Alexandra Rozenman

"The Invisible Red Thread", landscape, sewing, blue, green, black, oil painting

2018

Marcia Wise’s oil painting “Volente” exudes the joy of movement in cascades of yellows, oranges, purples, blues and greens. Light filters through enlivening the scene while peaks of ...

“The Quiet Spot 3” is a 25 x 25 x 1.5 inch oil painting on linen canvas by Anita Loomis that offers a sultry and dreamlike abstract landscape at twilight. With a modern romantic sensibility, the rich aqua blue tones, the composition speaks to stolen moments of solitude in private places. The is an opportunity to collect one of Loomis’ less frequently offered tonal works. Shifting shadows can be seen thru the veils of color; a treatment that lends the scene a truly quiet feel. The silky reflective surface and black gallery painted edges provide a formal finish. This painting is signed on the back. Anita Loomis is a painter who works from her studio in Kittery, Maine. Communication and the natural world are key subjects of her paintings. Her occasional tonal landscapes offer views of imagined natural spaces for escape and contemplation. Anita Loomis creates paintings that explore facets of human dialogue and relationships. Through painting, humor, and a deep curiosity about human imperfection, she investigates what it means to navigate communication with people who see the world through different cultural lenses. Loomis paints to shine a light on the common threads that connect our human experiences and spotlight the value of empathy. Loomis earned her BA in Studio Art from Framingham State University in Massachusetts, and her MA with a concentration in Arts Management from the University of Central Florida. She worked in the field of architectural stained glass for fifteen years and has focused on painting since 2004. She lives and works in Kittery, Maine. Her work has been exhibited at Miller White Gallery, South Dennis, MA; Fountain Street Gallery, Boston, MA, and various exhibitions in New England, Pennsylvania...

“A Garden View 3” is an explosion of spring color bursting out of the square canvas. This medium sized oil on canvas was inspired by spring as well as the prior painting A Garden Vie...

“A Garden View 2”, by Maine artist Anita Loomis, is an explosion of spring color bursting from the canvas. This medium sized oil on canvas was inspired by spring as well as the prior painting A Garden View 1, which rests within a reclaimed window frame. Envisioned as a glimpse of a past or future spring garden, elements of a fence can be made out in the composition. With painted gallery edges, the color continues around the edges. This abstract oil painting has heavy impasto texture and Loomis’ characteristic use of active black line, as well as her affinity for intensely saturated pinks and greens. The original title of this work is Skipping Through the Garden: View 2, which has been simplified for this listing. Anita Loomis is a painter who works from her studio in Kittery, Maine. Communication and the natural world are key subjects of her paintings. Her occasional tonal landscapes offer views of imagined natural spaces for escape and contemplation. Anita Loomis creates paintings that explore facets of human dialogue and relationships. Through painting, humor, and a deep curiosity about human imperfection, she investigates what it means to navigate communication with people who see the world through different cultural lenses. Loomis paints to shine a light on the common threads that connect our human experiences and spotlight the value of empathy. Loomis earned her BA in Studio Art from Framingham State University in Massachusetts, and her MA with a concentration in Arts Management from the University of Central Florida. She worked in the field of architectural stained glass for fifteen years and has focused on painting since 2004. She lives and works in Kittery, Maine. Her work has been exhibited at Miller White Gallery, South Dennis, MA; Fountain Street Gallery, Boston, MA, and various exhibitions in New England, Pennsylvania...

Marcia Wise’s oil painting “Accento” presents a close up view of the progression of Autumnal reds, yellows, oranges, greens and blues as she continues exploration of her tree, forest...

“Leggera” by oil painter Marcia Wise is a dynamic, colorful, and textured 10 x 20 x 1 inch oil painting full of gestural marks made with brushes and gloved fingers using stunning hue...

Abstract Composition by Jack Penouel (French 1936-2018) oil on canvas, framed framed: 32 x 26 inches canvas : 31 x 25 inches provenance: the artists esta...

Very large Late 20th century surrealist oil on canvas by British artist Derek Carruthers. The painting is signed to the bottom right. An imposing and highly colourful painting of co...

