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Lionel KalishOriginal Oil Painting LIONS in a Modernist Illustration Mod Naive Graphic Stylec.1960s
c.1960s
About the Item
33.5x27, sight size 28x22
Lionel Kalish born 1931 New York, NY A painter and childrens book illustrator.
Education: 1951 Cooper Union of the Advancement of Science and Art, New York, NY
Selected Solo Exhibitions:
1978 Forum Gallery, New York, NY
1980 Galerie Brusberg, Hannover, Germany
1981 ACA Galleries, New York, NY
1982 Galerie Stubler, Frankfurt Germany
1984 Galerie Brusberg, Berlin, Germany
1990 Sid Detuch Gallery, New York, NY
1994 Lewis Newman Galleries, Beverly Hills, CA
Galerie Brusberg, Berlin, Germany
1996 The Horwitch Newman Gallery, “Italy: The Poetry of Landscape,” Scottsdale, AZ
Gremillion & Co. Fine Arts, “Italy: The Timeless Landscape,” Houston, TX
1997 Hoorn-Hashby Gallery, “Color and Light: The Italian Façade,” New York, NY
1998 Hoorn-Hashby Gallery, “Sun and Shadow: A Mediterranean Vision,” Nantucket, MA
2000 Hoorn-Hashby Gallery, “Italy: Visual Poetry,” New York, NY like Seymour Chwast, Sid Chafetz, Saul Bass, Ivan Chermayeff, Milton Glaser, Paul Rand, Ikko Tanaka, Henryk Tomaszewski a great modernist illustration style.
Selected group Exhibitions:
1975 Galerie Brusberg, Hannover, Germany
1977 Forum Gallery, New York, NY
1978 Forum Gallery, “Fourteen Still Life Paintings: A New York Sensibility,” New York, NY
1979 Galerie Brusberg, “Neuerwerbungen der Galerie,” Hannover, Germany
National Academy of Design: 154th Annual Exhibition, New York, NY
Forum Gallery, “Artists and Sculptors of Forum,” New York, NY
1980 Galerie Brusberg, “Malerei der Gegenwart,” Hannover, Germany
Basel Art Fair, “Sie, She, Elle,” Switzerland
The Butler Institute of American Art, “45th Annual Midyear Show,” Youngstown, OH
1981 Oklaoma Art Center, “New York Gallery Shocase,” Oklaoma City, OK
1982 Galerie Brusberg, West Berlin, Germany
1983 AKA Galleries, New York, NY
1984 Galerie Stubler, Frankfurt, Germany
1985 AKA Galleries, New York, NY
1986 Galerie Brusberg, West Berlin, Germany
1987 Galerie Brusberg, West Berlin, Germany
1988 Galerie Brusberg, West Berlin, Germany
National Academy of Design: 163rd Annual Exhibition, New York, NY
1989 Sid Detusch Gallery, “American Masters; Inaugural Exhibition,” New York, NY
1990 Contemporary Realist Gallery, “The Italian Landscape,” San Francisco, CA
Arkansas Art Center, Annual Collector’s Exhibition
1990 Gremillion & Co. Fine Arts, Houston, TX
1991 Sid Detusch Gallery, New York, NY
Galerie Brusberg, Berlin, Germany
Gremillion & Co. Fine Arts, Houston, TX
1992 Galerie Brusberg, Berlin, Germany
Gremillion & Co. Fine Arts, Houston, TX
1993 Lewis Newman Gallery, Beverly Hills, CA
Gremillion & Co. Fine Arts, Houston, TX
1994 Lewis Newman Galleries, “Contemporary Perspectives,” Beverly Hills, CA
1995 Horwitch Newman Gallery and Koplin Gallery, Santa Monica, CA
Horwitch Newman Gallery, “About American Realism,” Scottsdale, AZ
1996 Horwitch Newman and Jerry Solomon Gallery, ‘An LA Premiere,” Los Angeles, CA
1997 Pennsylvania Academy of Fine Arts, “U.S. Artists ’97”
1998 Pennsylvania Academy of Fine Arts, “U.S. Artists ’98”
Galerie Brusberg, Berlin, Germany
1999 Pennsylvania Academy of Fine Arts, “U.S. Artists ’99”
2000 Horn-Ashby Gallery, Nantucket, MA
Gremillion & Co. Fine Arts, Houston, TX
SELECTED COLLECTIONS
Credit Suisse, New York, NY
Jenswold, King & Associates, Houston, TX
H. Seward Johnson, New York, NY
Exxon Collection
- Creator:Lionel Kalish (1931, American)
- Creation Year:c.1960s
- Dimensions:Height: 33.5 in (85.09 cm)Width: 27 in (68.58 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:needs new mat and frame. staining to mat lower right does not affect image.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38212687902
About the Seller
