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Marius SznajdermanLarge Venezuelan Modernist Abstract Oil Painting Machu Picchu Marius Sznajderman1983
1983
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About the Item
Marius Sznajderman
Hand signed and dated lower right, with an inscription on the verso
40 X 30 inches
Oil or acrylic on canvas.
Machu Picchu is an Incan citadel set high in the Andes Mountains in Peru, above the Urubamba River valley. Built in the 15th century and later abandoned. The lost city of the Incas.
Expressively capturing the mystique of the famed Incan ruins, this 1983 exprerssionist painting by Marius Sznajderman, titled Machu Picchu Courtyard, showcases his signature blend of bold color and dynamic brushwork. The composition features a stylized interpretation of Machu Picchu's verdant landscape and ancient stone structures, rendered in an abstracted yet recognizable form. Sznajderman's use of undulating greens, deep blues, and earthy tones imbues the work with an almost dreamlike quality, emphasizing the spiritual and historical significance of the site. Marius Sznajderman was a French-born American painter, printmaker, and scenic designer. Born in Paris in 1926 to Polish-Jewish parents, he fled Nazi-occupied France in 1942, eventually settling in Caracas, Venezuela. There, he studied at the School of Fine Arts and co-founded the Taller Libre de Arte, an influential experimental art workshop. In 1949, he immigrated to the United States, earning both Bachelor and Master of Fine Arts degrees from Columbia University. Over his extensive career, Sznajderman explored themes ranging from Latin American culture to Jewish heritage, with his works held in numerous public collections, including the Smithsonian Institution and the Museum of Modern Art in New York.
Artist: Marius Sznajderman (French-American, 1926-2018)
Issued: 1983
Dimensions: 41"L x 31"H
Country of Origin: France/United States
Marius Sznajderman was a Jewish Venezuelan painter, printmaker and scenic designer living and working in the United States.
Born in Paris, France in 1926 his Jewish parents had migrated to France from Poland in 1923. In November 1942 the family fled Nazi-occupied France for Spain before settling in Caracas, Venezuela. He attended the School of Fine Arts in Caracas where his teachers included illustrator Ramon Martin Durban, scenic designer Charles Ventrillon-Horber and painter Rafael Monasterios. and immigrated to the United States in 1949, where he received a Bachelor of Fine Arts and Master of Fine Arts from Columbia University in New York. He settled in Hackensack, New Jersey, where he lived and had a studio for more than 50 years before moving to Amherst, Massachusetts in 2015. His work, which includes painting, prints and collages, as well as set designs, is in more than 45 museum and public institution collections in the United States, Latin America and Israel. He held more than 40 solo exhibitions at galleries and museums and participated in more than 75 group shows around the globe.
He helped found the Taller Libre de Arte, an experimental workshop for the visual arts, sponsored by the Ministry of Education. The Taller Libre de Arte was a center for young artists to work and to meet with critics and intellectuals to discuss avant-garde ideas and artistic trends from Europe and Latin America. Among the notable artists who participated in the Taller Libre de Arte were Ramón Vásquez Brito, Carlos González Bogen, Luis Guevara Moreno, Mateo Manaure, Virgilio Trómpiz, Alirio Oramas, Dora Hersen, Alejandro Otero, Jesús Rafael Soto, Pascual Navarro, Aimée Battistini, José Fernández Díaz, Narciso Debourg, Oswaldo Vigas and Perán Erminy.
Sznajderman’s early works as a student and young artist showed the influence of Cubism and Expressionism with subject matter ranging from figures to still life to Venezuelan landscapes. His work often explored Latin American themes, art and architecture.
In 1948 Sznajderman was awarded the art student’s prize for a watercolor in the annual National Gallery exhibit. In 1949 Sznajderman had a solo exhibition at the Taller Libre de Arte. The exhibit catalogue was written by Sergio Antillano, a prominent Venezuelan writer and critic.
That same year, Sznajderman immigrated to the United States to attend Columbia University, where he studied with scenic designer J. Woodman Thompson and printmaker Hans Alexander Mueller. He received a Bachelor of Science degree with a major in scenic design in 1953, after which he was drafted into the U.S. Army. In the military he worked as an artist-illustrator, completing his service in 1955. He returned to Columbia on the G.I Bill to attend Teachers College, where he received a Master of Fine Arts in art education.
