Miguel Angel Campano

Untitled

1987

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

"In France, On A Bike" is a monotype with gouache on kozo paper featuring hues of yellow, purple, blue and pink. This work is framed in a gold frame measuring 1...

"Gates of Summer" is a lithographic monotype on Rives BFK paper featuring hues of orange and yellow. This work is framed in a gold frame measuring 21.25 by 18.5 inches. Claire Whitehurst is inspired by the works of Ruth Asawa, Louise Bourgeois, Agnes Pelton, Hilma af Klimt, Alma Thomas...

"Mask in the Vanity Mirror" is a monotype with gouache and colored pencil on kozo paper featuring hues of green, red, orange, pink yellow and blue. This work is framed in a gold frame measuring 29 by 23 inches. Claire Whitehurst is inspired by the works of Ruth Asawa, Louise Bourgeois, Agnes Pelton, Hilma af Klimt, Alma Thomas...

"Fishtail" is a monotype with colored pencil on kozo paper featuring hues of green, red, yellow, pink and blue. This work is framed in a gold frame measuring 18 by 16 inches. Claire Whitehurst is inspired by the works of Ruth Asawa, Louise Bourgeois, Agnes Pelton...

"As A Butterfly" is a lithographic monotype on Rives BFK paper featuring hues ofpurple, orange, blue and yellow. This work is framed in a gold frame measuring 25.5 by 22 inches. Claire Whitehurst is inspired by the works of Ruth Asawa, Louise Bourgeois, Agnes Pelton, Hilma af Klimt, Alma Thomas...

“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...