Stephen Sacklarian

Surrealist Armenian American Artist Stephen Sacklarian Biomorphic Oil Painting

1982

Mortimer Borne, Printmaker, painter, sculptor, and educator was born in Rypin, Poland in 1902 and emigrated to the US in 1916. He studied at the National Academy of Design, The Art Students League, The Beaux-Arts Institute of Design, and with Charles Webster Hawthorne, founder of the Cape Cod School of Art in Provincetown. Painted in a thick impasto style similar in technique to Samuel Rothbort and David Burliuk. Borne himself taught at The New School for Social Research in New York City from 1945-1967. From the 1920s through the 40s he was a prolific producer of New York City cityscapes and genre scenes. In later decades, he adopted a more modernist style apparently influenced by Picasso, producing color drypoints of abstracted figures. His works were widely exhibited in museums in the U.S. and abroad from 1931 and later, including the Art Institute of Chicago, the American Institute of Graphic Arts, Museum of Modern Art, Metropolitan Museum of Art, Corcoran Gallery of Art, New York Public Library, Carnegie Institute, and Royal Society of Painters, Etchers and Engravers in London. He taught at The New School for Social Research in New York City from 1945-1967, and at the Tappan Zee...

Biography: Abram (Abraham) Krol was born January 22, 1919, in Pabianice (Lodz), Poland. Krol went to France in 1938 to study civil engineering at the University of Caen. In 1939 at...

Stephen Sacklarian 1899-1983 Sacklarian studied art at the Pennsylvania Academy of Fine Art, the T- Square Club-School for Architects, The Philadelphia College of Art, the Fleisher ...

Genre: Modern Subject: Abstract Medium: Oil Surface: Canvas Country: United States Dimensions: 18" x 24" Dimensions w/Frame: 18.5" x 24.5" Cubist Surrealism, reminescent of the Later Pop Art works of Roy Lichtenstein. Alan Tompkins a prolific artist, he continued to paint into his 100th year and strongly desired one thing: to be remembered for his art. “I’m not a hobbyist, I’m not an educator,” said Tompkins. “I want to be remembered as a painter.” Tompkins produced thousands of paintings, many showing the influence of Cubism and abstract art, during a long and productive career. Tompkins played a pivotal role in the formation of the University of Hartford. He was director of the Hartford Art School in 1957 when it merged with the original Hillyer College and the Hartt College of Music to become the University of Hartford. He served as director until 1969 and then taught art history and visual studies until his retirement in 1974. A graduate of Columbia University...

36X30 framed, 31X26.5 unframed. Ezio Gribaudo was born in Turin on January 10, 1929. He trained at the Accademia di Brera, Milan (1949–52), and attended the Faculty of Architecture ...

Early in the 1950s, WALTER HAHN was a force to be reckoned with in Chicago painting. In 1951, his final year as a student at the School of the Art Institute of Chicago (SAIC), Hahn won first prize in oil in the Chicago and Vicinity exhibition. As this was a purchase prize, this placed his work in the permanent collection of the Art Institute of Chicago, provoking jealous awe from some of his teachers. Born in 1927, Hahn studied with Kathleen Blackshear...

Dramatic abstract oil on canvas painting by Gladys Regier-Vaughan (American 1923-1987). Vaughan was a New York stage director who started painting in 1970. Signed and dated verso.

Giulio Turcato (Mantova, 16 marzo 1912 – Roma, 22 gennaio 1995) è stato un artista italiano, fra i principali esponenti dell'astrattismo informale italiano.

The Orchestra, 1950, oil on canvas, 21 ½ x 25 3/4 inches, signed and dated lower left, labeled verso “Brown University, Trustee, The Walter Feldman Trus...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Homage to Leger, 1941, oil on canvas, signed and dated lower right, 14 x 17 inches; inscribed ...