During the 1950s Sznajderman created set designs for Circle in the Square Theatre, the French Art Theatre and the Felix Fibich Dance Company, all in New York. By the late 1950s, however, his focus was shifting to fine arts and teaching.
In 1960 Sznajderman was among the three founders, along with painters Sam Weinik and Ben Wilson, of the Modern Artists Guild (MAG), an association of modern artists working in northern New Jersey. Among the artists who were early members of MAG were Esther Rosen, Alexandra Merker, Erna Weill, Jerry Goldman, Lillian Marzell and Evelyn Wilson.
In the 1950s, 1960s and 1970s, in addition to painting and printmaking, Sznajderman taught art, art history and design at a number of institutions including New York University, the School of Visual Arts, Fairleigh Dickinson University and the Ridgewood (N.J.) School of Art. He also taught art in New Jersey public schools under federal and state grants. During this period, Sznajderman’s work ranged from drawings, woodcuts and lithographs to watercolor and acrylic paintings and collages. He produced still life, figures, landscapes and seascapes. Inspirations included Venezuelan remembrances, culture and folklore; Mexican art and pre-Columbian imagery; as well as architecture and theater. Other works have been inspired by Greek mythology and the Commedia dell’arte. Contemporary events, such as the Vietnam War and the assassination of the Rev. Martin Luther King, Jr., also inspired some works.
From 1974 to 1983 Sznajderman served as director of Galeria Venezuela in New York City for the National Council of Culture and Fine Arts of Venezuela (CONAC) while continuing to paint and exhibit. From 1980 to 1986 he oversaw the selection and coordination of the international editions of prints for AGPA (Actualidad Grafica – Panamericana), a project of the Latin American Container Corporation of America (later Smurfit Carton de Venezuela).
Throughout his career, Sznajderman has also explored Jewish themes, including works in remembrance of the Holocaust. In 1988 he produced a limited-edition print, in collaboration with his uncle, the Yiddish journalist and author S.L. Shneiderman, on the occasion of Shneiderman’s 80th birthday. The print featured a 1938 poem by Shneiderman, “Elegy for My Shtetl,” written in Yiddish. The Yiddish text for the print was typeset using the last linotype machine used to print the New York-based Yiddish newspaper, The Forward. In 1989 he designed and supervised the production of a Holocaust memorial monument for Temple Beth El in Hackensack, New Jersey. Other works have explored Nazi concentration and extermination camps, the Vichy government and the Holocaust in France.
For many years Sznajderman had a deep friendship and intimate creative relationship with Venezuelan painter Oswaldo Vigas. In 1987, following a trip of the two families to the Venezuelan Andes, a two-person show of landscapes by Sznajderman and Vigas was held at the venerable Ateneo de Caracas, Galeria los Espacios Calidos.
In 1991 the Contemporary Art Museum of Caracas produced a retrospective exhibit of Sznajderman’s work.
In 2001 Sznajderman began a collages and collage constructions series using Yiddish as a leitmotif. A selection of the works were exhibited at the Yiddish Book Center, Amherst, Massachusetts in 2005-2006.
In 2005, Venezuelan poet Hugo Brett Figueroa published the book "Scargot" with illustrations by Sznajderman. Sznajderman also illustrated the 1993 book “Who Were the Pre-Columbians?” by Bernard Barken Kaufman and “Magicismos,” a book of poems by the Venezuelan poet Enrique Hernandez D’Jesus, published in 1989.
In 2007, Warsaw Ghetto Revolt mural project and a Nazi concentration camp woodcut series created in 1958 and 1959, was exhibited at the Puffin Cultural Forum in Teaneck, New Jersey.[8] In 2011 and 2012 he produced the “Yanaka” series of collages on paper and a large collage construction using Chiyogami - traditional Japanese printed paper - purchased in 1990 in Tokyo.
In 2011 Sznajderman created seven collages using unauthorized lithographs by Salvador Dali as material. The collages were reproduced in a limited-edition booklet titled “Dali, Dumas and Me.” The booklet described a series of events involving the late painter and printmaker Jorge Dumas, who had printed the Dali lithographs. The booklet was presented in 2013 during a solo exhibit by Sznajderman in New York City at Chashama Exhibit Space.
More recently, Sznajderman created a series of print-collages composed from early serigraphs produced in the 1960s. He continued to work and exhibit until the final weeks of his life.
