Alkis Matheos

Abstract Composition - Original Tempera by A. Matheos

Mid 20th Century

Abstract Composition is a beautiful original tempera on paper, realized at the beginning of the XX century by the Greek-French artist Mathéos Alkis. Hand-signed on the lower right ma...

Abstract Composition is an original artwork realized by Giorgio Lo Fermo in 2010. Oil on canvas applied on cardboard. This contemporary artwork is an abstract composition character...

Untitled is an artwork realized by Martine Goyens, in 2019. Acrylic on panel. cm 20 x 20; cm 30 x 30 with frame. Hand signed on the back. Very good conditions!

Abstract composition is an original artwork realized by Giorgio Lo Fermo (b. 1947) in 2022 Original Oil Painting on Canvas. Hand signed and dated on the lower left margin. Hand-si...

Provenance: Barry Friedman Gallery, Modernism Fine Arts, New York. Estate Stamped. Thilo Maatsch (1900-1983) Thilo Maatsch has an epiphany at age 16 when, having been taken to Berlin’s prestigious Avant Garde art gallery Der Sturm, he’s mesmerized by the work of Franz Marc, and determines to be an artist. Eleven years later, he’ll one day recall with pride, his work exhibits there. Born and raised in 1900 Braunschweig, Germany, Maatsch by age 18 forms "Gesellschaft der Freunde junger Kunst" (Society of Friends of New Art) with Rudolf Jahns and Johannes Molzahn. Its members include soon-to-be-famous Lyonel Feininger, Paul Klee and Wassily Kandinsky, who promotes Maatsch and becomes something of a father figure. Introductions to collector Otto Ralfs in Braunschweig and the esteemed painter Heinrich Vogeler in Worpswede over the next two years influence his expanding body of work. By 1922 Maatsch has a growing family to support, and as his art fails to provide this he begins training to be a teacher, a vocation he’ll fall back on repeatedly throughout his life. His first assignment is that of primary school teaching in Holzminden. 1924 sees Ralfs purchasing a Maatsch work and hanging it alongside the now well-known names of Mondrian, Kandinsky and Klee. The following year Ralfs launches an entire exhibition of the Society of Friends of New Art. Because of his day job, Maatsch is unable to realize his wish to study at the Bauhaus, the avant garde epicenter in Weimar and later, Dessau. But thanks to Kandinsky, Klee and Laszlo Moholy-Nagy, he’s allowed to occupy their studios and study with them during school holidays. His befriending of Kurt Schwitters during this time explains why Maatsch is often included in the so-called Schwitters Group. In 1925 he joins the Novembergruppe (November Group) and exhibits annually in the renowned Große Berliner Kunstausstellung (Great Berlin Art Exhibition...

The artwork is signed, dated and titled verso. The artist says herself about her art "My focus has always been on abstract art. I'm attracted to its reduction of the "real", its es...

ACRYLIC PAINTING IN WOODEN FRAME, ON SUPPORT OF FABRIC. IS PROVIDED WITH A VARNISH LAYER TO SAVE FROM DUST AND DIRT :: Painting :: Abstract :: This piece comes with an official ce...

