Zsolt Berszán

Untitled 08 [Remains of the Remains 08] - Abstract Painting, Black, White

2018-2019

Untitled 01 [Remains of the Remains 01], 2018 oil on canvas 78 47/64 H x 59 1/16 W in 200 H x 150 W cm The large-sized paintings, signed by Zsolt Berszán...

Body in the Field #2, 2021 oil on canvas 31 1/2 H x 23 5/8 W in. 80 H x 60 W cm Zsolt Berszán embodies in his works the dissolution of the human body through the prism of the fragme...

Untitled 04, 2017 Black adhesive and black oil on canvas 31 1/2 H x 23 5/8 W in. 80 H x 60 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on w...

Untitled 01, 2017 Black adhesive and black oil on canvas (Signed on reverse) 31 1/2 H x 23 5/8 H in. 80 H x 60 W cm Zsolt Berszán treats the first layer of the drawing as a substrat...

Untitled 013 [Remains of the Remains 013], 2019 oil on canvas 78 47/64 H x 57 3/32 W in 200 H x 145 W cm The large-sized paintings, signed by Zsolt Berszán, address the subject of d...

Untitled 04 [Remains of the Remains 04], 2018 oil on canvas 78 47/64 H x 59 1/16 W in 200 H x 150 W cm The large-sized paintings, signed by Zsolt Berszán, addresses the subject of d...

"The Wind that Grinds the Stars" Oil Painting 51" x 55" in by Sanjar Djabbarov ABOUT Sanjar Djabbarov was born in Gulistan, the capital of the Sirdaria Province in eastern Uzbekis...

Diving for Pearls, 1986 Oil on canvas 88 x 76 in. (223.5 x 193 cm) Signed, dated, and titled, verso

James Joyce's Smile, 1984 Oil on canvas 66 x 87 in. (167.6 x 221 cm) Signed, dated, and titled, verso

In "Shattered Atlas: The Modern Burden," the artist Masri presents a 40" x 30" mixed media canvas that epitomizes 'Shattered Cubism,' a style that fragments reality into geometric fo...

Large Scale Mid-Century Earth-tone Horizontal Abstract by Joseph Vasica Very large scale (70"H x 160"W) (5.8'H x 13.3'L) mid-century abstract with soft edge, grey and burnt sienna...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...