Permanent Collections and Exhibitions
Sznajderman's work is represented in the permanent collections of more than 45 museums and institutions, primarily in the United States but also in Europe, Latin America and Israel. They include the Smithsonian Institution, the Library of Congress, Instituto Nacional de Bellas Artes y Literatura in Mexico City, Museo de Bellas Artes (Caracas), the Museum of Jewish Heritage in New York, the Cincinnati Art Museum, the Simon Wiesenthal Center, the Birmingham Civil Rights Institute, the Irish Museum of Modern Art in Dublin and Yad Vashem in Jerusalem.
He exhibited widely in the United States and South America over the past 60 years. More recent solo and group exhibitions include the Jewish Community of Amherst, Massachusetts in 2017; the Puffin Cultural Forum in New Jersey, 2007 and 2009; the Yiddish Book Center in Amherst in 2005-06; El Museo del Barrio in New York, 2001; Institute of Puerto Rican Culture in San Juan, 1997; Universidad Metropolitana in Caracas, Venezuela, 1993; and the Contemporary Arts Museum of Caracas, founded by Venezuelan journalist Sofia Imber, in 1991
Marius Sznajderman
Born in Paris in 1926, Marius Sznajderman escaped with his parents from France in November of 1942 and lived in Venezuela until 1949, at which time he moved to the United States. He studied at the Museum of Fine Arts in Caracas and Columbia University. In Caracas, he was a founding member of Taller Libre de Arte. In his 40 years as an artist, he has had numerous one-man shows in the US and South America, and his work is in the permanent collections of many important museums.
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Son of muralist Severino Araújo, Ivan started painting as a self-taught artist.
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Back in Brazil, he painted a mural of over a thousand square meters on the external wall of the National School of Music in Rio de Janeiro in 1984 - the first of the Arte nos Muros Project. Still in the 70s, he married Dalva Mendes Gall whom he left after his death in 200, an extensive collection where one can find all the best works of this renowned Paraiba artist in Brazil and abroad.
The stay in New York, from 1969 to 1972, was perhaps the greatest turning point in Ivan's career. Until then, according to art critic Roberto Pontual, the plastic artist followed "a phase of abstraction close to the informal". In the United States , with so much technological influence around him, Ivan becomes interested in the machine and its movement mechanisms and inserts these perceptions in his works, as kinetic constructions with small motors hidden in boxes as Pontual defines, and also and triggering light patterns in cyclic and repeated series. (similar to the Op Art works of Julio le Parc and works by Yves Tinguely being shown at Rene Denis Gallery in Paris
In 1968, the magazine Galeria de Arte Moderna (GAM), published an article entitled Ivan Freitas and the Cosmic Space.
In the Brazilian Dictionary of Plastic Artists , the Italian art critic Giuseppe Marchiori refers to Ivan Frentas as someone who "controls and dominates each part of the painting with a desire to deepen the image that surprises and enchants". Still according to the critic, Ivan is someone who preserves the mystery in the harmony between lines and the colorful atmosphere, where he creates pauses and rhythms for the reading of his "secret structures". Arte Neo Concreta artists Lygia Clark, Helio Oiticica and Lygia Pape, were all contemporaries
The poet Ferreira Gullar writes: "Freitas does not turn to the subjective world, does not inquire into the arcana of the unconscious; he inquires into the future and, in the solitude of his paintings, promises us a serene and orderly world. And, if in his landscapes man does not appear, it is not that this order excludes him - it is that he has not yet reached it. "
Selec Solo Exhibitions
1957 - João Pessoa Public Library; João Pessoa, PB.
1960 - Ivan Freitas: Painting Exhibitions , at the Penguin Gallery; Rio de Janeiro - RJ.
1961 - MAM-BA , Salvador , BA.
1962 - Rubbers Gallery; Buenos Aires , Argentina .
1962 - La Cabana Galeria; Trieste , Italy .
1962 - Brazil-United States Cultural Institute; Rio de Janeiro - RJ.
1962 - Brazil-Uruguay Institute; Montevideo , Uruguay .
1962 - Barcinski Gallery; Rio de Janeiro - RJ.
1963 - Galleria Del Canale, Naples , Italy.
1963 - Ivan Freitas: Paris 1963, at the Barcinski Gallery ; Rio de Janeiro - RJ.
