings displayed by local artists at various community events. Consequently, he decided to go to Connie's Saturday morning art class at a studio on North La Brea Avenue (between Sunset and Hollywood) in Los Angeles. But, as fate would have it, he immediately took a detour from this class when he found a piece of paper on the floor of the studio referencing another art class dealing with compositions, patterns, rhythms and color harmony. The instructor's name was Hal Reed, a former art student of the Russian/American Master, Nicolai Fechin. Hal owned the building (previously the Will Foster Studio) and had founded the Art League of Los Angeles. When Max found Hal, he asked Hal if he could join his class. Hal said "No, the class was full" but he said Max could monitor the class in the back of the classroom. Max took him up on the offer and began observing the weekly class. During the class, Hal told his students that they should practice what they were learning by going to "live model" classes. Max began attending these classes where he learned how to draw figures. After a few months, Hal and Max became good friends. Hal was so impressed with Max's work that he offered Max the opportunity to teach at another location that Hal was opening in the San Fernando Valley. Max accepted the offer and began teaching his own art class. For Max, it was a quick jump from learning to teaching. Max then found that several of his students had to commute to his art class from the west end of the "Valley". To better serve this group of students, Max decided to relocate to another studio in Calabasas. Max continued teaching, and at this time he was producing very impressive portraits, both oil paintings and charcoal drawings from live models (Max never worked from photos). Max demonstrated real talent, and the style of his drawings and paintings were being compared to those of Nicolai Fechin. And, like Fechin, Max also had an interest in sculpting. One day, Max decided to design and cast a bronze owl sculpture to put in his Calabasas Fine Art Gallery. Later, someone approached Max when he was at the foundry and asked him about his success selling the owl sculpture. The individual who asked this question was convinced that there was a broader market for these sculptures and he ordered a dozen of the owl sculptures from Max. This encouraged Max to do more castings. Some of the new castings were antique sculptures he found and reproduced. As this new business grew, he decided to establish his own foundry, employing up to 15 workers. The business continued for many years, up until the late 1990's when Max got tired of the foundry business and sold it. Max, who was now in his 70's, decided to move on to his next venture as an artist, dedicating himself to doing the actual sculpting of original art. He loved the creativity of sculpting and he had his sculptures cast at local foundries, ironically the same ones that used to be his competition. Max was now fully engaged in his new artistic direction and, over time, he produced a large body of work. He created very impressive sculptures, including about 100 full-size sculptures. He sold some of these to high-end clientele, the Foundry at SLS Las Vegas, and to Hollywood studios. Even though Max now seemed to be totally in his element, he somehow also found time to continue to teach painting classes at the California Art Institute in Westlake Village in Los Angeles. At the institute, he specialized in figure work. Max continued to draw, paint and teach, but he says he stopped sculpting when he turned 90. Max produced four books showcasing his drawings and paintings. The first is "Faces, The Drawings of Max Turner", copyright 2000, that showcases nearly 100 of his portrait drawings. Within the "Acknowledgements" section, he lists Hal Reed and Joseph Nordmann, two former students of Nicolai Fechin. In 2006, Max produced his second book titled "Figures and Faces", reflecting not only portraits but also figure drawings and paintings. It is a wonderful book of Max's work, but it is currently difficult to find. The third book is titled "Faces 2, The Paintings and Drawings of Max Turner", copyright 2009, which includes 75 portrait paintings and drawings. In the "Preface" of this book, Max describes growing up in a small and isolated mining town during the Great Depression. He states that as a kid, he had little exposure of any culture or view of what the rest of the world was like. His neighbor was the trash collector and Max would sometimes go through his truck looking for anything of value. Among other things, he found magazines like Cosmopolitan, Good Housekeeping and Red Book, with covers that frequently showed drawings or paintings of faces. Max states that these images were the very first source of inspiration for him. He says that he began looking more carefully at people's faces and if they had character, he would draw them. By drawing them, Max says that he was making them part of his world, his world of "Faces". In 2018, Max published his newest book showcasing his drawings and paintings. It is titled "Max Turner's Figure Sketches". This softbound book includes 76 pages and over 120 drawings and paintings. In the Introduction, Max explains "I have found that when approaching the figure, one should begin with the gesture. After having captured the essence or feeling of the pose, one can then proceed to build on it." The figure sketches in this wonderful book reflect a Master's work that consistently captures the "gesture"-showing the emotion, movement and expression. Two more books are on the horizon for Max, both dealing with his passion for sculpting. His first, "The Sculpture of Max Turner" is a compilation of his commercial and noncommercial pieces throughout his career. The second, "Terra Cotta Sculpture by Max Turner" is a complete collection of figures done at the California Art Institute. These much anticipated books should be out later in 2018. Max now considers himself primarily a sculptor. But others in the art world are more than impressed with his drawings and paintings as well. His portraits are often described as having a Fechin-esque appearance, referring to the style of Nicolai Fechin. When Max observed those first art classes given by Hal Reed, it should be noted that Hal had previously been a student of the Russian/American Master Nicolai Fechin in the early to mid-1950's. In fact, Hal was a student in the last art class that Fechin taught before he unexpectedly died in 1955. Hal was so strongly influenced by Fechin that he later produced two 30-minute art instruction videos as part his Art Video Productions wherein he specifically described Fechin techniques that he learned in Fechin's class. The Fechin style and techniques were in play when Max later met Hal. Over the years, many of Max's art students, art collectors, gallery owners, as well as the Director of the Monterey Museum of Art have commented on the Fechin-esque qualities of Max's wonderful charcoal drawings and paintings. So, while Max may consider himself primarily a sculptor, his drawings and paintings are also impressive and very much sought after. When Nicolai Fechin died in 1955, three of the nine students in his last art class became life-long friends. Max subsequently became friends with not only Hal Reed, but also with prior Fechin students Joseph Nordmann and Albert Londraville...

