Large Oil Painting Abstract Israeli Mid Century Modernist
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Stefan AlexanderLarge Oil Painting Abstract Israeli Mid Century Modernistc.1950s
c.1950s
About the Item
- Creator:
- Creation Year:c.1950s
- Dimensions:Height: 51 in (129.54 cm)Width: 36 in (91.44 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:minor wear to canvas. heavy painting. minor indentation from stretcher bar. please see photos.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU3822571713
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View AllLarge Spanish Contemporary Juan Suarez Abstract Bold Painting Triptych Group
Located in Surfside, FL
Juan Suarez (Spanish, b. 1946)
Naturaleza Muerta,
Mixed media painting on three assembled canvases, (triptych)
It is either oil or acrylic paint. it seems like oil to me. A label verso has it indicated as acrylic.
Dimensions: 64 1/8 W: 64 1/4 in.
Provenance: The Cleveland Museum of Art (bears label verso);
Galerie Juana de Aizpuru Gallery (bears label verso).
Born in Puerto de Santa María (Cádiz). Studies at the ETSA and at the Superior School of Fine Arts of Santa Isabel of Hungary in Seville. Grant from the Juan March Foundation in 1976. Advanced studies in Architecture and Fine Arts, University of Seville. Although he was not born in Seville, Juan Suárez is a member of the group of painters from the city who, in the seventies, linked their artistic practice, based fundamentally on painting, to international tendencies. Rather than a set of intellectual ideas, José Ramón Sierra, Gerardo Delgado and Juan Suárez shared a life experience: they were all students at the Escuela Técnica Superior de Arquitectura in Seville and were all interested in art. Juan Suárez also studied at the Fine Arts Faculty. He held his first individual exhibition at Galería Juana de Aizpuru in 1970. (They were an important contemporary art gallery in Seville spain and showed Wolfgang Tillmans, Georg Dokoupil, Jordi Colomer, Albert Oehlen, Eduardo Chillida and Andres Serrano). In 1982 his work was shown in Diez Pintores Sevillanos, together with Manuel Salinas (1940) and Ignacio Tovar (1947), among others. At various points his worked has been shaped by American Abstract Expressionist painting, Latin American Geometric Abstraction and by Constructivist painting and sculpture. In 1976 he received a grant from Fundación March, and in 1980 another from CINFE at the Ministry of Culture. He was awarded the Drawing Prizes at the Nuremberg Biennial (1979) and ARTEDER 82, the Premio de Pintura from the Diputación Provincial de Sevilla, also in 1982, and the Premio de los Festivales de Navarra in 1985.
The Geometric spirit that is ever-present in his work and his perpetual curiosity lead him to incorporate materials from a very wide range of sources; composing some pieces with superimposed planes where abstraction is a key actor. His background in architectural practice and his constant demand for excellence profoundly shape his work. In his work, the influences of Barnett Newman, Jules Olitski, Kenneth Noland and, especially, Richard Diebenkorn can be appreciated. However, Juan Suárez moves away, at the same time, from the uniform vibration of color fields and the structural rigidity of closed compositions, alternating both concepts, from an emotional and poetic perspective. The density of the color dialogues with drippings and suggestive liquidiscent stains,while reserves and sharp lines make up and hold the pictorial structure.He writes in different magazines and specialized books on art and architecture. Recently the University of Seville has published its research work, New Ways of Living.
