Moshe Katz

Untitled - Fisherfolk

1966

This artwork "Four Figures" c.1990, is an oil painting on canvas by Haitian artist Fritz Rock, b.1944. It is signed at the lower right corner by t...

Artist: Julius Njau – Tanzanian (1961- ) Title: Untitled Year: 1987 Medium: Acrylic on Canvas Sight size: 27.5 x 36.5 inches. Framed size: 29 x 38 inches Signature: Signed, dated lower right Condition: Very good Frame: Framed in original frame. Frame in fair condition This colorful painting of figures is by the well-known Tanzanian artist Julius Njau. It is in very good condition and signed “Julius N” and dated 1987 in the lower right. The frame is simple unfinished wood. It has a few small scratches Tanzanian artist Julius Njau was born in 1961 Marangu, Moshi in Tanzania. He attended the Primary School Kilimanja. In 1972, a serious fracture of the leg caused him to spend two years in hospital where he began to paint and his career as an artist commenced. Julius was encouraged by a Finnish radiology specialist who supplied him with material and purchased his works. She also organized his first exhibition in Finland in 1983. The first works of Njau are very representative, inspired by the nature and the traditional aspects of his country. In 1984 his technique changed and his style transformed. Julius Njau paintings are characterised by the interaction of primary colors and the mixture of forms. Julius Njau's artworks works are part of the collection of Osaka Prefecture and Toyama Museum of Modern Art in Japan. They are also in the Frankfurt Museum of Ethnology (fur Volkerkunde), in the ZAK Gallery (Zeitgenossische afrikanische Kunst), Furth in Germany, in the Amos Anderson Helsinki Gallery, Finland, and in the 5th British Museum in England. In 2002, Julius Njau received a Nagoya City Hall Award and in 2003 the Grand Prize at the Toyama Prefecture International Competition at the "Sukiyaki Encounter the World" Poster Design Festival. Julius Njau is President and a founding member of the Marafiki group. EXHIBITIONS 1983 'Julius Njau One Man Show' Amos Anderson Museum, Helsinki, Finland 1984 'Group Exhibition' Gallery of Denmark 1985 'Julius Njau One Man Show' Danish Volunteer Training Centre, Tanzania 1985 'Julius Njau One Man Show' Tynset, Norway 1985 'Julius Njau One Man Show' Gallery of Sweden 1986 'Julius Njau One Man Show' Danish Volunteer Training Centre, Tanzania 1987 'Julius Njau One Man Show' Gallery Watatu, Nairobi, Kenya 1988 'Julius Njau One Man Show' Vogue Gallery, Nairobi, Kenya 1988 'Julius Njau One Man Show' Centre culturel francais, Nairobi, Kenya 1989 'Julius Njau One Man Show' National Museum of Kenya, Nairobi, Kenya 1990 'Into the Nineties' Gallery Watatu, Nairobi, Kenya 1990 'Portraits of Kenya' Gallery Watatu, Nairobi, Kenya 1991 'Gallery Artists' Gallery Watatu, Nairobi, Kenya 1991 'The Custodian's View' Gallery Watatu, Nairobi, Kenya 1991 'Julius Njau One Man Show' Nairobi Safari Club, Kenya 1991 'Julius Njau One Man Show' Nagoya City Network Centre, Nagoya, Japan 1991 'Julius Njau One Man Show' National Museum of Kenya, Nairobi, Kenya 1991 'Julius Njau One Man Show' The German Culture Centers, Goethe Institut, Nairobi, Kenya 1992 'Julius Njau One Man Show' International Gallery, Madrid, Spain 1992 'Through the Artists' Eyes' Gallery Watatu, Nairobi, Kenya 1992 'Rafiki wa zamani' Gallery Watatu, Nairobi, Kenya 1992 'Kenya Art...

'The Fishermen', oil on canvas, by Anna Costa (circa 1970s). Cassis is a small, Provencal fishing village in southern France, located about 45 minutes east of Marseille and 45 minute...

Oskar D'Amico (1923-2003). Fisherman at Dusk, c.1960. Oil on linen canvas, 16 x 30 inches; 18 x 32 inches (frame). Signed lower right. Excellent condition with no damage or conservation. Biography: Oskar Maria D'Amico (February 22, 1923 – May 3, 2003) was an active Italian artist in Rome, Naples, Lanciano, Cisterna, Milan, Gallarate, Torino, Zagabria, Paris, Toulouse, Melun, Carenac, Maubeuge, Madrid, Barcelona, Zaragoza, Budapest, Győr, Mexico City, Cuernavaca, Morelia, Toronto, New York City, Philadelphia, Los Angeles, San Francisco, Miami, Denver, Santa Fe, Albuquerque and Socorro, between 1943 and 2003. He is considered a Nomad artist because of his ability to work in various styles. He had three major periods in his artistic life: Figurative, Materic and Geometric. [1]He also was an outstanding art director for more than 75 epic movies. D'Amico had a very outgoing personality. He was a non-conformist, which was reflected in his work throughout his life. D'Amico was born in CastelFrentano, Italy, a small village in Abruzzo. At a young age, he felt he had to leave and dive into the big world. After being a seminarist with the Salesiani during World War II, he left Naples, where he studied architecture, and began a great adventure in Rome. He specialized at the time in decorating nightclubs and bars, and invented a special type of double ceiling to hide the lights. D'Amico, who was self-taught as a teenager in drawing and painting, burst onto the filmmaking scene in Rome when an art director asked him to do a perspective of a set design. Soon other moviemakers were calling him.[2] D'Amico was an art director on 75 films including two by Orson Welles. D’Amico was able to create a real marble floor in the set of the palace of the King Saul, in "David and Goliath" directed by Orson Welles. Art directors previously painted a simulated marble on top of concrete due to the cost of the real thing. D'Amico became an associate of Jadran Films in ex-Yugoslavia, which specialized in Roman and Egyptian constructions. While an art director, he never stopped painting. His faceless clowns, reflecting the people who had no identity after World War II, were a big success. In the early 1960s, D'Amico moved with his family to Toronto, Canada, another place he felt was too small. He left for Philadelphia and New York City, which affected his work. He turned his focus to abstract, and for more than a decade created abstract Expressionist paintings "on the plane of all matter" that he called "Materic". The Materic style, which he invented, was done in several media and could not be changed once on the canvas. The paintings were very well received. D’Amico sold more than 400 in Philadelphia and New York City. Unfortunately he had to stop doing the Materics because the colors he used were harmful to his liver. In the mid 1970s, he returned to his architectural roots and developed a new vision for Abstract Constructivism using just acrylic colors. Presented in Paris by his French Art dealer, Francoise Tournier, at the Grand Palais de Paris, and in Mexico City, D'Amico's interpretation of the "New Geometry" was widely admired. In 1983, when he presented the work at the Bodley Gallery, people whispered that he had the potential to be the new Picasso because of his eclecticism and the Nomad nature of his styles. In 1987, D'Amico abandoned the gypsy life and settled in New Mexico. Albuquerque was the perfect place to dedicate himself 100 percent to his work.[3] There were no distractions and a good climate that reminded him of his beloved Cuernavaca in Mexico. Staying in close contact with his French art dealer Tournier, D’Amico had several shows in Denver at the Helen Karsh Gallery and in Albuquerque at the Black Swan and Café Galleries. At least once a year, D’Amico went to Europe to immerse himself in the antique world and visit museums and galleries. In 1992, visiting Tournier at the Castle of Saint Cirq Lapopie, he met the man who founded the MADI movement in 1940, Carmelo Arden Quin...