Koen van den Broek

"Untitled", charcoal drawing, expressionist, landscape, Dodge, contemporary

2018

The starting point for Koen van den Broek‘s (*1973 in Bree, Belgium) works are often photographs of land- or cityscapes that are more or less direct...

Corinna Schnitt is mostly known as a video artist. She belongs to Germany's most important protagonists of that scene of the last 25 years. While she is teaching at the Braunschweig ...

Christof Mascher studied at the University of Art Braunschweig and graduated in 2009 as a Master Student of Walter Dahn. Like his famous teacher, he is foc...

Nic Hess (*1968 in Zurich, where he also lives and works) studied at the Gerrit Rietveld Academy in Amsterdam and at the University of the Arts, Berlin. He got mainly known for his expansive installations and wall collages made of tapes and foils. With these, he deconstructed signs (logos) and symbols from the worlds of business and art history. Now, however, he resorts to his own sign-system, signs that stem from his biography or his personal environment. In particular, for his collages, that he was doing in the last years, he was using hundreds of art and architecture books that he had found in his late father’s library. Like many people in a similar situation, Hess asked himself what he was to do with the books. And he decided to make productive use of them and for his own work. By transforming the books of the library into his own art he created a sort of memorial to his father. Because with the reproductions of some of the illustrated books he made collages, playful new compositions based on the works of mainly three artists: the Swiss Max Bill, the American Edward Hopper and the Belgian René Magritte – all being his father's heroes. "Uhu Schuhu" has been collaged with reproductions stemming from illustrations of paintings by René Magritte. It is a neo-surrealist work that Hess – with a tongue in cheek – loaded with humor. Hess looks back to a long career and to a very large number of institutional solo-shows of which here just a few are mentioned: Zulieferer unter Druck, Städtische Galerie, Wolfsburg (2016); Der Stoff aus dem die Träume waren, Kunsthalle Münster, Münster (2015); Ein Titel muss her!, Kunststation Wolfsburg, Wolfsburg (2013); The Birds (for Lilou), Swiss Institute, New York (2012); Silberpfeil, Mercedes Benz Museum, Stuttgart (2011); Automatic Crash Response, Armand Hammer Museum, Los Angeles (2009); Escape, Schloß Ringenberg, Hamminkeln (2009); Sculptures, The Project, New York (2008); Food4Less, Museo de Zapopan, Zapopan (2007); Walls/Muri (with Federico Herrero...

Nic Hess (*1968 in Zurich, where he also lives and works) studied at the Gerrit Rietveld Academy in Amsterdam and at the University of the Arts, Berlin. He got mainly known for his expansive installations and wall collages made of tapes and foils. With these, he deconstructed signs (logos) and symbols from the worlds of business and art history. Now, however, he resorts to his own sign-system, signs that stem from his biography or his personal environment. In particular, for his collages, that he was doing in the last years, he was using hundreds of art and architecture books that he had found in his late father’s library. Like many people in a similar situation, Hess asked himself what he was to do with the books. And he decided to make productive use of them and for his own work. By transforming the books of the library into his own art he created a sort of memorial to his father. Because with the reproductions of some of the illustrated books he made collages, playful new compositions based on the works of artists like – amongst others – Edward Hopper or Roy Liechtenstein. For his own "Frightened Girl" Hess made use of girls of Roy Liechtenstein-paintings. He cut and re-connected them, creating a kind of cubist version of the original. The result, that even made use of the caption in a Liechtenstein-monograph, was carefully put in a frame chosen by the artist. Hess looks back to a long career and to a very large number of institutional solo-shows of which here just a few are mentioned: Zulieferer unter Druck, Städtische Galerie, Wolfsburg (2016); Der Stoff aus dem die Träume waren, Kunsthalle Münster, Münster (2015); Ein Titel muss her!, Kunststation Wolfsburg, Wolfsburg (2013); The Birds (for Lilou), Swiss Institute, New York (2012); Silberpfeil, Mercedes Benz Museum, Stuttgart (2011); Automatic Crash Response, Armand Hammer Museum, Los Angeles (2009...

Dieter Roth (1930-1998) was born in Hannover, Germany and grew up in Zürich, Switzerland. He started an apprenticeship as an advertising graphic designer and took private lessons in ...

Charcoal on paper drawing by Toronto-based artist Katherine Curci. Framed. Katherine Curci began this series of charcoal drawings, premiered in This Land., at the start of the pande...

Abstracted New York City landscape drawing of urban rooftops and tree tops "Rooftops", created by William Clutz in 1977 30 x 20 inches, charcoal and pastel on paper 33 x 25 inches in light wood frame This framed pastel on paper was made in 1977 by William Clutz. It features an abstracted depiction of New York City rooftops as seen from a high window. Of particular note is the artist's technique with pastel; a wonderful texture and motion is created by closely woven striated lines. Sunlight reflects off brown rooftops and peaking green tree tops. The charcoal and pastel drawing is framed in a natural light wood frame with non-reflective glass and wire backing for installation. About the Artist: Renowned as the “impressionist of the contemporary metropolis”, William Clutz uses the city, in its entirety, as his subject. Pedestrians crossing streets become stars of the stage; the hustle and bustle of traffic and surrounding buildings are the chorus; each play their part in the overall composition. Lighting and color shift this observation of the everyday into a remarkable wonder. “It is surely Clutz”, wrote Gerrit Henry in Art News, 1979, “an artist who has rejected the niceties of representation in favor of the quintessence.” The young artist moved to New York City in 1955 and just four years later had his first solo exhibit at the Condon Riley Gallery. Clutz went on to show in major uptown galleries such as David Herbert, where, notably in 1962 he received a NYTimes review titled, Return of the Figure. That same year, his role in the revival of figuration was further solidified with inclusion in the MoMA group show, Recent Painting USA, The Figure. This was a pivotal turning point from which emerged a 50-year exhibiting career. Resume Born: Gettysburg, PA 1933 Mercersburg, PA 1933-1951 New York City 1955-1996 Education Painting: Thomas Danaher(WPA artist) 1944-51 Mercersburg Academy, PA 1947...

Dessin représentant une vue du port de Vannes. Les influences de l'art du début du XXe siècle se font ressentir, notamment Maximilien Luce. Le dessin est signé en bas à gauche : à d...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Un Chemin dans la Forêt by Paulémile Pissarro (1884-1972) Pastel and charcoal on paper 24 x 31 cm (9 ¹/₂ x 12 ¹/₄...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Paysage en Normandie by Georges Manzana Pissarro (1871-1961) Charcoal on paper 32 x 39 cm (12 ⅝ x 15 ⅜ inches) St...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Le Pont du Vey by Paulémile Pissarro (1884-1972) Charcoal on paper 24.5 x 31.5 cm (9 ⁵/₈ x 12 ³/₈ inches) Signed ...