Giacomo Balla

Forms Sound Forme rumore, Futurism, Abstract Art

1925

MARK TOBEY 1890-1976 Centerville 1890 - 1976 Basel (American) Title: Composition, 1968 Technique: Original Tempera Painting on Paper Paper size: 15.5 x 11.5 cm. / 6.1 x 4.5 in. ...

JUNKO FRANK (Junko Tsuchihachi) b. 1930 Wakayama, Japan 1930 (Japanese) Title: Je ne sais ou il va?, 1969 Technique: Original Signed and Dated Oil Painting on Canvas size: ...

SAM FRANCIS 1923-1994 San Mateo, California 1923 – 1994 Santa Monica (American) Title: Untitled SF80-1191, 1980 Technique: Stamp Signed Acrylic on tissue thin Japan paper Paper si...

ALEXANDER CALDER 1898-1976 Lawnton, Pennsylvania 1898 - 1976 New York (American) Title: Eclipse, 1961 Technique: Signed and Dated Gouache on Wove Paper Size: 55 x 74.5 cm. / 21.7 ...

MARCEL JANCO 1895-1984 Bucarest 1895-1984 Ein Hod (Rumanian/Israeli) Title: Yellow Square, Red Square and Blue Triangle Technique: Original signed Oil ...

JUN DOBASHI 1910-1975 1910 - Tokyo-1975 (Japanese) Title: Composition, 1962 Technique: Original Signed and Dated Oil Painting on Canvas size: 93 x 75 cm / 36.6 x 29.5 in Additio...

Hanan Shlonsky Circle of Literature, 2007 tempera on linen 82x100 cm Exhibited: Comparative Literature, 2009 Artists' House Tel-Aviv , paintings on l...

Modern painting by Margaret Balzer Cantieni (1914-2002). Tempera on wood board. Signed in lower right corner "Balzer '46". Painting measures 1 1" x 14" with frame 16 1/2" x 19 1/2". Margaret Balzer studied at the Art Institute of Chicago with Lyonel Feininger, Josef Albers and William Stanley Hayter...

SURFACE CP/869 Steel 1951 Tempera, pencil on twelve paper tiles, on sheet Tempera, pencil on twelve layers of paper, on sheet cm 31 x 24 (sheet) 15 x 20 (panel) EXHIBITONS F.R. Mor...

Through bold colours and striated surfaces, Giulio D'Anna has captured the warmth and vibrancy of the Italian landscape. This collage is an early example of D'Anna's work, a truly cl...

Artwork 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)...

Julio 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...