Kaleidoscopio
View Similar Items
Want more images or videos?
Request additional images or videos from the seller
1 of 7
Leonardo NiermanKaleidoscopio
About the Item
- Creator:Leonardo Nierman (1932, Mexican)
- Dimensions:Height: 35.5 in (90.17 cm)Width: 48 in (121.92 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Frame IncludedFraming Options Available
- Condition:
- Gallery Location:Cuauhtemoc, MX
- Reference Number:1stDibs: LU1621212610642
Leonardo Nierman
Leonardo Nierman is a Mexican abstract artist. His varied paintings and sculptures are inspired by both nature and classical musicians like Johann Sebastian Bach and Claude Debussy, as well as an array of artists that includes David Alfaro Siqueiros, Wassily Kandinsky, and Joan Miró. Nierman’s paintings utilize bright colors and evoke elemental natural events like volcanic eruptions, storms, and waterfalls. In the same vein, his sculptures often depict abstracted sublime representations of angelic figures and flames. Born on November 1, 1932 in Mexico City, Mexico to Lithuanian and Ukrainian parents, Nierman studied the violin from a very young age before receiving a BA in business administration from the Universidad Nacional Autónoma de México. Today, the artist’s works are in the collections of the Museum of Modern Art in Mexico City, the Museum of Fine Arts in Boston, the Detroit Institute of the Arts, and the Indianapolis Museum of Art, among others. Nierman lives and works in Mexico City, Mexico.
About the Seller
4.9
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1985
1stDibs seller since 2021
102 sales on 1stDibs
Typical response time: 1 hour
More From This SellerView All
- "One Can Two Can 1" from Huichol ALTERATION SeriesBy CHROMA aka Rick WolfrydLocated in Cuauhtemoc, Ciudad de MéxicoALTERTATION ART . . . is a collaboration process between Rick Wolfryd, fine artist and art dealer with over 40 years experience, and various Mexican Huichol artists and Mexican Huich...Category
2010s Contemporary Still-life Sculptures
MaterialsResin
- After Botero - Horse with Saddle Bronze SculptureBy Fernando BoteroLocated in Cuauhtemoc, Ciudad de MéxicoAfter Fernando Botero Bronze HORSE WITH SADDLE - Sculpture on Marble Base Stamped F. BOTERO 1992, Numbered.Category
20th Century Contemporary Figurative Sculptures
MaterialsMarble, Bronze
- Homage to Botero - Bull SculptureBy Fernando BoteroLocated in Cuauhtemoc, Ciudad de MéxicoAfter Fernando Botero Bull Sculpture with Huichol glass beads Stamped F. BOTERO 1992, Numbered.Category
20th Century Contemporary Figurative Sculptures
MaterialsMarble, Bronze
- After Botero - Small Bird SculptureBy Fernando BoteroLocated in Cuauhtemoc, Ciudad de MéxicoAfter Fernando Botero Bronze Small Bierd Sculpture on Marble Base Stamped F. BOTERO 1992, Numbered.Category
20th Century Contemporary Figurative Sculptures
MaterialsMarble, Bronze
- MessiahLocated in Cuauhtemoc, Ciudad de MéxicoLimited Edition 100 prints of 'Messiah'. Jesus by PicassoPebbles Each print is embossed, creating a relief of each pebble. The prints are hand finished, signed and numbered in ara...Category
2010s Contemporary Portrait Prints
MaterialsScreen
$375 Sale Price25% Off - After Botero - MAN ON HORSEBACK BRONZEBy Fernando BoteroLocated in Cuauhtemoc, Ciudad de MéxicoAfter Fernando Botero Cast bronze sculpture by Fernando Botero, 1932 to 2023, a Colombian artist whose signature style, also known as Boterismo, depicts people and figures in large, ...Category
20th Century Contemporary Figurative Sculptures
MaterialsMarble, Bronze
You May Also Like
- David Hostetler Oil Painting Colorful Group Figurative People Anasazi IndianBy David HostetlerLocated in Nantucket, MADavid was inspired by the Anasazi petroglyphs with these shapes of the figures in this painting. It is an oil painting on Masonite. The frame is black wood- a shadow box concept. The...Category
2010s Contemporary Figurative Paintings
MaterialsMasonite, Oil
- "Pure Pith", Colorful Acrylic Painting, Text, Comic, IllustrationLocated in Philadelphia, PAThis wall-hanging artwork titled "Pure Pith" is an original artwork by Christian "Patch" Patchell made of acrylic paint on wood and masonite. This piece measures approximately 12"h x...Category
21st Century and Contemporary Contemporary Figurative Paintings
MaterialsWood, Masonite, Acrylic
- Ceremonial Dancers oil and tempera painting by Julio De DiegoBy Julio de DiegoLocated in Hudson, NYArtwork measures 48" x 30" and framed 56 ¼" x 38 ¼" x 3" Provenance: John Heller Gallery, NYC, circa 1975 (label verso) The artist's daughter Corbino Galleries, Sarasota, FL (1990)...Category
1940s Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- The Magician oil and tempera painting by Julio de DiegoBy Julio de DiegoLocated in Hudson, NYJulio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...Category
1940s American Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- St. Atomic oil and tempera painting by Julio de DiegoBy Julio de DiegoLocated in Hudson, NYJulio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...Category
1940s American Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- Inevitable Day – Birth of the Atom oil and tempera painting by Julio De DiegoBy Julio de DiegoLocated in Hudson, NYJulio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Bibliography Art in America, April 1951, p.78 About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...Category
1940s American Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera