Bernard Segal

Mod Abstract Expressionist W/C Painting Bernard Segal New Hope PA Modernist Art

1966

Harry Bertschmann (Swiss American, born 1931). Acrylic painting on paper. Artist signature to lower right. Provenance: Joy Moos Gallery (this was exhibited at the Outsider Art Fair) ...

Roger Lersy, French (1920 - 2004) Painting on paper (not sure if this is watercolor, acrylic or oil, the paper has a velvet finish and texture to it and there is some texture to the ...

Sergio de Castro (15 September 1922 – 31 December 2012) was a French-Argentinian Sergio de Castro was born in Argentina, in an aristocratic family of Spanish origins (Galicia and the Basque Country), the House of Castro. His father was a diplomat, which is why, from 1923 until 1932, Castro lived in Switzerland with his parents and his two sisters. During these years he visited cities like Lausanne, Geneva and Turin. In 1933 he entered a Jesuit school in Montevideo and he started studying music. He discovered poetry by learning to speak and write in Spanish. He was specially touched by the works of César Vallejo. Through the years Castro would become close friends with writers like Octavio Paz, Julio Cortázar, Samuel Beckett, Kostas Papaioannou and Georges Schéhadé. Later, during a trip to Uruguay, he met Joaquín Torres García, with whom he studied painting and monumental art from 1941 until 1949. In 1942 he moved to Argentina, where he would live until 1949. Castro was also friends with other artists like Nikos Hadjikyriakos-Ghikas, Maria Helena Vieira da Silva and Arpad Szenes. In 1945 he found a job as a secretary in the Astronomy Observatorium of the city of Córdoba, where we also worked as the assistant to the musician Manuel de Falla in Alta Gracia, until his death in 1946. In 1945 and 1946 he had a grant from the French government to study musical composition. During the year of 1946 he had an exhibition in New York City among other members of Torres Garcia's workshop. That same year he traveled to the northeast of Argentina and the south of Perú to study pre-columbian art with Gonzalo Fonseca, Julio Uruguay Alpuy and Jonio Montiel. In 1949 he started teaching History of Music in the new music school of the city of La Plata. His work as a musician drew attention from relevant figures such as Wilhelm Furtwängler, Aaron Copland and Juan José Castro. He quit this job when he got a grant from the French government to improve his musical studies in Paris, where he settled in November 1949. Since 1951 he devoted himself exclusively to painting. In 1955, his friend the German writer and translator Edith Aron introduced him to Julio Cortázar, who would become a close friend of him. Castro inspired the character of Etienne in Cortázar's novel Rayuela (Hopscotch). In the book is featured the intimate friendship of the protagonist, Horacio Oliveira, with his companion in the Serpent Club, whom he often visited in his studio in Paris. In 1960 he won the Hallmark Prize in New York. In 1979 he obtained the French nationality. In 1980 he showed his works at the Argentinian pavilion in the 39th Venice Biennale. He was associate professor in the Human Sciences Faculty of the University of Strasbourg from 1981 until 1986. In 1997 he became Officer in the Ordre des Arts et des Lettres. In 2006, Sergio de Castro made a 220-work donation to the Fine Arts Museum of Saint-Lô. He was also a close friend of the musician Alberto Ginastera, who made reference to Sergio de Castro and his first works in his notes on modern Argentinian music. Castro died 31 December 2012 in Paris. He is buried in the Montparnasse cemetery, in Paris, close to his dear friend Samuel Beckett. Monumental works Two wall paintings for the Martirené Pavilion of the Hospital Saint-Bois (1942), in Montevideo (Uruguay), in collaboration with Joaquín Torres García and his disciples, among which Castro was the youngest. The Creation of the Universe (1956–1958), 6m x 20m stained-glass window. Castro worked with painter and glass-maker J. J. K. Ray (1898–1979) in Paris. Selected Exhibitions 1952 Galerie Jeanne Castel Paris 1954 Galería Bonino Buenos Aires and Galerie Pierre Loeb, Paris 1956 Galerie Rive Gauche, Paris 1958 Matthiesen Gallery, London 1959 documenta 2 Kunst nach 1945 Kassel 1961 Matthiesen Gallery, London 1963–64 Galeria Lorenzelli, Bergamo and Milano 1964 Galería Bettie Thommen, Basel 1965 Kunstverein Hamburg Retrospektive 1966 Musée d'Art et d'Histoire, Fribourg, Switzerland (retrospective) 1966 Recklinhausen, Variationen über ein Thema, Städtische Kunsthalle 1970 Retrospektiven in Oslo, Kunstforering, and Kunst Industriemuseet, Copenhagen, Kunstforening, Oslo, Kunstforening, Holstebro 1972 Wildenstein Gallery, London Landscapes of Light 1974 Galerie Jacob, Paris 1975 Kunsthalle Bremen, Retrospektive, Berlin Tempelhof, Kunstamt (Berlin Festival) 1975–76 Retrospective exhibition the Musée des Beaux-Arts de Caen (68 artworks from 1956 to 1966), France 1979 Hommage à Pierre Loeb, Musée d'Art Moderne de la Ville de Paris 1980 39th Venice Biennale 1987 French Institute London. Museo de Arte Moderno de Buenos Aires 1988 Galerie des Ambassades y Galerie Galarte, Sergio de Castro, Natures Mortes, 1958–1965. Paris/ Bayeux, Diocesan Museum of Sacred Art 1989 Galerie des Ambassades, Paris 1991–92 Romont, Swiss Stained Glass...