1964 - Barcinski Gallery; Rio de Janeiro - RJ.
1966 - Relief Gallery; Rio de Janeiro - RJ.
1968 - Relief Gallery; Rio de Janeiro - RJ.
1969 - Pan American Union; Washington , United States.
1971 - Miramar Gallery; New York, United States.
1971 - Bloomingdale's Art Gallery; New York, United States.
1973 - Individual, at Galeria Bonino; Rio de Janeiro - RJ.
1973 - Galeria Collection; São Paulo , SP.
1974 - Ivan Freitas: Paintings / Objectives , at the Rio de Janeiro Art Exchange; Rio de Janeiro - RJ.
1975 - Arte Global Gallery; São Paulo-SP.
1976 - Ivan Freitas: Paintings / Space / Movement , at Galeria Ipanema; Sao Paulo-SP.
1977 - Paulo Prado Gallery; Sao Paulo-SP.
1978 - Paraíba State Cultural Foundation; João Pessoa, PB.
1979 - Gallery B. 75 Concorde; Rio de Janeiro - RJ.
1980 - Individual, at Galeria do Sesi; Sao Paulo-SP.
1980 - Paulo Prado Gallery; Sao Paulo-SP.
1986 - Ivan Freitas: The Reinvented Landscape , at Galeria Arte Aplicada; Sao Paulo-SP.
1987 - Applied Art Gallery; Sao Paulo-SP.
1989 - Evasion Arte Gallery; Sao Paulo-SP.
1994 - GB Arte Gallery; Rio de Janeiro - RJ.
Select Group Exhibitions
1959 - 8th National Salon of Modern Art; Rio de Janeiro - RJ.
1960 - 9th National Salon of Modern Art; Rio de Janeiro - RJ.
1961 - 10th National Salon of Modern Art - jury exemption and critical award; Rio de Janeiro - RJ.
1961 - 6th São Paulo International Art Biennial , at the Ciccilo Matarazzo Pavilion; Sao Paulo-SP.
1963 - Art from America and Spain; Europe .
1963 - 2nd Youth Biennial; Paris, France.
1963 - 7th São Paulo International Art Biennial, at the Fundação Bienal; ; Sao Paulo-SP.
1964 - 2nd Art Summary of Jornal do Brasil, at MAM-RJ; Rio de Janeiro - RJ.
1965 - Current Brazilian Art; Bonn , Germany .
1965 - Current Brazilian Art; London , England .
1965 - 1st Esso Young Artists Salon, at MAM-RJ; Rio de Janeiro - RJ.
1965 - Opinion 65, at MAM / RJ; Rio de Janeiro - RJ.
1965 - 1st Esso Salon of Young Artists, at MAC / USP; Sao Paulo-SP.
1965 - 8th São Paulo International Art Biennial, at the Fundação Bienal; Sao Paulo-SP.*
1965 - Current Brazilian Art; Vienna , Austria .
1966 - 5 Contemporary Painters from Brazil; Buenos Aires, Argentina.
1966 - 5 Contemporary Painters from Brazil; Montevideo, Uruguay.
1966 - 1st National Biennial of Plastic Arts; Salvador BA.
1967 - 9th Bienal Internacional de Arte de São Paulo, at the Bienal Foundation; Sao Paulo-SP.
1968 - 2nd Esso Young Artists Salon, at MAM / RJ; Rio de Janeiro - RJ.
1969 - 7th JB Art Summary, at MAM-RJ ; Rio de Janeiro - RJ.
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Image: 34.5" x 47". Framed: 49" x 37".
Rigoberto Mena Santana (Cuban, born 1961) was born in Artemisia, Havana in 1961, where he currently lives and works. He attended the Instituto Politecnico de Diseno Industrial, La Habana, and continued his studies at San Alejandro Fine Art Academy, Havana. He traveled extensively throughout Europe to study the great masters. Mena has had Solo Exhibitions in China, Germany, Netherlands, Mexico, Cuba, Spain, France, and Holland, and in the U.S. in Miami, Massachusetts, Washington, D.C, and California. Following the inauguration of his exhibition “Hablando en Lenguas”. In 2011, Rigoberto’s work was chosen to be a part of the permanent collection of the National Museum of Fine Art in Havana, Cuba. Through the eyes of an abstract expressionist, he draws inspiration from his home’s urban landscapes and the spirit of the people and the city. The start of the Cuban Abstract movement was through a group called Los Once or The eleven. Though Mena was not an original member the influence by this new outlet began to spread ideals that put his own practice into fashion. Rigoberto is considered an important painter of his generation. He is one of the few artists in Cuba who has to have a private art gallery. Mena's private gallery at the Plaza de Armas is adjacent to the neighboring government art gallery. His work has been exhibited in Mexico, Belgium, Germany, France, Spain, and Holland.