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- ShippingRetrieving quote...Ships From: Surfside, FL
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He was told he was good at drawing, and replaced study hall classes with art classes, receiving instruction and inspiration from a Welsh teacher named R. Idris Thomas. While in high school Beauchamp would go, every Monday, to the public library and a local museum where he would read books about art; specifically French painting, as assigned by Thomas. Beauchamp absorbed the tenets of European Modernism and American Abstract Expressionism—with which he eventually broke. While abstraction, with its focus on color and form, underlies his compositions, he filled canvas and paper with psychologically acute portraits of himself and others, nudes, animals, and objects of all kinds. Beauchamp would spend upwards of four hours a day in the art room and eventually won the Carter Memorial Prize, which provided a scholarship to the Colorado Springs Fine Arts Center. At Colorado Springs he studied under Boardman Robinson, painting landscapes in nature.
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Robert Beauchamp was born in Denver, Colorado in 1923. He had three brothers and three sisters, and the children were orphaned by both parents by the time Beauchamp was three. The family grew up impoverished due to the Great Depression, living in a community house with other families. As a child he dabbled in art but it wasn't until high school that he began taking art classes. When not creating art he also played sports; football and basketball, and enjoyed chemistry and geology.
He was told he was good at drawing, and replaced study hall classes with art classes, receiving instruction and inspiration from a Welsh teacher named R. Idris Thomas. While in high school Beauchamp would go, every Monday, to the public library and a local museum where he would read books about art; specifically French painting, as assigned by Thomas. Beauchamp absorbed the tenets of European Modernism and American Abstract Expressionism—with which he eventually broke. While abstraction, with its focus on color and form, underlies his compositions, he filled canvas and paper with psychologically acute portraits of himself and others, nudes, animals, and objects of all kinds. Beauchamp would spend upwards of four hours a day in the art room and eventually won the Carter Memorial Prize, which provided a scholarship to the Colorado Springs Fine Arts Center. At Colorado Springs he studied under Boardman Robinson, painting landscapes in nature.
Beauchamp eventually joined the Navy and then returned to Colorado Springs to continue his studies. Traveling the world as an Armed Guard, he spent a year and a half at sea and the rest of the three years in San Francisco. Seeking to make money, and to follow his love for a girl, Beauchamp decided to attend Cranbrook Academy of Art from 1947–1948. There he studied pottery, believing one could "make more money selling pots than you could selling paintings." He described his experience at Cranbrook as intimidating and claustrophobic, and eventually switched to sculpture before switching to painting.
Beauchamp moved to New York City in the early 1950s and was involved in the Tenth Street galleries, which provided outlets for more experimental artists and the second generation of abstract expressionists. Despite his involvement with 10th Street and friendships with abstract artists, abstract art never interested in him. He showed at numerous galleries in New York and Provincetown, socializing with gallery owners, artists and collectors. His first exhibition was at the Tanager Gallery in New York, he also showed during the 1950s at the Hansa Gallery. In New York and Provincetown he studied under Hans Hofmann Eventually he felt that abstract expressionism became dull and stalemated.
