Willi Bucher

Without Title - white minimalist painting with pins abstract expressionist

2014

"Without Title" is a small, unique oil on canvas painting of German artist Willi Bucher. It depicts with powerful strokes a minimalist white abstract landscape with pins. an alpine ...

"Bull" is a large, unique oil on canvas painting of German artist Willi Bucher. It depicts with powerful strokes a charging bull coming out of an ...

"Without Title (Matterhorn)" is a large, unique oil on canvas painting of German artist Willi Bucher. It depicts with powerful strokes the facade of the ...

"StilleFischenStill" is a large, unique oil on canvas painting of German artist Willi Bucher. It depicts an abstract landscape in thick oil colors with printed works, great depth an...

"Meta I" is a large, unique oil on canvas painting of German artist Willi Bucher. It depicts an abstract, metaphysical landscape in thick oil colors with...

"Without Title - black and white abstract water landscape" is a unique oil on canvas painting of German artist Willi Bucher. It depicts an abstract water...

A gestural painting of a horse and rider landing from jumping an oxer in a large green field in sunny Florida.

"Unusual Sunday" by Nathan Neven invites viewers into an unconventional and vibrant world, where a lone zebra stands between two majestic ostriches. The peculiar scene unfolds agains...

"Playground" by Nathan Neven presents a lively tableau featuring two running wolves, an elephant, and a bear and panda casually seated on stairs. The vibrant scene unfolds against th...

"House of Flamingos" by Nathan Neven is a captivating blend of still life and wildlife, set within the whimsical confines of a surrealistic world. At the heart of the painting, a flo...

Wesley Kimler (born 1953) an American artist based in Chicago, Illinois, is known for his colossal paintings, up to 15 feet high and 27 feet wide. According to critic Kevin Nance, th...

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...