Exhibition
2008
Primavera, verano, otoño, invierno. Galería Egam. Madrid. (solo)
2006
Dibujando las distancias/Retratos. Obras reciente 99/05”. Galería Rafael Ortiz. Sevilla. (solo)
2004
Lugares Geométricos. 1968/1980. Salas Caja San Fernando. Sevilla. (solo)
2003
Lugares Geométricos. 1968/1980. Salas Caja San Fernando. El Puerto de Santa María, Cádiz. (solo)
2003
VITA I, VOL. VI. Galería Milagros Delicado. El Puerto de Santa María, Cádiz. (solo)
2001
VITA I, VOL. IV. Galería Carmen de la Calle. Jerez de la Frontera, Cádiz. (solo)VITA I, VOL. V. Colegio de Arquitectos de Cádiz. (solo)
2001
VITA I, VOL. V. Colegio de Arquitectos de Cádiz. (solo)
1999
VITA I. VOL. III Galería Senda. Barcelona. (solo)
1995
Sobre Papel. El juego de la Pasión. Galería Juana de Aizpuru. Sevilla. (solo)
1994
A Passion Play - Los libros del reposo. Galería Magda Bellotti. Algeciras, Cádiz. (solo)
1991
Pinturas. Salas Nicanor Piñolé. Diputación. Gijón. (solo)
1990
Pinturas. Galería Juana de Aizpuru. Sevilla. (solo)
1988
Pinturas. Galería Michael Dunev. San Francisco. U.S.A. (solo)
1987
Pinturas y Esculturas. Galería Juana de Aizpuru. Madrid. (solo)
1987
Mirada, Memoria, Engaño 1980 1987. Museo Arte Contemporáneo. Sevilla. (solo)
1986
Pinturas y Esculturas. Galería Juana de Aizpuru. Sevilla. (solo)
1986
Pinturas. Galería Temple. Valencia. (solo)
1986
Muestra personal. Festivales de Navarra. Castillo de la Maya. Pamplona. (solo)
1986
Pinturas. Galería Fúcares. Almagro, Ciudad Real. (solo)
1983
Pinturas. Galería Juana de Aizpuru. Madrid. (solo)
1982
ARCO ‘82. Stand Galería Juana de Aizpuru. Madrid. (solo
1981
La Suerte de Pintar. Galería Juana de Aizpuru. Sevilla. (solo)
1979
Pinturas de Barcelona. Galería Ciento. Barcelona. (solo)
1978
191 x 63. Galería Juana de Aizpuru. Sevilla. (solo)
1977
191 x 63. Galería Juana Mordó. Madrid. (solo)
1974
Sobre el Paisaje de fondo del Tránsito de la Virgen de Mantenga. Galería Juana de Aizpuru. Sevilla. (solo)
1974
Paisajes Imaginarios. Salas de Cultura CAN. Pamplona. (solo)
1970
Apócrifos-Cajas. Galería de Arte La Pasarela. Sevilla. (solo)
EXHIBITIONS ONLY
1970
Apocrypha-Boxes. The Catwalk Art Gallery. Seville. Spain.
1974
On the background Landscape of the Transit of the Virgin of Maintenance. Juana de Aizpuru Gallery. Seville. Spain.
Imaginary Landscapes. Halls of CAN Culture. Pamplona. Spain.
1977
191 x 63. Juana Mordó Gallery. Madrid, Spain.
191 x 63. Juana de Aizpuru Gallery. Seville. Spain.
1979
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25.5 X 20 inches, framed. 16 X 12.5 canvas in original carved wood frame.
Provenance: Gallery Hadassa (Klachkin) Tel Aviv. Bears label remnant verso.
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Eleanor Nell Sinton
Roots and Stems 1950,
Oil on canvas,
Signed lower right N. Sinton,
Provenance: Braunstein Quay Gallery (bears label verso)
Framed: 24.5 X 20.5 sight 21 X 17 inches.
Nell (Eleanor) Sinton (1910-1997) was a painter, art collector and educator in San Francisco, California
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A member of a family that moved to San Francisco in 1851, Nell Sinton began painting in the 1920s. She studied at the San Francisco Art Institute (then called the California School of Fine Arts) a decade before abstract expressionism emerged there, and, later, with Lucien Labaudt and Maurice Sterne, (1937-1938). She also worked as an apprentice to Sterne on the Federal Art Project (WPA) murals in San Francisco (1938-40) and was a member of the San Francisco Art Commission (1959-63). In 1959, Sinton was acknowledged as one of the Ten Most Distinguished Bay Area Women. A notable Bay Area Expressionist...
