Veloy Joseph Vigil

'Native American Figurative Abstraction', Pueblo Indian Expressionism, Palo Alto

Signed lower right, 'Miklos Pogany' and dated '1987'; titled lower left, 'Flight to Byzanthium'. Additionally signed verso, dated, titled and inscribed 'Monotype printed at Don Farnsworth's Magnolia Editions. Oil, litho ink on paper'. Sheet dimensions: 31.25 x 42.5 Inches. Hungarian-born Maine resident, Miklos Pogany, is a prolific artist with an impressive exhibition history and work in the permanent collections of many major museums including the Metropolitan Museum of Art in New York. A master of multiple media, Pogany creates vivid works based on nature and the built environment, exploring and pushing the parameters of each medium. The artist describes his motivation as follows: "I react to wonder, desires, conflicts, meanings, memories, revenge, sexuality, love and death. I gather all these fragments and make some personal sense of it all." Education: 1964 - BA, St. Procopius College, IL 1965 - MA, University of Chicago, IL 1972 - Ph.D. University of Chicago, IL Museum Collections: Metropolitan Museum of Art, New York, NY The Phillips Collection, Washington, D.C. National Museum of American Art, Smithsonian Institute, Washington, D.C. Fogg Museum, Harvard University, Cambridge, MA Victoria and Albert Museum, London, England Bibliothèque Nationale, Paris, France New York Public Library Print Collection, New York, NY Boston Public Library Print Collection, Boston, MA Yale University Art Gallery, New Haven, CT Achenbach Foundation for the Graphic Arts, San Francisco, CA Davidson Art Center, Wesleyan University, Middletown, CT Harvey Littleton, Greenville, NC Jane Voorhees Zimmerli Art Museum, Rutgers State University, NJ Mattatuck Museum, Waterbury, CT Selected Awards: The Connecticut Vision, Mattatuck Museum Prize 1990 Prints International, Silvermine Galleries, CT Rockefeller Foundation Grant, Bellagio, Italy International Graphic Arts Foundation, Sigma Gallery, New York Louis Comfort Tiffany Foundation Award Connecticut Commission for the Arts SECA Award for Painting, San Francisco Museum of Modern Art Selected Exhibitions: 2019 Danese Corey, New York, NY 2012 Fort Point Arts Community, Boston, MA 2008 Harvard University Owl Club, Cambridge, MA 2004 Kantar Fine Arts, Newtonville, MA 1998 J. Leighton Gallery...

Signed lower right, 'Ben Abril' (American, 1923-1995) and painted circa 1955. Born in Los Angeles, California, Ben Abril is known for his equestrian paintings, primarily in watercol...

Signed lower right, 'A. Cunningham' for Alfred A Cunningham (American, 20th century) and painted circa 1965. Alfred Cunningham was active in Northern California from the 1950's thro...

Signed lower right, 'Gilberg' for Robert George Gilberg (American, 1911-1970) and painted circa 1965. Born in Oakland, Robert George Gilberg first studied at the Oakland Art Center during the 1930s. Following service during WWII, he settled in Nevada City, California where he lived and painted until shortly before his death in San Francisco. Gilberg exhibited widely and with success and was the recipient of numerous medals, prizes and juried awards, including at the San Francisco Museum of Fine Arts...

Oil paint on canvas Signed Unique work 1 / Hélène DUCLOS, 2016 – Artist Statement “Questioning the human condition and the position of being alive – Wha...

Unique monotype, signed and numbered 1/1. Artist Robert Roach lived in Santa Fe, New Mexico. His one-of-a-kind, abstract monoprints were inspired by the landscape, climate and ligh...

Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His father, John Galen Howard, was an architect who had trained at M.I.T. and the École des Beaux-Arts in Paris and apprenticed in Boston with Henry Hobson Richardson. In New York, the elder Howard worked for McKim, Mead and White before establishing a successful private practice. Mary Robertson Bradbury Howard, Charles’s mother, had studied art before her marriage. John Galen Howard moved his household to California in 1902 to assume the position of supervising architect of the new University of California campus at Berkeley and to serve as Professor of Architecture and the first Dean of the School of Architecture (established in 1903). The four Howard boys grew up to be artists and all married artists, leaving a combined family legacy of art making in the San Francisco Bay area that endures to this day, most notably in design, murals, and reliefs at the Coit Tower and in buildings on the Berkeley campus. Charles Howard graduated from the University of California at Berkeley in 1921 as a journalism major and pursued graduate studies in English at Harvard and Columbia Universities before embarking on a two-year trip to Europe. Howard went to Europe as a would-be writer. But a near-religious experience, seeing a picture by Giorgione in a remote town outside of Venice, proved a life-altering epiphany. In his own words, “I cut the tour at once and hurried immediately back to Paris, to begin painting. I have been painting whenever I could ever since” (Charles Howard, “What Concerns Me,” Magazine of Art 39 [February 1946], p. 63). Giorgione’s achievement, in utilizing a structured and rational visual language of art to convey high emotion on canvas, instantly convinced Howard that painting, and not literature, offered the best vehicle to express what he wanted to say. Howard returned to the United States in 1925, confirmed in his intent to become an artist. Howard settled in New York and supported himself as a painter in the decorating workshop of Louis Bouché and Rudolph Guertler, where he specialized in mural painting. Devoting spare time to his own work, he lived in Greenwich Village and immersed himself in the downtown avant-garde cultural milieu. The late 1920s and early 1930s were the years of Howard’s art apprenticeship. He never pursued formal art instruction, but his keen eye, depth of feeling, and intense commitment to the process of art making, allowed him to assimilate elements of painting intuitively from the wide variety of art that interested him. He found inspiration in the modernist movements of the day, both for their adherence to abstract formal qualities and for the cosmopolitan, international nature of the movements themselves. Influenced deeply by Surrealism, Howard was part of a group of American and European Surrealists clustered around Julien Levy. Levy opened his eponymously-named gallery in 1931, and rose to fame in January 1932, when he organized and hosted Surrealisme, the first ever exhibition of Surrealism in America, which included one work by Howard. Levy remained the preeminent force in advocating for Surrealism in America until he closed his gallery in 1949. Howard’s association with Levy in the early 1930s confirms the artist’s place among the avant-garde community in New York at that time. In 1933, Howard left New York for London. It is likely that among the factors that led to the move were Howard’s desire to be a part of an international art community, as well as his marriage to English artist, Madge Knight...

Abstract artwork on paper by a Bulgarian/American artist Iliyan Ivanov. Artworks from "The Silent Sessions" examine situations where verbal communication is limited or entirely abse...