Jordi Maragall Mira

Untitled

1994

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

Includes a Certificate of Authenticity

Mid century modern art with inscription in french verso. It was traded with another artist.

Abstract Work on Paper Mid-Century Modernism Greek American Gouache Drawing. A modernist artist who emigrated to America from Greece in 1904, when he was fourteen years old, Jean Xceron is described as having a reputation as an artist that has mysteriously fallen into obscurity---especially since he was reportedly quite prominent during his lifetime. However, a partial explanation of that omission is the fact that many of his papers and early records have been lost. He was a painter of biomorphic abstractions and did collages, which were influenced by Dadaism. Xceron was active in New York City when modernism was gaining influence. Of him during this period, it was written that his artistic role was "a vital link between what is commonly termed as the first-generation (the Stieglitz group, the Synchromists, etc.) and second-generation, the American Abstract Artists, the Transcendental Painting...

Bowling gouache and ink on paper 29.5 x 43.25" signed and dated "Calder 74" on recto, lower right This work is registered in the archives of the Calder Foundation, New York. LITERA...

Large Black Face with Sun, 1968 gouache and ink on paper 29.25 x 43" signed and dated "Calder 68" lower right This work is registered in the archives of the Calder Foundation, New York. EXHIBITED Calder, Grand Valley State College, Manitou Gallery, Allendale, Michigan, May 4-June 15, 1969 Alexander Calder: Mobiles, Stabiles Gouaches, Drawings from the Michigan Collections, Flint Institute of Arts, February 20- March 27, 1983, no. 47, pp. 30 and 32, illustrated Alexander Calder: Sculpture and Works on Paper, John Berggruen Gallery, San Francisco, April 4-26, 2006 “At the time and practically ever since, the underlying form in my work has been the system of the universe, for that is a rather larger model to work from.” – Alexander Calder, 1951 (‘What Abstract Art Means to Me’, The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, Spring, 1951) Alexander Calder’s interest in cosmology, the philosophical and astronomical systems of the universe, is at the heart of his creative output. The discovery of Pluto in the 1930s was a defining moment that instigated his fascination with the solar system and astronomy. Over the ensuing years he focused on creating entire worlds like ‘Calder’s Circus’ and his ‘Constellations’ sculptures...

Gouache on paper, 18 7/8 x 14 3/4 in. Signed (at lower right): Morris; (with monogram, on the back): GLKM [monogram] / 1932 [sic] Executed circa late 1940s A passionate advocate of abstract art during the 1930s and 1940s, George L. K. Morris was active as a painter, sculptor, editor, and critic. An erudite man with an internationalist point of view, Morris eschewed the social, political, and figural concerns that preoccupied so many artists of Depression-era America, believing that painters should focus their attention on the beauty, refinement, and simplicity of pure form instead. His goal, he said, was “to wedge the expression further and further into the confines of the canvas until every shape takes on a spatial meaning” (as quoted in Ward Jackson, “George L. K. Morris: Forty Years of Abstract Art,” Art Journal 32 [Winter 1972–73], p. 150). Born into an affluent family in New York City, Morris was a descendent of General Lewis Morris, a signer of the Declaration of Independence. From 1918 until 1924, he attended the Groton School in Connecticut, studying classics and art. He continued to focus on literature and art while attending Yale University (1924–28), an experience that prepared him well for his future activity as an artist-critic. After graduating in 1928, Morris studied at the Art Students League of New York, working under the realist painters John Sloan and Kenneth Hayes Miller, as well as Jan Matulka, the only modernist on the faculty. In the spring of 1929, Morris traveled to Paris with Albert E. Gallatin, a family friend and fellow painter who introduced him to leading members of the Parisian avant-garde, including Jean Arp, Pablo Picasso, Georges Braque, Jean Hélion, and Piet Mondrian. Morris also took classes at the Académie Moderne, studying under Fernand Léger and Amédée Ozenfant, important exponents of Synthetic Cubism who influenced his aesthetic development. Indeed, after experimenting with the simplified forms of Modernism for a few years, Morris moved on to abstraction by 1934, adopting a hard-edged, geometric approach inspired by Leger’s cubist style and the biomorphic shapes of Arp and Joan Miró. Following his return to New York in 1930, Morris built a white-walled, open-spaced studio (inspired by that of Ozenfant, which had been designed by Le Corbusier) on the grounds of Brockhurst, his parents’ 46-acre estate in Lenox, Massachusetts. In 1935, he married the painter and collagist Estelle “Suzy...

"Simple Tilted Landscape Icon" is a hand-painted acrylic painting on high-quality 300g paper by artist Ryan Rivadeneyra. These painting, influenced by modernist artists of the 50's,...