Gregg Robinson, American (born 1948) "Cipher Bar 20" Oil on Canvasboard Panel. Artist signed, title and dated 1990 far right. Very minor rubbing to paint. Panel measures 15-1/4" H x 63-1/2" W, frame measures 24-1/4" H x 72-1/4" GREGG ROBINSON The universe of visual art encompasses a huge spectrum of motivation and means of expression. Examples range from the most syrupy sentimentality to extremes of moral and intellectual confrontation. For me, the creative process is, on the simplest level, an aesthetic puzzle. Elements of the puzzle include contrast, color, visual texture, graphic pattern, and in some recent work, a simple cryptic symbolism. I have never been particularly interested in lyric or pictorial content, and though some of my work does contain undeniable spatial illusion, even that tends to be a by-product rather than a goal of the primary pursuit: the balance of light and dark, pure color and organic neutrals, energy and calm, strong pattern and subtle field. Having grown up in an environment of contemporary architecture, I have always valued the classic modern synthesis of form and function exemplified by the Bauhaus movement of the early 20th century. Hence, the simplest solutions are often the most satisfying. Obviously, the modernist ideal of efficiency in form and function requires that method of execution be as well adapted to the aesthetic goal as the visual language itself. The media before you is the result of many years of experimentation that came to its current form in early 1992. I work with dry pigment over a plaster surface. My tools are broad knives, sponges, rags and masking. The finish is a high gloss alkyd resin. CORPORATE COLLECTIONS: Allstate Insurance NBC Productions Alaska...

An original abstract expressionist work on paper by Bernard Segal (1907-1986), New York mid 20th century. In predominant tones of magenta, licorice, and grenadine and with slight tou...

Tempura on heavy paper, signed and dated 1945 lower left. The piece measures 23" x 30" including the frame and presents very well overall. Provenance: Willard Gallery, NYC Brad...

"Expressionist Abstract #5" is a 50 x 60 inches oil on board work by Philadelphia artist Morris Lewis Blackman. The painting is signed in the artist's monogram "MLB" and dated 1964-6...

"Expressionist Abstract #8" is a 50 x 28 inches oil on canvas work by Philadelphia artist Morris Lewis Blackman. The painting is signed in the artist's monogram "MLB" in the lower left and it is estate stamped on verso. Additional shipping options are available by contacting the seller via 1stDibs messaging system. Morris Blackman...