Gang

Sentimental Whimp

1990

Jichak Pressburger, Painter. b. 1933, Bratislava, Czechoslovakia. A concentration camp survivior. Came to Israel aboard the ship, "The Exodus". 1964 Went to Paris. In 1979 Returned as new immigrant. Education Tel Aviv University, B.A. in art, with Marcel Janco and Isidor Ascheim at Avni art school. Beaux Arts, Paris with Professor Coutaud. Itzchak Pressburger Stays in Paris from 1963 – 1979, Resident of the “Cité des Arts” 1969-1972. Lives and works in Jerusalem since 1979. One-Man Exhibitions 1963 Gallery Dugit, Tel-Aviv 1968 Cultural Center Enkhuizen, Netherlands 1968 Gallery Zunini, Paris (chosen by the art critic of « Opus : Jean-Jacques Lévèque) 1970 Gallery Zunini, Paris 1973 Gallery Maitre Albert, Paris. Cultural Center Verfeil sur Seye, France 1974 Gallery Maitre Albert, Paris 1976 Gallery Mundo, Barcelone 1980 Artists’ House, Jerusalem 1981 Gallery Alain Gerard, Paris Group Exhibitions 1966 Rathaus Charlottenburg, Berlin. (The first show of Israeli painters in Germany Artists Center of Silvarouvres, Nantes, Ffance XXXth Salon of Finances at “l’Hotel des Monnaies”, Paris 1969 Maison de Culture, Le Havre, France 1968 Gallery Zunini, Paris (chosen by the art critic of « Opus : Jean-Jacques Lévèque) Salon « Grands et Jeunes d’Aujourd’hui », Paris Museum of Fine Arts, Nantes, France Cultural Center Vitry, France Gallery Il Giorno, Milan Cité des Arts, Paris 1972 Salon “Grands et Jeunes d’Aujourd’hui”, Paris Salon de Mai, Paris 1973 Städtische Galerie, Siegen, Germany 1974 Jewish Cultural Center, Paris Publicis, Paris 1975 Réalitiés Nouvelles, Paris 1976 Salon de Mai, Paris 1977 “Perspectives Israeliennes”, Grand Palais, Paris 1981 Salon Alain Gerard, Paris 1984 Artists’ House, Jerusalem Publication 1990 Haggadah Yom Kippour (Hebrew/French) Abraham Bliah (private edition), Paris Acquisitions 1968 The City of Paris 1972 The State of France The Yitzchak Pressburger artist was born in Bratislava – known for centuries by its German name of Pressburg – but the outbreak of World War II found him and his family in Prague. His father realized they had to escape from the Nazi occupiers and tried to get the family across the border into Hungary. However, they were caught near the crossing point, arrested and incarcerated overnight at the nearby railway station. The Czechs put them on a train to Hungary early the next morning. That was their first miracle in their quest for survival. They survived with relative ease until late 1943, when the father was taken away to a forced labor camp. He subsequently died in a death march. Things became even more precarious in early 1944, when the Holocaust made its full-blown presence felt in Hungary. “It wasn’t the Germans, it was the Hungarian Nazis who did the dirty work,” Pressburger points out. The family lived in so-called “safe houses” that were protected by Switzerland, Finland and Sweden. The havens were dismantled in late 1944, and the Pressburgers moved into one of the two Jewish ghettos in Budapest. The Nazis had found two houses with Jews, including the one where we had been, and took them all out and shot them next to the Danube. Today there is a monument by the river [called Shoes on the Danube Bank]. We should have been with the Jews who were killed by the river,” he says. After the war, Pressburger and his siblings were farmed out to various orphanages run by the Jewish Agency, and things took a decidedly better turn. “We finally had food to eat,” he recalls. “After a while we were put on trains that were protected by the Jewish Brigade [of the British Army], and we were sent to Austria, and then to Germany.” “My uncle was a famous artist, and I learned a lot from him,” he says. While in Germany, Pressburger also took some lessons with a local artist. His mother managed to get him and two of his siblings berths on the Exodus, which set sail from Marseilles for Palestine in July 1947. Pressburger was 13 at the time and clearly recalls the aborted attempt to get to the Promised Land. “It was so crowded on the boat. This was a ship that was made to ply rivers in the United States, with a few hundred people on board, and we had over 4,500 passengers crammed in.” As we know, the British prevented the Exodus from docking in Palestine, and the passengers were shipped – in three far more seaworthy vessels – back to France. After the French government refused to cooperate with the British, Pressburger and the others found themselves back in Germany. The teenager eventually made it here in 1948, just one month before the Declaration of Independence. After a short furlough in Tel Aviv, during the first lull in the fighting in the War of Independence, he moved to Kibbutz Kfar Ruppin, where he worked in the cowshed. All the while he continued feverishly drawing and honing his artistic skills, which he says came in handy when he joined the IDF. After completing his military service, which included a spell as one of the founding members of the Flotilla 13 naval commando unit, he worked in Sdom for a while at the Dead Sea Works before starting his formal arts training in earnest. I was in the first group of students at the Avni Institute [in Tel Aviv],” he says. “There was quite a famous bunch of students and teachers like Moshe Mokadi and Isidore Ascheim and Aaron Giladi.” In such illustrious company, one might have thought Pressburger was set to unleash his burgeoning talents on art connoisseurs across the globe, but it was a while before that happened. Pressburger arrived in the French capital in 1964 and spent close to 15 years there, with a short interlude in Germany, before returning to Israel. His time in Paris was a professionally rewarding period of his life, and he also found love. “[Avni Institute teacher] Yochanan Simon gave me the name and address of a French-Israeli family in Paris, but when I got to the house, a young woman opened the door and told me the family was on vacation in Israel,” he explains. Despite missing his expected hosts’ welcome, he and the German-born young lady who greeted him soon fell for each other, and romance quickly led to wedding bells. By all accounts, Pressburger did well in Europe. He secured a rare three-year berth at Cité Internationale des Arts, where artists are normally provided with accommodation and studio space for between two months and a year. He was also accepted to the prestigious Beaux Arts academy of fine arts, mounted solo exhibitions, and took part in group shows all over Europe. One of these last was a group exhibition at Rathaus Charlottenburg in Berlin in 1966 – the first exhibition of Israeli artists in Germany after the Holocaust. When he arrived in Berlin, the lineup for the Israeli show was already signed and sealed, but somehow his work came to the attention of the German culture minister, who arranged for him to join. The Pressburgers’ year-long sojourn came to an abrupt end following an encounter he had one day while walking through the crowded Berlin streets...