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Oil on canvas. Signed 'Rosenborg' (lower right). Titled (verso).
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Rosenborg was born in Brooklyn, New York, on June 9, 1913. In 1929, while he was a high school student, he began to work with the designer, artist, and instructor, Henriette Reiss. When Rosenborg encountered her, Reiss was serving as an instructor for the School Art League in the American Museum of Natural History. She was then engaged in instructing both students and their teachers in the city school system by a method she called Rhythmic Design. She believed inspiration for abstract designs could be found in rhythms—rhythms that could be perceived in ordinary perceptions much as they are when listening to music. In May 1930 Reiss selected a drawing by Rosenborg to be shown in an exhibition of creative design by City high school students. From 1930 to 1933, aged 17 to 20, Rosenborg studied with Reiss in what Vivien Raynor of the New York Times called a "pupil-apprentice" relationship. During this time she instructed him in music appreciation, literature, and art history as well as giving technical training in art.
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At roughly the same time Rosenborg associated himself with a group of abstractionists that called itself "The Ten" (It included Ben-Zion, Mark Rothko, Adolph Gottlieb and Joe Solman) and in May 1938 joined with its other members in what would be his first appearance in a commercial gallery: the Gallery Georgette Passedoit. In 1938 he his work appeared in a group show at the Lounge Gallery, in 1939 in group shows at the Artists Gallery and at the Bonestell Gallery with David Burliuk, Earl Kerkam, Karl Knaths and Jean Liberte...
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Located in Surfside, FL
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2006
Hand signed, dated and titled, verso
Height: 30 inches, Width: 28 inches
Provenance: Rebecca Ibel Gallery, Columbus, OH
Melissa Meyer (born May 4, 1946) is an American artist and painter. The Wall Street Journal has referred to her as a "lighthearted Abstract Expressionist". She works in various formats, large abstract paintings, watercolors, prints, monotype, monoprint and drawings made up of fields of gestures. This one is abstract swirling hues of purple, red, blue, orange and yellow,
Selected solo shows: Lennon, Weinberg, Inc., New York, NY; List Gallery, Swarthmore College, Swarthmore, PA; New York Studio School, New York, NY; Rebecca Ibel Gallery, Columbus, OH. Selected Group shows: “The Maslow Collection: Context and Content”, The Maslow Study Gallery for Contemporary Art, Scranton, PA; “Summer Reverie Invitational,” William Siegel Gallery, Santa Fe, NM.; "One of a Kind; Monoprints, Monotypes", The Gallery, Spencertown Academy...
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Located in Surfside, FL
John Zinsser
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Iron City, 1997
oil on canvas
signed John Zinsser, titled and dated (verso)
72 x 60 inches
Done in bright vibrant shades of red.
American artist John Zinsser was born in New York City in 1961 and studied art, art history and literature at Yale University (where he did his senior thesis on Andy Warhol). He co-founded Journal of Contemporary Art in 1987 and lectures at The New School. He has had over 40 solo shows in the U.S. and Europe, and is known in Europe for his association with monochrome painters of a previous generation. Zinsser has been a devotee of postwar Abstract Expressionism and Minimalism for decades.
A native New Yorker, he came of age as an artist during the late 1980s and early 1990s alongside other now established abstract painters, including Richmond Burton, Gail Fitzgerald, Daniel Levine, Carl Ostendarp, Kate Shepherd, Cary Smith, Dan Walsh, Mary Weatherford, and Stephen Westfall, among others. Zinsser’s material paintings and conceptual drawings often pay homage to, expand upon, and subvert earlier precedents in NYC’s painting history, from Abstract Expressionism to Radical Painting to Post-Modernism. Zinsser interned for the architect Peter Eisenman, when he was director of the Institute of Architecture and Urban Studies in New York City.
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2016 Carrie Moyer/David Reed/John Zinsser, Dedalus Foundation Gallery, Brooklyn, NY
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