Sula Repani

Vibrant Abstract Fish Painting in Oil on Wood – Framed Marine Artwork

2022

This striking acrylic painting by Moldovan-Spanish artist Natasha Lelenco features a surreal anthropomorphic portrait constructed from lush green leaves and blooming yellow daisies, blending botanical precision with symbolic intensity. The central figure’s face, composed entirely of flowers, is both haunting and tender, while a pink tongue and tiny plastic toy soldier create a poignant contrast that challenges the viewer’s perception of innocence, violence, and the natural world. Set against a softly gradated sky-blue background, the painting invites reflection on ecological fragility and the absurdity of human conflict. Part of the acclaimed “Fetishes” series, this work is inspired by Giuseppe Arcimboldo’s botanical portraits, reinterpreted with contemporary urgency. Lelenco’s painting critiques war and environmental destruction through a visual language that is as poetic as it is unsettling. The toy soldier, perched delicately on a green leaf-arm, acts as a miniature symbol of violence embedded in play, questioning the narratives we inherit and enact. The piece was originally commissioned for Imaxinaria, Mostra Internacional de Ilustración Contemporánea in Galicia (Spain) and remains one of the most iconic works of the series. Medium: Acrylic on board Dimensions: [Insert exact dimensions] Year: 2022 Framing: Painted edges, ready to hang, no frame needed Signed by the artist Keywords: Acrylic botanical portrait, Anti-war painting, Contemporary Arcimboldo style...

This series of four sculptural wall pieces combines painting and organic materiality, exploring the intersection of nature and contemporary art. Made from reclaimed corkwood, each wo...

Flight. 2001, oil on cardboard, 67x79 cm Dark composition with butterflies In 1958 he graduated from the Riga Art School of J. Rosenthal, in 1964 Art Academ...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...