Dimensions: (Frame) H 28.5" x W 35.5" (Painting) H 22" x W 30" Miguel Ángel Aybar Llauca, an artist specializing in expressionist painting, was born in Huancavelica and lives in the city of Ica where he began drawing from a very young age, drawing from its beautiful valleys and customs. In 1970 he began his studies in Drawing, Painting and Sculpture at the Regional School of Ica. He is a graduate of the National Superior Autonomous School of Fine Arts of Peru (1971-1976) with honorable mention, forming the promotion "Juan Manuel Ugarte Eléspuru". "Iqueño Expressionism" is the title of the exhibition that will be available to the public from May 25 to June 13 in the "Paracas" Room of the "Adolfo Bermúdez Jenkins" Regional Museum of Ica. Av. Ayabaca block 8°. Miguel Angel Aybar is a painter who characterizes expressionism in Ica without a doubt. His songs speak of longing, and secret friendships with the hurango, the palm tree of Huacachina or the silent and still sand of Ica. His work is primarily characterized by color. The contrasts between the intense dark contrasted with the radiance of reds, oranges, yellows or greens, achieve a positive effect on the observer. Its warm tones reach high levels like an Ica sun at noon. However, among those quasi Servulian colors , Andean prints maintain their presence. Hats, ponchos or skirts hidden from a root bound by blood or memories. The perfect textures of his works give him the seal, the personality that characterizes a curdled and experienced Aybar who no longer needs to dialogue with the brush; they just flow, hand and brush. When entering the exhibition hall, you do not need to read the signature, he is an Aybar. There is no room for confusion. Although there are not a few artists from Ica who use these boiling tones, and I translate it as a tribute to that Sérvulo that touches you in the depths of your being, if you are an artist and you live in Ica, you want to be possessed by the ghost of the disturbing Sérvulo Gutiérrez turned legend. Servulus still catches the spectator being absorbed, as if observing a volcano, fearing that it might erupt, but with an inexplicable delight that he stops you next to him and captures you. However, Aybar no longer needs Servulo's shadow, he has gained an important space in the artistic world of Ica. He is an artist and a close friend of poets and musicians. Painter recognized by the Ica society and deserving of all the medals and recognitions by the different institutions. He not only paints with mastery, as Alberto Dávila predicted, when he said that his maturity would give him the position that corresponds to him. He now sings in public to the delight of his closest friends. Ica recognizes him as a son and has given him the place that corresponds to this remarkable painter whom I congratulate. DATA ABOUT THE ARTIST Miguel Angel Aybar Yauca, was born in 1952 in Huancavelica. He has lived in Ica since he was very young; he began his art studies at the Ica Regional School of Fine Arts. He later moved to Lima to study at the National Autonomous School of Fine Arts of Peru from where he graduated in 1976. His teacher Alberto Dávila described him as: a restless, imaginative young man with a sober and dramatic color. His forms acquire poise and great eloquence . Aybar also had the painter Carlos Aitor Castillo...