Jürgen Möbius (*1939 Großenhain), Tectonic Tension. Oil on hardboard, 47.5 x 60 cm, 49 x 61.5 cm (frame), signed lower right "Möbius" and dated "[19]81". - Upper left corner with a small chip, light scratches and a little rubbed in places. Provisional gallery frame with traces of use. - Archetypes of Painting - About the artwork The form structure in front of the eye is overlapped by the frame. Thus, the frame does not open up a space in which something is presented, but rather shows the seemingly arbitrary section of a comprehensive context that cannot be framed as such. We see forms that stand in a structure of tension with each other, whereby the individual black and brown forms, which continue almost endlessly beyond the frame, already show a tension in themselves, since they are not only forms, but also surfaces - form surfaces, while the light blue surface ground is at the same time forms that appear as surface forms. The formed surfaces and surface forms are nested within each other and form a structure that encompasses all elements. The angular arrangement of the black and brown shaped surfaces gives the structure a tectonic character. The tension is thus heightened to the point of paradox, since the black shape at the front is overlapped by the brown shape at the bottom in the center of the picture, which would be impossible in real space. It is precisely through this "paradox" that Möbius demonstrates that the paradoxical is reality within painting. It is, so to speak, the most original possibility of painting, which distinguishes it from the other arts. In combination with the tectonic formations, Jürgen Möbius creates an archaic primordial painting, which, however, should not be confused with the autonomous color and form cosmos of Suprematism à la Kasimir Malevich. Instead of homogeneous, perfectly colored forms, here the colors are deliberately applied unevenly, and the light blue is mixed with the brown in a manner determined by the brushstroke. At the edges of the surface forms, the uneven application of paint allows the wood of the unprimed hardboard to show through. In this way, Möbius illustrates that we are dealing with a painting that has been created by an act of painting - an act, however, that takes hold of the original principles of painting and thus realizes painting as such. About the artist From 1959 to 1965 Jürgen Möbius studied painting at the University Institute for Art and Work Education in Mainz. He also studied philosophy and art history at the University of Mainz. Afterwards he worked as a freelance artist in Mainz. At first, Möbius created material reliefs and installations, then, around 1974, he turned increasingly to conceptual art and added cinematic means. During this phase he wrote the manifesto-like essay "Principles of Supranatural Landscape" (1979). From 1981 on, Möbius concentrated on painting and searched for artistic ways to "treat intellectual and sensual perception equally in the fusion of representational and abstract pictorial elements" (Wolfgang Zemter). He found inspiration on his study trips to Thailand and Sri Lanka. "The pure painting of Jürgen Möbius flows through us as a timeless expression of memory and energy, ploughing our perception and bringing us the happiness of seeing authentic, immovable form. - Philippe Büttner Selection of solo exhibitions 1969 Galerie Würzner, Düsseldorf / Galerie Gurlitt, Mainz 1972 Städtische Galerie, Mainz 1973 Galerie Schloss Ringenberg Rathaus, Kleve 1974 Röderhausmuseum, Wuppertal 1976 Galerie Glasing, Osnabrück / Städtische Galerie, Herne 1977, 1997, 2004 Märkisches Museum, Witten 1979 Studio M, Bamberg / Staatstheater, Darmstadt 1980 Galerie Stolànovà, Wiesbaden / Mittelrheinmuseum, Koblenz 1982 Galerie Dornhöfer, Mainz 1984 Galerie Neumühle, Schlangenbad 1985 Landesmuseum, Mainz / Kunstverein, Ludwigshafen / Nassauischer Kunstverein, Wiesbaden 1986 Museum, Bochum / Galerie der Stadt Iserlohn 1987, 1990 Galerie Klaus Kiefer, Essen 1987, 2000 Galerie Ulrike Buschlinger, Wiesbaden 1988 Kunsthalle Darmstadt 1988, 1992, 1996, 1999 Galerie Leonhard, Basel 1992, 2002 Galerie Zulauf, Freisheim 1994 Galerie Remy, Vallendar 1995 Sendezentrum des Zweiten Deutschen Fernsehens, Mainz 2001 Collegium oecumenicum, Bamberg / MVB Forum für Kultur und Wirtschaft, Mainz 2006 Adam Gallery, London Selection of group exhibitions 1969 ‘International Graphic Arts’, Galerie Dalléas Bordeaux, Paris 1975 ‘Deutscher Künstler-Bund’, Dortmund 1979 ‘Man and man’s Images’, Märkisches Museum Witten 1980 ‘Love-Dokuments of our Time’, Art Hall Darmstadt and Art Association Hannover 1982 ‘Work - Progress – Position’, Nassau Art Association Wiesbaden 1983 ‘Principle Hope – Utopic Aspects in Art and Culture of the 20th Century’, Museum Bochum 1986 ‘Selfportraits’, Gallery Klaus Kiefer Essen 1987 ‘The Dying and Death’, Gallery Klaus Kiefer Essen 1989 ‘Where are You, Revolution – Freedom, Liberty, Egality, Fraternity to-day’, Museum Bochum 1990 ‘Flight – a Problem within the Memory of Man’, Kunsthalle Darmstadt ‘Art and War 1939 – 89’, House of Cultures Berlin 1991 ‘Material and Form’, Pillnitz Castle Dresden and Pfalz Gallery Kaiserslautern 1995 20 Years Exhibitions, Chrämerhuus Langenthal, Schweiz 1998 ‘Works on Paper’, Klaus Kiefer Gallery Essen 2000 ‘Acquisitions 1900 – 2000’, Mittelrhein-Museum Koblenz 2001 ‘Strange Pictures’, Klaus Kiefer Gallery Essen 2002 ‘10 Years Buschlinger Gallery’, Buschlinger Gallery Wiesbaden 2004 ‘Eternal Space – Pictures and Sculptures’, Dome of Bamberg 2005 Art Fair Chicago, Adam Gallery, London Selected Bibliography Mittelrheinisches Landesmuseum (Hrsg.): Jürgen Möbius - Neue Bilder, Mainz 1985. Kunstverein Darmstadt (Hrsg.): Jürgen Möbius. Bilder 1985 - 1988. Kunsthalle Darmstadt, 26. Juni - 14. August 1988. Red. Dorit Marhenke, Lyrik Marcus Schiltenwolf, Düsseldorf 1988. Gabriele Prusko (Hrsg.): Jürgen Möbius. Mit Texten von Philippe Büttner und Ralph Mieritz, Basel 1992. Wolfgang Zemter (Hrsg.): Jürgen Möbius - Aktuelle Arbeiten. Märkisches Museum der Stadt Witten, Bönen 1999. Wolfgang Zemter (Hrsg.): Jürgen Möbius. Flieger in meinem Zimmer und Beruhigte Zone, Bönen 2004. Dama Gallery...