This Piece was inspired by the story of the Bride of a King. She was so loved by the King because of her great beauty, but the people of the Land loved her so much, not just for her ...

Beneath my sturdiness is a puddle surrounded by the moistness of fresh mud- soft and mushy- and it’s how I learned to nurture and love flowers. I’ve been told my best trait has to b...

In continuing with representing fine artists that are connected to the music industry we are please to announce that we are the only gallery in the United States representing the wor...

In this painting, the painter tries to portray the young sleeping, lying and oversized figure of a woman as part of the landscape. Who likes to be this person and what is she doing i...

This earlier work depicts an unexpected multicolored cone extending from the subject's eye. It represents a field of vision for a young Haitian female who gazes up. It reminds me of something Man Ray or the Dadaists did. Duval-Carrié's work is more than eye-opening. Signed lower right Work is framed - Framed Size - 18 x 22 Edouard Duval...

Aiden Kringen's (US based) "Opulence 12" is an original handmade oil painting that is unframed, but ready to hang. About the Artist: A kaleidoscopic fantasia—crystalline planes floating in space, nestling together like immaculate puzzle pieces—abstract nebulae, human figures and faces enveloped in swirling fields or particles of energy—these number among the images evoked by the hauntingly enigmatic paintings of artist Aiden Kringen. Within this worldview a mysterious network of interlocking planes becomes visible to the beholder: mystical fields of unknown substance revealed as the building blocks of our bodies and semblances, surrounding, cocooning, perhaps even protecting us. It is a vision verging on the mystical, which Kringen portrays through a distinctive style: a fractured, cubistic mode of conscious- ness in which multiple dimensions or perspectives assimilate into an ecstatic whole. The artist deploys this style in opulent and seductive portraits as well as abstract tableaux whose optical signature is magnified by compositional dynamism and deeply layered surfaces. Born in Los Angeles in 1992, Kringen lived variously in the American West and Mexico—Sebastopol, Jalisco, Portland, Flagstaff—before settling in the hill- and vineyard-dotted environs of Sonoma, County, where he is now based. In these very different environments, each of which possesses a uniquely picturesque natural beauty, the artist began from an early age to develop his aesthetic approach. He has always had a keen eye for detail, grounded in a gift for looking closely at the human experience. “I’ve always been interested in observing people,” he recalls, “and in the details of how we interact with one another.” He put this natural ability to task when he began working on illustration and graphic-design projects while in high school. From his mother, an artist and graphic designer, he learned the fundamentals of composition and typography, the nuances of positive and negative space and the relationships between them. Using sheets of Letracet—a system for transfer- ring typeface—proved particularly instrumental in developing a methodology for layering and collage, which continue to inform his works on canvas and paper. He learned old-school tech- niques, hands-on and mechanical, in keeping with a Bauhaus-like appreciation for perfectionism, integrity, and hard work. Kringen began painting at 14. Then as now, drawing was central to his approach. He studied vintage anatomy atlases and drew meticulously in his journals, working through myriad permutations of bones and skin, angle and pose, muscles in motion. Honing his natural talent for figuration through long and exhaustive study, he arrived at an understanding of the figure that is both intuitive and virtuosic. On acrylic and mixed media on canvas, Kringen lays down linework with a Micron pen in ever-more-complex compositions, often with the addition of gloss mediums to bring out the layers’ reflectivity and prismatic character. In some pieces he incorporates gold and silver leaf to heighten drama and luxuriance, recalling the mosaic-like work of Gustav Klimt—who, along with fellow Austri- an Expressionist Egon Schiele, stands among Kringen’s most prominent influences. It was in 2011 that he began painting in the style with which he is now most associated: a technique fusing drawing and painting, line and brushstroke, with fragmented shapes undergirding the imag- ery. Notably, this is not simply a stylistic conceit, but more a way of perceiving reality. “Ever since I was young,” Kringen notes, “I’ve spent most of my time observing people: trying to break people down, in a visual sense, into small categorizations of their features, their mannerisms, the way they twitch their nose...” His hypersensitivity to likeness and gesture is key, for this is what distinguishes his portraits from those by artists who strive to depict idealized beauty as an end in itself. Yes, there is an undeniable beauty to Kringen’s subjects, but it does not follow strictly conventional paradigms. There is an individuality, a capturing of idiosyncracies and eccentricities, of optimism and fatalism, light and dark, in his work. He is not painting archetypes, but rather illuminating the essential charac- ters of real people in a highly refined genre of psychological portraiture. The fragmented linework, the grids of planes he uses as lenses to focus these characteristics, is sui generis but never gimmicky; above all it is a tool for defining and refining the features of the face, adding depth and definition. In his abstract work he uses similar techniques, paring the fabric of perception itself down to bare essentials of form, color, and texture. The abstract pieces are simultaneously elegant and complex, combining the sweeping gesturalism of Abstract Expressionism with the rigorous structure of geomet- ric painting. Across the breadth of his output Kringen balances technical and thematic polarities into bracing integrations of sensuality and grittiness, inviting contemplation into the nature of opticality and the infinite possibilities of the seen and unseen. —Richard Speer is a contributor to ARTnews, Artpulse, Visual Art Source, and Surface Design. His essays and reviews have appeared in The Los Angeles Times, The Chicago Tribune, The New York Post, The Oregonian, Salon, Newsweek, and Opera News. He is the author of “Matt Lamb...