Genre: Avant-Garde Subject: Abstract Medium: Oil Surface: Canvas Country: Mexico Dimensions: 25 3/4" x 19 3/4" x 3/4" Dimensions w/Frame: 27" x 21 1/4" THE VICTIM Yonia Fain Oil, 1947 Although this oil painting’s subject is predominantly abstract, there is a faint echo of a figural shape at its center. A figure wearing Tefillin, An organic form appears to be pinned to a hammer shaped object, reminiscent of a crucifix. This tool may be a reference to one of the Soviet Union’s symbols. Moreover, it is likely a direct reference to the persecution Fain faced as a Russian Jew in Bolshevik Russia. The contrast between colors, geometric lines, and organic curves is indicative of Fain’s collaboration with Diego Rivera, as well as the time he spent in Mexico. The primary hues communicate the hardship the artist underwent and his cathartic ability to reproduce those emotions through paint. In addition to being a renowned artist and award-winning poet, Yonia Fain is among the few survivors to triumph over the turmoil of the 20th century. Fain’s abundant body of artwork and poetry pays tribute to the hardship many experienced during the Russian Revolution, Nazi invasion of Poland, and World War II. The persecution Fain experienced forced him to immigrate to several countries including China, Mexico, and the United States. Yonia Fain was born in Russia in 1914. When he was only 10-years-old, he and his family fled from the Bolshevik Revolution to Poland. There he pursued his studies at the Academy of Fine Arts and hoped to continue his education in Paris. He was awarded B.A. and M.F.A. degrees from the University of Poland. In 1939, the artist and his wife Helen moved to Warsaw when the town they lived in, Vilna, became occupied by the Soviet Union. Although they managed to escape the Nazis, Fain was apprehended by Soviet military...

Genre: Avant-Garde Subject: Abstract Mexican Landscape Medium: Oil Surface: Canvas Country: Mexico Dimensions: Yonia Fain Oil, 1947 Although this oil painting’s subject is predominantly abstract, there is a faint echo of a figural shape at its center. A figure wearing Tefillin, An organic form appears to be pinned to a hammer shaped object, reminiscent of a crucifix. This tool may be a reference to one of the Soviet Union’s symbols. Moreover, it is likely a direct reference to the persecution Fain faced as a Russian Jew in Bolshevik Russia. The contrast between colors, geometric lines, and organic curves is indicative of Fain’s collaboration with Diego Rivera, as well as the time he spent in Mexico. The primary hues communicate the hardship the artist underwent and his cathartic ability to reproduce those emotions through paint. In addition to being a renowned artist and award-winning poet, Yonia Fain is among the few survivors to triumph over the turmoil of the 20th century. Fain’s abundant body of artwork and poetry pays tribute to the hardship many experienced during the Russian Revolution, Nazi invasion of Poland, and World War II. The persecution Fain experienced forced him to immigrate to several countries including China, Mexico, and the United States. Yonia Fain was born in Russia in 1914. When he was only 10-years-old, he and his family fled from the Bolshevik Revolution to Poland. There he pursued his studies at the Academy of Fine Arts and hoped to continue his education in Paris. He was awarded B.A. and M.F.A. degrees from the University of Poland. In 1939, the artist and his wife Helen moved to Warsaw when the town they lived in, Vilna, became occupied by the Soviet Union. Although they managed to escape the Nazi Holocaust, Fain was apprehended by Soviet military...

This is a small oil painting on on panel. A Rabbi at a Farbrengen 15.5 X 14.5 with frame. 6.5 X 5.5 painting alone Zwy Milshtein (Zvi Tzvi Milstein) BIOGRAPHY 1934 Born in Kishinev...

