Barbara Rachko

He Was So in Need of Botany, bright colors, domestic, Latin objects

2000

Price and size includes frames (maple wood with white mats). Artwork 58" x 38" Her pastel-on-sandpaper series, "Domestic Threats" and "Black Paintings", both use cultural objects as surrogates for human beings acting in mysterious, highly charged narratives.[9][10] Rachko also has created a series of photographs entitled "Gods and Monsters".[11] In these chromogenic prints, she is "painting with a camera," creating variations that free the camera from being a mechanical recording device of what lies before it. She prints all of these images by hand. The earlier "Domestic Threats" pastel-on-sandpaper paintings used her West Village apartment or her 1932 Sears house in Virginia as a backdrop. The "Black Paintings" series grew directly from "Domestic Threats". In the "Black Paintings," the figures (actors) take center stage. All background details, furniture, rugs, etc. have been eliminated and replaced by intense dark black pastel. Each painting takes months to complete as she slowly builds up as many as 30 layers of soft pastel. Her long-standing fascination with traditional masks progressed in the spring of 2017 when she visited the National Museum of Ethnography and Folklore in La Paz, Bolivia where one exhibition included more than fifty festival masks. The resulting series is entitled “Bolivianos”.[12] She has also written an e-book, From Pilot to Painter[13] and writes a regular blog, Barbara Rachko...

Price and size includes frames (maple wood with white mats). Artwork 20" x 26" Her pastel-on-sandpaper series, "Domestic Threats" and "Black Paintings", both use cultural objects as surrogates for human beings acting in mysterious, highly charged narratives.[9][10] Rachko also has created a series of photographs entitled "Gods and Monsters".[11] In these chromogenic prints, she is "painting with a camera," creating variations that free the camera from being a mechanical recording device of what lies before it. She prints all of these images by hand. The earlier "Domestic Threats" pastel-on-sandpaper paintings used her West Village apartment or her 1932 Sears house in Virginia as a backdrop. The "Black Paintings" series grew directly from "Domestic Threats". In the "Black Paintings," the figures (actors) take center stage. All background details, furniture, rugs, etc. have been eliminated and replaced by intense dark black pastel. Each painting takes months to complete as she slowly builds up as many as 30 layers of soft pastel. Her long-standing fascination with traditional masks progressed in the spring of 2017 when she visited the National Museum of Ethnography and Folklore in La Paz, Bolivia where one exhibition included more than fifty festival masks. The resulting series is entitled “Bolivianos”.[12] She has also written an e-book, From Pilot to Painter[13] and writes a regular blog, Barbara Rachko...

this is oil on wood panel with a rough sandy textured surface . it comes ready to hang with a black frame that nicey complements the color scheme

Pastel on toned paper Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imagina...

Abstract by Guy Nicod (French 1923 - 2021) oil on artist paper, unframed painting : 26 x 19.5 inches provenance: artists estate, France condition: very good ...

Jason Stout was born in 1977. He received his BFA in studio art from the University of Tennessee at Martin in 2001 and a MFA in Painting from the University of Texas at San Antonio i...

"Room Interior" is an original acrylic painting on masonite by David Barnett. The artist used bright, non-mimetic colors to create an abstracted interior scene. Artist signed piece o...

FRANCISCO BORES Spanish, 1898 - 1972 SANS TITRE signed and dated "Borès 42" (lower left) oil on panel 13-3/4 x 10-5/8 inches (35 x 27 cm.) framed: 19 x 15-3/4 inches (48 x 40 cm.) BIBLIOGRAPHY: Francisco Bores, Reasoned Catalogue, Volume I - Painting 1917-1944, Museo Nacional Centro de Arte Reina Sofía, Madrid, 2003, nº 1942 / 63, reproduced in p. 494 PROVENANCE Carmen Bores Collection, Francisco Bores daughter Private Collection, Madrid Francisco Bores López (Madrid, May 5, 1898 - Paris, May 10, 1972) was a Spanish painter of the so-called New School of Paris. His artistic training originated both in the Cecilio Pla painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz or Joaquín Peinado, and in the literary gatherings in Madrid related to ultraism. At this time he made engravings and woodcuts for a large number of magazines such as Horizonte, Cruz y Raya, Index, Revista de Occidente. In 1922 he participated in the National Exhibition of Fine Arts. In 1925 he participated in the first exhibition of the Iberian Artists Society. The limited success of this exhibition pushes him to go to Paris. In this city he shared a studio with the Spanish painter Pancho Cossío and also met Picasso and Juan Gris. In 1927 he held his first solo exhibition in Paris. From this moment on, Bores integrates himself into the Parisian artistic environment where he will live practically his entire life. In 1928, his first exhibition in a gallery in the United States, in 1930 he exhibited again, within a group exhibition at the Museum of Modern Art in New York. In the following years, he continued exhibiting in different galleries in Paris, such as the Georges Petit Gallery, the Bernheim Gallery and the Vavin Raspail Gallery. He also participates in several group exhibitions, highlighting the Exhibition of Contemporary Spanish Art...