Aba Linus

Lady on Blue 1

2022

In the realm of discourse, rhetoric reigns, A symphony of words that stirs and strains. With a persuasive power, it paints the scene, Crafting arguments, sharp and keen. Through rhetorics's lens, ideas collide, In the marketplace of thoughts, they reside. Pathos, logos, ehtos entwine, in the dance of life, they intertwine. With eloquence and chart, it captivates, Through eloquence, ideas take flight, Shaping minds, in the realm of light. Leading minds through vast, intellectual states. In the art of rhetoric, stories are untold, and truths unfold. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Orioye Samuel...

Cloaks 3: Expose" is a poignant and powerful artwork that speaks to the issue of oppression, marginalization, and societal judgment. The painting features a figure draped in a cloak, standing, and pointing. The cloak in the painting represents the societal pressure to conform, and the figure represents the consequences of not conforming. The painting is a powerful representation of the consequences of non-conformity, and the emotional weight that comes with it. The artwork is a reminder of the power of societal judgment and the role it plays in oppressing those who do not conform. The figure's stance and body language convey a sense of defeat and shame, reflecting the psychological and emotional toll that comes with societal judgment. The impact of societal norms and the fear of rejection that comes with not conforming. The painting is not just a representation of oppression and societal pressure, but it is also an example of artistic excellence. The intricate details of the cloak, the figure, and the crowd demonstrate the artist's mastery of the craft. The use of light and shadow is also exemplary, creating a sense of depth and emotion that draws the viewer into the painting. Moreover, the painting is a call to action, urging us to challenge societal norms and expectations that oppress and marginalize individuals. It is a call for empathy, compassion, and understanding, and a reminder that everyone deserves to be accepted and loved for who they are, regardless of whether they conform to societal norms or not. In conclusion, "Cloaks 3: Expose" is a powerful work of art that speaks to the issue of oppression, marginalization, and societal judgment. It is a poignant reminder of the power of societal norms and the consequences of not conforming. It is also an example of artistic excellence, showcasing the artist's skill and creativity. The painting is a call to action, urging us to challenge societal norms and expectations and embrace empathy, compassion, and understanding. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Victor Chigozie Anachuna...

In "Euphoria," an evocative artwork by the skilled artist Kehinde Mayowa, a woman graces the canvas with a radiant smile that transcends the ordinary bo...

"Nature Call," an enchanting artwork, captures the essence of artistic harmony through the portrayal of a woman playing the keyboard, evoking a symphony that resonates with the beauty of the natural world. Created with finesse, this piece by Achike Miracle Anayo...

"Solicitude" invites the audience into a world of contemplation and reflection, where the central theme revolves around the power of empathy and its a...

My library, My favorite spot in town, Where all my imagination meets. My place of timeless excitement and constant joy. I could travel the world from this point and could sail throug...

In this 19.625" x 19.75" acrylic on canvas painting by Josette Simon-Gestin, 'Museum Musings #3 After Frida,' features two young women playfully engaged ...

Original oil on canvas painting. Hand signed on front; signed and titled on verso by the artist. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity ...

A mid century Expressionist oil on canvas of a man, child and cat in an interior with a cityscape beyond. The work is not signed but there are various notations to the top rear stret...

Paul Manes was born May 4, 1948, in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has been widely exhibited in America and Europe and h...

Herbert Katzman 1923-2004 (American artist active in New york, Illinois and Italy) Oil Painting Dated 1946. Signed. Dimensions; Sight-16" x 20", Frame-23.5" x 27". Provenance: this bears an old stamp verso from Christie's auction house. Herbert Katzman was born in Chicago on Jan. 8, 1923, His father believing that discipline was a good teacher, sent Herbert and Bob to St. John's military academy for their elementary education but it wasn't long before Herbert found his way to the Art Institute of Chicago where he wanted to study sculpting. His Father vehemently objected and refused to finance his studies, but that wasn't enough to discourage the young artist. He put himself through school working as a student janitor and a few other odd jobs. At 17 he entered the Advanced School of the Art Institute, his interest having turned to painting. His study there was briefly interrupted by a short stint in the navy (1942-44). After receiving a medical discharge, he returned to Chicago to work with Boris Anisfeld, who introduced him to German and French Expressionism...

Framed 27 X 24 inches Sight 18 X 15 inches Walter Spitzer (Polish/French, 1927 - ) born in Cieszyn, Poland. A Polish Jewish Holocaust survivor, he made his first drawings in a concentration camp. Walter Spitzer has lived and worked since WWII in France, where he studied at the École des Beaux Arts in Paris. Walter Spitzer has achieved great renown as a painter and printmaker. Whether in his paintings of Biblical subjects or in lithographs of Shtetl scenes, His humanity was inspired by the writings of Sartre, Montherlant and Kazantzakis, Walter Spitzer is occupied with two great, interlinked themes: man’s inhumanity to man, and the humanity of man. He will surely be recognized in the future as one of the great witnesses to the twentieth-century experience. Walter Spitzer was born in Chieszyn, Poland, the son of a Jewish liqueur producer, and attended the German school there. He began to draw and paint at an early age. In 1939 the Spitzer family was forcibly removed by the Germans to the town of Strzemieszyce, which was turned into a ghetto in 1942. When the ghetto was liquidated in June 1943 Spitzer’s mother was shot, and the sixteen-year-old Walter was deported to Blechhammer, a subcamp of Auschwitz. There he painted portraits of Wehrmacht soldiers and fellow inmates in exchange for food. He was one of the few to survive the evacuation march from Auschwitz to Buchenwald, where to begin with, in late February 1945, he was held in the Little Camp. To enable him to make drawings documenting life in the camp, the Communists organized his transfer to the main camp. While on a death march in early April he made his escape in the vicinity of Jena and was soon in the hands of the Americans. Spitzer served as an interpreter with an American army unit, and at the same time executed numerous drawings depicting the world of the camps. In June 1945 the Americans took him to Paris, where – following the advice of his father, who had died in 1940 – he began to study art at the École des Beaux-Arts in Par the following year. After completing his training as an artist he produced paintings expressing a critical view of the society of his day. In 1955, in commemoration of the camps and the death marches, he executed a cycle of nine etchings in an edition of thirty, which he gave to various museums in Israel and in France. In the 1960s he established himself as an illustrator of exclusive editions of works by such authors as André Malraux, Jean-Paul Sartre, Joseph Kessel and Nikos Kazantzakis. The Six-Day War prompted him to begin painting subjects from Jewish and Biblical history; At age 19, he was asked to make the scenery for the Edouard VII Theater in Paris, which was showing The Dibbuk of Ansky. In 1947 the same theater asked him to make the scenery for the Hill of Life ( Max Zveig). Spitzer has been a member of the Salon d'Automne since 1952. He was the last remaining survivor of the Montparnasse Ecole de Paris. A group of Jewish expats that included Issachar Ber Ryback, Abel Pann, Abraham Mintchine, Isaac Antcher, Alexandre Altmann, Henri Epstein, Mane Katz, Marcel Janco, Gregoire Michonze...