Auge 2 / Eye 2
View Similar Items
Want more images or videos?
Request additional images or videos from the seller
1 of 2
Wolf HoffmannAuge 2 / Eye 21970
1970
About the Item
- Creator:Wolf Hoffmann (1898 - 1979)
- Creation Year:1970
- Dimensions:Height: 13.67 in (34.7 cm)Width: 9.61 in (24.4 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Wien, AT
- Reference Number:1stDibs: LU1782210572852
About the Seller
No Reviews Yet
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 1973
1stDibs seller since 2022
5 sales on 1stDibs
More From This SellerView All
- N °4 Star ScriptLocated in Wien, 9“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...Category
1960s Abstract Expressionist Abstract Drawings and Watercolors
MaterialsEtching, Lithograph
- The Mirror 3Located in Wien, 9“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...Category
1970s Abstract Expressionist Abstract Drawings and Watercolors
MaterialsLithograph
- Ornamental CompositionLocated in Wien, 9“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...Category
20th Century Abstract Expressionist Abstract Drawings and Watercolors
MaterialsEtching, Aquatint
- Composition 04By Hans StaudacherLocated in Wien, 9The artist has worked with various materials, but many of his works were created on paper. Although he began painting abstractly at an early age, Staudacher’s roots lie in the figura...Category
20th Century Contemporary Abstract Drawings and Watercolors
MaterialsInk, Watercolor, Pencil
- WendebaumBy Anna Maria BrandstätterLocated in Wien, 9Anna Maria Brandstätter (* 1977 Amstetten) As a formative means of expression, the line defines the spherical pictorial spaces of Anna Maria Brandstätter's compositions. She hatches,...Category
2010s Abstract Drawings and Watercolors
MaterialsPaper, Ink, India Ink
- NeedBy Hans StaudacherLocated in Wien, 9The artist has worked with various materials, but many of his works were created on paper. Although he began painting abstractly at an early age, Staudacher's roots lie in the figura...Category
20th Century Contemporary Abstract Drawings and Watercolors
MaterialsInk, Watercolor
$5,058
You May Also Like
- Nature MorteBy (circle of) Pierre AmbrogianiLocated in Belgrade, MTThis colorful lithograph is part of my private collection. It is a limited edition , 1 print available, signed and numbered 25/150. It is in very good condition.Category
Mid-20th Century Abstract Expressionist Abstract Prints
MaterialsLithograph
- Paris Suite (Autumn)By Robert MotherwellLocated in Toronto, OntarioRobert Motherwell (1915-1991) is one of the essential American abstract painters that radically defined post-war abstraction in New York City. Today, his work appears in museum collections around the world and is instantly recognizable for its boldness and black forms. His auction record was set in 2018 at $12.6 million USD. In addition to his impressive paintings, Motherwell is also revered as one of the most innovative and prolific printmakers of the 20th century. He was always searching for new techniques, whether at his own printmaking atelier, or collaborating with others, to expand his ideas and express his aesthetic. Created in 1980, "Paris Suite...Category
1980s Abstract Expressionist Abstract Drawings and Watercolors
MaterialsLithograph
- UntitledBy Franz KlineLocated in Beverly Hills, CAProvenance: Marlborough Gallery David McKee, Inc. Manny Silverman Gallery Private collection, Los AngelesCategory
1950s Abstract Expressionist Abstract Drawings and Watercolors
MaterialsPaper, Ink
$104,000 Sale Price20% Off - "Eye of the Beholder" Acrylics, Pencils, Oil Pastels in Neutral Hues of TaupeBy Karina GentinettaLocated in New York, NY"Eye of the Beholder" 2024, 48"x60" horizontal abstract painting by Argentine-born artist Karina Gentinetta (featured in Elle Decor, Architectural Digest, the New York Times, Traditi...Category
21st Century and Contemporary Abstract Expressionist Abstract Drawings a...
MaterialsOil Pastel, Acrylic, Carbon Pencil, Color Pencil
- "Labyrinth" Acrylics and Ink on Paper in Hues of Raw Umber, Black and WhiteBy Karina GentinettaLocated in New York, NY"Labyrinth" 2021, 23.5" x 21.5" vertical drawing on paper by Argentine-born artist Karina Gentinetta (featured in Elle Decor, the New York Times, Traditional Home, Veranda Magazine, ...Category
21st Century and Contemporary Abstract Expressionist Abstract Drawings a...
MaterialsGlaze, Ink, Acrylic
- 'Beyond your brilliant mind’, watercolour, abstract philosophical quoteLocated in Lahti, FIOriginal artwork, watercolour and pencil on paper by the multifaceted Finnish artist and holistic interior architect Emmi Granlund, also known as EMMI IIDA for her music with healing...Category
2010s Abstract Expressionist Abstract Drawings and Watercolors
MaterialsPaper, Watercolor, Pencil