Amish Farmscape #3, 1984, oil on canvas, 40 x 30 inches, signed and dated lower right; signed, dated, and titled verso About the Painting Amish Farmscape #3 is part of a multi-painting series of barns completed in the early 1980s for an exhibition at New York’s prestigious Sid Deutsch Gallery. Lewandowski painted this work at an important point in his career. It was the first major project undertaken by Lewandowski after his retirement from serving as the Chairman of Winthrop University’s Art Department, the last academic position he held after teaching for nearly thirty years. Lewandowski had been inspired to work on the series by a visit to Lancaster County, Pennsylvania. Like his friend and mentor, Charles Sheeler, Lewandowski had always been fascinated by vernacular architecture and the Amish barns of Pennsylvania brought back memories of rural scenes Lewandowski had painted in the Midwest much earlier in his career. Amish Farmscape #3 is a strong example of Lewandowski’s late precisionist work. The complexity of the composition and Lewandowski’s technical acumen are on full display. Being relieved of the burdens of teaching and administering a university art department likely allowed Lewandowski greater freedom and most importantly more time to complete the Amish Farmscape series. Although Lewandowski’s brand of precisionism changed throughout the years, he never deviated from the core tenets of the Immaculate School artists. In this work, we see simplified and flattened forms, the use of ray-lines to define light and space, the elimination of extraneous details, a polished almost machine-like finish, and the complete lack of visible brushstrokes, all hallmarks of the precisionist painters. Lewandowski was the last of the 20th century precisionists and in Amish Farmscape #3, we see just how successfully he continued to work in this style until his death in 1998. About the Artist Edmund Lewandowski was among the best of the second-generation precisionist painters. He was born and raised in Milwaukee, Wisconsin and studied at the Layton School of Art with Garrett Sinclair. Lewandowski achieved early success when in 1936 two of his watercolors were shown at the Phillips Collection as part of a Federal Art Project exhibition. Then, in 1937, his work was first exhibited at Edith Halpert’s Downtown Gallery which represented Lewandowski into the 1950s. Under Halpert’s guidance, Lewandowski continued to explore watercolor as his main medium during the 1930s and 1940s, since the gallery already represented Charles Sheeler, who worked primarily in oils. Sheeler became Lewandowski’s major influence as the primary leader of the ill-defined, but very recognizable Immaculate School artists, which included other Downtown Gallery painters, Niles Spencer, George Ault, and Ralston Crawford, as well as Charles Demuth and Preston Dickinson, both of whom died at a young age and had been represented by the Charles Daniel Gallery. Sheeler is credited with giving Lewandowski technical advice on how to make his paintings more precise and tightly rendered and by all accounts, Sheeler was a fan of Lewandowski’s work. Through the Downtown Gallery, Lewandowski’s paintings were accepted into major national and international exhibitions and purchased by significant museums and collectors. Franklin and Eleanor Roosevelt and Nelson Rockefeller acquired works by Lewandowski. He was included in the Museum of Modern Art’s important 1943 exhibition, American Realists and Magic Realists as well as juried exhibitions at the Whitney Museum of American Art, the Pennsylvania Academy of Fine Arts, and the Art Institute of Chicago. Lewandowski also completed commissions for magazines during the 1940s and 1950s, including several covers for Fortune. Throughout his career, Lewandowski explored urban and rural architecture, industry, machinery, and nautical themes. Looking back on his career, Lewandowski wrote, “My overwhelming desire as an artist through the years has been to record the beauty of man-made objects and energy of American industry on canvas. For as far back as I can recall, the cityscapes, farms and depictions of industrial power and technological efficiency has had a great attraction for me. I try to treat these observations with personal honesty and distill these impressions to a visual order.” Lewandowski is credited with extending precisionism to the Midwest and successfully continuing the style into the 1990s, three decades after Sheeler’s death and six decades after Demuth’s passing. Late in his career, Lewandowski enjoyed a resurgence of popularity as he was represented during the 1980s by New York’s Sid Deutsch and Allison Galleries...

"Untitled" Painting 39" x 30" inch by Patricio Gonzalez Patricio Gonzalez Bezanilla (1974), studied at the School of Visual Arts at the University o...