Karl Zerbe (1903-1972) A mixed-media Painting collage of mod neon colored leaves on canvas with parchment backing. Hand signed "Zerbe" bottom left and dated bottom right 1965-65. Dimensions: Collage: 36 in tall x 24 in wide. Frame: 40 in tall x 28 in wide. Karl Zerbe (1903 – 1972) was a German-born American realist painter and educator. Karl Zerbe was born on September 16, 1903 in Berlin, Germany. The family lived in Paris, France from 1904–1914, where his father was an executive in an electrical supply concern. In 1914 they moved to Frankfurt, Germany where they lived until 1920. Karl Zerbe studied chemistry in 1920 at the Technische Hochschule in Friedberg, Germany. From 1921 until 1923 he lived in Munich, where he studied painting at the Debschitz School, mainly under Josef Eberz. From 1924 until 1926 Karl Zerbe worked and traveled in Italy on a fellowship from the City of Munich. In 1932 his oil painting titled, ‘’Herbstgarten’’ (autumnal garden), of 1929, was acquired by the National-Gallery, Berlin; in 1937, the painting was destroyed by the Nazis as "Degenerate art." Entartete Kunst was what they deemed all the Avant Garde, Modernism Movements. In the visual arts, sucf innovations as Expressionism, Fauvism, Cubism, Dada, Bauhaus, Post Impressionism were disdained. Artists such as Käthe Kollwitz, Otto Dix, George Grosz, Max Beckmann, Max Ernst, Oskar Kokoschka, El Lissitzky, Franz and Marc Chagall were among those who despite having made significant contributions to the German modernist movement were banned even if they were not necessarily Jewish. From 1937 until 1955, Karl Zerbe was the head of the Department of Painting, School of the Museum of Fine Arts, Boston. In 1939 Karl Zerbe became a U.S. citizen and the same year for the first time he used encaustic. He joined the faculty in the Department of Art and Art History at Florida State University in 1955, where he taught until his death. He was grouped together with the Boston artists Kahlil Gibran (bronze sculpture), Jack Levine and Hyman Bloom as a key member of the Boston Expressionist school of painting, and through his teaching influenced a generation of painters,[including, among others, David Aronson, Bernard Chaet, Reed Kay, Arthur Polonsky, Jack Kramer, Barbara Swan, Andrew Kooistra, and Lois Tarlow. Select solo exhibitions 1922: Gurlitt Gallery, Berlin, Germany 1926: Georg Caspari Gallery, Munich, Germany; Kunsthalle, Bremen, Germany; Osthaus Museum, Hagen, Germany 1934: Germanic Museum (now Busch-Reisinger Museum), Harvard University, Cambridge, Massachusetts 1934, 1935, 1936, 1937: Marie Sterner Galleries, New York City 1936, 1938, 1939, 1940: Grace Horne Galleries, Boston, Massachusetts 1941: Vose Galleries, Boston; Buchholz Gallery, New York City 1943: Mount Holyoke College, South Hadley, Massachusetts 1943, 1946, 1948, 1951, 1952: The Downtown Gallery, New York City 1943, 1947: Berkshire Museum, Pittsfield, Massachusetts 1945, 1946: Art Institute of Chicago, Illinois 1946: Detroit Institute of Arts, Detroit, Michigan 1948, 1949: Philadelphia Art Alliance, Pennsylvania 1948, 1955: Boris Mirski Gallery, Boston, Massachusetts 1950: Munson-Williams-Proctor Arts Institute, Utica, New York 1951-1952: Retrospective Exhibition circulated by the Institute of Contemporary Art, Boston, traveled to: Baltimore Museum of Art; Colorado Springs Fine Arts Center; Currier Gallery of Art, Manchester, New Hampshire; Florida Gulf Coast Art...

Early substantial, expressionist abstract still life by Lee Lippman (American 1926-2020). Bursting with color and movement titled "Still life with onions" ...

Artist: Gao, Renjie The member of the Hudson Artists Society, New York Agent of BRUNO MASSA Gallery, France Six Worldwide well-known art sales website agent KOONESS/1STDIBS/ARTPRICE/...

Artist: Gao, Renjie The member of the Hudson Artists Society, New York Agent of BRUNO MASSA Gallery, France Six Worldwide well-known art sales website agent KOONESS/1STDIBS/ARTPRICE/...

Artist: Gao, Renjie The member of the Hudson Artists Society, New York Agent of BRUNO MASSA Gallery, France Six Worldwide well-known art sales website agent KOONESS/1STDIBS/ARTPRICE/...

Artist: Gao, Renjie The member of the Hudson Artists Society, New York Agent of BRUNO MASSA Gallery, France Six Worldwide well-known art sales website agent KOONESS/1STDIBS/ARTPRICE/...

Artist: Gao, Renjie The member of the Hudson Artists Society, New York Agent of BRUNO MASSA Gallery, France Six Worldwide well-known art sales website agent KOONESS/1STDIBS/ARTPRICE/...