Jean Pierre Serrier (French, 1934-1989) Oil on canvas painting depicting four figures Hand signed lower right. Measures (frame) 26.5" x 30" wide, and (sight) 18.25." x 22.25" wide. Jean Pierre Serrier (1934 – 1989) was a French painter known for surrealism and absurdist art. Jean-Pierre Serrier was born in Montparnasse, Paris and attended the Académie des Beaux-Arts in Paris. the son of Louis and Solange Serrier. His father fought in World War II and became a prisoner of war. In 1940, as a six-year-old, he and his mother fled Paris for Corrèze in southwest France. Childhood memories of close escapes from German bombardments would later influence his absurdist philosophy of life. Passionate about drawing, in 1951 he applied and was admitted to the École nationale supérieure des arts appliqués et des métiers d'art in Paris. He shared an attic apartment in the 16th arrondissement with fellow student Jean-Baptiste Valadié. For income, he decorated shop windows. A trip to Spain provided motifs for early works. His student work might be characterized as art naïf (Naive art). While still a student, he sold a ceramic artwork to the poet and publisher Pierre Seghers, who would later commission drawings from him. He frequented jazz clubs in Saint-Germain des Près, and while listening to Sidney Bechet at the Vieux Colombier, he met his wife, Yvette.One of the last French Surrealist and follower of Nietzsche. His art conveyed the message to all of mankind that we are only human. The other Surrealist to center his art in philosophy was Rene Magritte whose paintings reflect his understanding of Sigmund Freud. He had his first exhibition in 1955, before being sent to Algeria to complete his military service. After graduating in 1955, he was drafted for military service, spent time in Germany and Morocco, and was sent to the front lines of the Algerian War. In 1959 he exhibited works at two Parisian galleries and at Juan-les-Pins on the Côte d'Azur. From 1961, he exhibited annually at the Salon des Artistes Français. In 1962, the City of Paris purchased his painting Un dimanche In 1961, Serrier made his first visit to the United States to exhibit at a New York gallery. In 1975 and 1979, he had successful exhibitions in New Orleans, and his work was included in art and news magazines, including Time and Newsweek. Beginning in the 1950s, his works included stylized portraits similar in some ways to the "big eyes" art of Margaret Keane, though it is uncertain that either artist influenced the other. Keane painted children, and so did Serrier, sometimes from life, but Serrier’s models are usually somewhat older, though uniformly slender and with androgynous features. A gallery owner introduced Serrier to American collectors Edgar Garbisch and his wife, Bernice Chrysler (daughter of Chrysler founder Walter P. Chrysler), who had a particular interest in naïve art; they commissioned a series of portraits from Serrier. At the same time, he met Reine Ausset in Paris, who in 1961 invited him to New York to take part in an exhibition at Galerie Norval on 57th Street. The show also included work by Moïse Kisling, and the exhibition program explicitly linked the two artists, saying that Serrier, who considered Moise Kisling "the Master," had found his own technique, but "the same vision joins the grand Kisling to the young Serrier: plenitude of shapes, sureness of palette, precision in outlines." In the 1960s he began painting slender, young, androgynous figures in groups, set in sparse landscapes with suggestions of the surreal and sometimes wearing costumes of the Commedia dell'arte. In some of these paintings the eyes of the figures are completely black, a motif that would continue in his later work. In 1965, he exhibited at Forest and Reed Gallery in London. Also in 1965, he discovered the small town of Martel, and with his old roommate Jean-Baptiste Valadié purchased a house that they opened as the gallery La Licorne (The Unicorn) in 1967. Responding to the political upheavals of May 1968 in France, and following the advice of Geneva gallery owner Roger Ferrero, Serrier's work became increasingly complex, idiosyncratic, and surreal. Imagery included the Tower of Babel, bodies suspended in space, and crowds of people all dressed alike, with identical features and entirely black eyes. Mannequins, playing cards, nudes, and levitating orbs also figured in the work. In a nod to Magritte, his men sometimes wear bowler hats. Another influence may have been the works of the Franco-Belgian surrealist Gaston Bogaert (1918-2008). Serrier's first major exhibit of these works, in Geneva in 1971, was titled Le Réalisme Fantastique. (Magic Realism) In 1972, he was made a member of the Société du Salon d'Automne, under whose auspices he was invited by the Polish government to exhibit in Warsaw in 1973, as part of a cultural exchange across the Iron Curtain. In 1976, he served on the jury of the Salon d'Automne. In 1975, New Orleans gallery owner Kurt E. Schon brought his work to several cities in the United States. A copiously illustrated monograph in English, Surrealism and the Absurd: Jean Pierre Serrier, was published in 1977. Author Thomas M. Bayer wrote: Serrier's world is one where—to use Friedrich Nietzche's term—the "human herd animal" is being confronted with the overwhelming task of coping with the world, his solitude, and at times, his resignation in the face of its monstrous size and duration. It is a world where the characterless, "blind" man faces the institutions, rules and symbols that made him into the being he now is…But Serrier does not lose himself in this world he portrays. He never forgets the old French tradition, the "black" humor, à la Molière. This classical humor at times is more felt than seen, in a manner that can be terribly funny, because it is horrifying, laughable, poignant and always true. Serrier told a friend, "In each of my paintings there's a message of hope amid the crowd of stereotypical figures. It could be an escaping dirigible, or a nymphet who flees like a deer under the red and blue trees of paradise...

"Serenity" by Luis Fuentes beckons viewers into a realm where surrealism and realism harmoniously coexist in an original 2D angled still life-seascape painting. Crafted with precisio...

Two photographic motifs, which can by no means fit together in real life, result in a coherent and at the same time completely absurd image on a painting level. It may symbolize wishful thinking which can never be realized in reality. keywords; americana, surrealism, yellow banana, vintage, oil painting, men figurative painting...

Two photographic motifs, which can by no means fit together in real life, result in a coherent and at the same time completely absurd image on the painting level. Something that has happened, you can see things clearly in front of you and still do not understand how often in real life what it all means. keywords; americana, surrealism, rasberry cake, vintage, oil painting, men figurative painting...