During the 1960s he showed at the Green Gallery. C. 1960 he was awarded a Fulbright Award allowing him to travel to La Romola, Italy. He traveled frequently to cities such as Rome and worked constantly. Beauchamp returned to the states and lived in Provincetown at Walter Gutman's house, who awarded Beauchamp a grant. That year he met his future wife, Nadine Valenti, whom he married in 1967. Beauchamp taught at a variety of schools during his lifetime including Brooklyn College, School of Visual Arts, Cooper Union and the Art Students League of New York during the last fifteen years of his life.
Beauchamp described his drawings as painterly, seeking the spontaneity in an image. He would develop a drawing then a painting, and vice versa. His heavily impastoed paintings, often described as sculptures themselves, came from the pouring of paint from a can, with little planning and constant evolution in the medium upon the canvas. He preferred little planning to his creations, believing that an artists work would become stale and repetitive with constant planning.
He also created large scale works, at times 70 inches long. Beauchamp had little intention of ever selling his large works, preferring to create them due to the slow and intense experience he received from the process. The large drawings he created on the floor, and the smaller works were created on a table. Paintings were created on either the floor or wall and he described his painting process as "splattering", "pushing the paint around," and sponging.
Animals often appear in his paintings, despite a dislike for domestic animals outside of his artistic creations. He called the characters in his paintings as Beauchamps. Some Beauchamps hold meaning, with Beauchamp rarely sharing the meaning behind the symbols and characters. He made up the creatures himself, seeking to emphasize the character of each.
In 2006 the University of Massachusetts Amherst College of Visual & Performing Arts hosted an exhibition of Beauchamp's pieces from the 1960s, curators stated that Beauchamp's work: "effortlessly blends innovative style elements with narrative, descriptive images. One senses equal enjoyment in the manipulation of, and interaction with, color and paint, and the often sudden and unexpected presence of a wasp or a lump of sugar."
included in the important exhibit "Twelve New York Painters." New York: David Findlay Jr. Fine Art with Mary Abbott, Alcopley, Robert Beauchamp, Byron Browne, Charles Cajori, Jim Forsberg, Carl Heidenreich, Angelo Ippolito, Emily Mason, Robert Natkin, Robert Richenburg and Nina Tryggvadottir...
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Signed lower left.
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Robert Beauchamp was born in Denver, Colorado in 1923. He had three brothers and three sisters, and the children were orphaned by both parents by the time Beauchamp was three. The family grew up impoverished due to the Great Depression, living in a community house with other families. As a child he dabbled in art but it wasn't until high school that he began taking art classes. When not creating art he also played sports; football and basketball, and enjoyed chemistry and geology.
He was told he was good at drawing, and replaced study hall classes with art classes, receiving instruction and inspiration from a Welsh teacher named R. Idris Thomas. While in high school Beauchamp would go, every Monday, to the public library and a local museum where he would read books about art; specifically French painting, as assigned by Thomas. Beauchamp absorbed the tenets of European Modernism and American Abstract Expressionism—with which he eventually broke. While abstraction, with its focus on color and form, underlies his compositions, he filled canvas and paper with psychologically acute portraits of himself and others, nudes, animals, and objects of all kinds. Beauchamp would spend upwards of four hours a day in the art room and eventually won the Carter Memorial Prize, which provided a scholarship to the Colorado Springs Fine Arts Center. At Colorado Springs he studied under Boardman Robinson, painting landscapes in nature.
Beauchamp eventually joined the Navy and then returned to Colorado Springs to continue his studies. Traveling the world as an Armed Guard, he spent a year and a half at sea and the rest of the three years in San Francisco. Seeking to make money, and to follow his love for a girl, Beauchamp decided to attend Cranbrook Academy of Art from 1947–1948. There he studied pottery, believing one could "make more money selling pots than you could selling paintings." He described his experience at Cranbrook as intimidating and claustrophobic, and eventually switched to sculpture before switching to painting.