Contemporaneous with the controversial, "La Generacion de los 80s" - The 80s Generation of Contemporary Cuban Art also referred to as New Cuban Art. This new Cuban plastic arts movement, with an expression of conceptual and non specific conscience manifestation, addressed many burning issues of the time and unveiled what these artists felt was the true reality of Cuba. It was more than a moment of artistic inspiration; it was a reflection of critical self-awareness and the new social role of art - the fundamental essence of the movement. They included Rubén Torres Llorca, Jose Bedia Valdes, Ricardo Rodriguez Brey, Juan Francisco Elso, Rogelio López Marín (Gory), Gustavo Pérez Monzón, José Manuel Fors, Leandro Soto Ortiz, Israel León, Tomás Sánchez and Carlos Alfonzo. In the second half of the decade, other artistic groups were formed, including 4 x 4, Grupo Hexágono, Arte Calle, Grupo Provisional, the duet René Francisco Rodríguez and Eduardo Ponjuán González and ABTV. Grupo Puré, another new wave of young artists, graduates of the Instituto Superior de Arte (ISA) included Ana Albertina Delgado Álvarez, Adriano Buergo, Ciro Quintana, Ermi Taño and Lázaro Saavedra, all greatly influenced by the German Kitsch art movement. Additionally, a large number of talented creators excelled independently, such as Florencio Gelabert (sculptor), Arturo Cuenca Sigarreta, Rigoberto Mena, Humberto Castro, Gustavo Acosta, Kcho, Antonio Eligio Fernandez (Tonel), Adriano Buergo, Flavio Garciandía, Tania Bruguera, Juan Francisco Elso, Carlos Rodríguez Cárdenas, Quisqueya Henríquez, Glexis Novoa, José Toirac, Carlos García, Heriberto Mora, Segundo Planes and Pedro Vizcaíno, among others.
Select Personal Exhibitions
2015 RBK 4200 ,La Cabaña,fortress. Bienal de La Habana,
2014 The shape without shape. Visual Arts Development Center, Bayamo, Cuba
2013 Allegro Ma Non Troppo. Lloyd’s Register, Havana.
2012 Spirit. Dennis Rosenthal Gallery, Chicago, U.S.A.
2011 Speaking in languages. Fine Arts National Museum, Havana.
2010 The places of time (with Alan Kleinmann). Orígenes Gallery, Havana’s Great Theater.
2009 The writing and the limit. 23 y 12 Gallery, Havana.
2007 The pleasure of absorb yourself. RAC Gallery, Veracruzan University, Xalapa, México.
2006 Coexistence. Public space, during the Ninth Havana’s Biennale.
2005 Ball change. La Casona Gallery, Havana, Cuba
Das Unbestimmbare Selbst. Refugium Gallery, Berlin.
2004 From the nothing to the infinite. La Casona Gallery, Havana, Cuba
2003 The visual poetry of life. Refugium Gallery, Berlin.
Rigoberto Mena. Recent Work. Habana Gallery, México DF.
Recent graphic work (with Jo Ann Rothschild). Graphic workshop, Havana.
Rigoberto Mena. Recent Work, Boston Art Institute, Lesley Boston University,
2001 Two plus one doesn’t make three (with Julio Girona and Angel Rivero), L Gallery,
2000 Cuba I, Space 12 Gallery, Boston, Massachusetts, United States.
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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...
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20th Century Expressionist Figurative Paintings
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Canvas, Oil
Untitled (Abstract Expressionist Painting)
Located in Wilton Manors, FL
Max Schnitzler (1903-1999).
Untitled, ca. 1950's
Oil on canvas measuring 18 x 24 inches.
Unframed.
Minor area of paint loss at margin upper left.
Category
Mid-20th Century Abstract Abstract Paintings
Materials
Oil
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