Beauchamp moved to New York City in the early 1950s and was involved in the Tenth Street galleries, which provided outlets for more experimental artists and the second generation of abstract expressionists. Despite his involvement with 10th Street and friendships with abstract artists, abstract art never interested in him. He showed at numerous galleries in New York and Provincetown, socializing with gallery owners, artists and collectors. His first exhibition was at the Tanager Gallery in New York, he also showed during the 1950s at the Hansa Gallery. In New York and Provincetown he studied under Hans Hofmann Eventually he felt that abstract expressionism became dull and stalemated.
During the 1960s he showed at the Green Gallery. C. 1960 he was awarded a Fulbright Award allowing him to travel to La Romola, Italy. He traveled frequently to cities such as Rome and worked constantly. Beauchamp returned to the states and lived in Provincetown at Walter Gutman's house, who awarded Beauchamp a grant. That year he met his future wife, Nadine Valenti, whom he married in 1967. Beauchamp taught at a variety of schools during his lifetime including Brooklyn College, School of Visual Arts, Cooper Union and the Art Students League of New York during the last fifteen years of his life.
Beauchamp described his drawings as painterly, seeking the spontaneity in an image. He would develop a drawing then a painting, and vice versa. His heavily impastoed paintings, often described as sculptures themselves, came from the pouring of paint from a can, with little planning and constant evolution in the medium upon the canvas. He preferred little planning to his creations, believing that an artists work would become stale and repetitive with constant planning.
He also created large scale works, at times 70 inches long. Beauchamp had little intention of ever selling his large works, preferring to create them due to the slow and intense experience he received from the process. The large drawings he created on the floor, and the smaller works were created on a table. Paintings were created on either the floor or wall and he described his painting process as "splattering", "pushing the paint around," and sponging.
Animals often appear in his paintings, despite a dislike for domestic animals outside of his artistic creations. He called the characters in his paintings as Beauchamps. Some Beauchamps hold meaning, with Beauchamp rarely sharing the meaning behind the symbols and characters. He made up the creatures himself, seeking to emphasize the character of each.
In 2006 the University of Massachusetts Amherst College of Visual & Performing Arts hosted an exhibition of Beauchamp's pieces from the 1960s, curators stated that Beauchamp's work: "effortlessly blends innovative style elements with narrative, descriptive images. One senses equal enjoyment in the manipulation of, and interaction with, color and paint, and the often sudden and unexpected presence of a wasp or a lump of sugar."
included in the important exhibit "Twelve New York Painters." New York: David Findlay Jr. Fine Art with Mary Abbott, Alcopley, Robert Beauchamp, Byron Browne, Charles Cajori, Jim Forsberg, Carl Heidenreich, Angelo Ippolito, Emily Mason, Robert Natkin, Robert Richenburg and Nina Tryggvadottir...
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By Natan Heber
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Natan Heber was trained by his father in Poland to be a ritual slaughterer. In 1925, he joined the Zionist movement "Mizrachi" and in 1936 immigrated to Palestine where he opened a poultry shop in Haifa. He began to paint at the age of sixty-one, after ill health forced him to retire. Driven by a need to memorialize his family and their shtetl community lost in the Holocaust, he drew scenes of traditional Jewish life. Unfamiliar with the conventions of scale and perspective, he set his heavily outlined frontal figures on steeply rising surfaces and often portrayed his father in monumental size to mark his importance. One of Israel's greatest naive-style painters. Along with Shalom of Safed, Kopel Gurwin and Gabriel Cohen, He is renowned as one of Israel's greatest living naive-style folk art painters, The Haifa Museum of Art will be opening the first ever Outsider Art exhibition (also known as Art Brut) in Israel in January 2013.
He was included in the show of Outsider art at Haifa Museum The exhibition included works by Classical Outsider artists, none of them have ever been shown in Israel - Henry Darger, Martin Ramirez, Adolf Wölfli, Aloïse, Hauser, Carlo Zinnelli, Bill Traylor, Minnie Evans...
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Board, Oil
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