David Adickes"Deux Harlequins" Abstract Figurative Portrait Painting 1956
1956
About the Item
- Creator:David Adickes (1927, American)
- Creation Year:1956
- Dimensions:Height: 44.5 in (113.03 cm)Width: 28 in (71.12 cm)Depth: 1.5 in (3.81 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Wear consistent with age.
- Gallery Location:Houston, TX
- Reference Number:
David Adickes was born in Huntsville, Texas in 1927 and graduated from Huntsville High School in 1943. Nearing the end of World War II, at age 17, he joined the U.S. Air Force and regularly traveled to France. “I always liked art and was always drawing in the margins of my book,” Adickes said. “But being in Paris where there are galleries and museums on every corner — as just a small town kid from Huntsville, Texas — that was my turning point.” After completing his service, Adickes returned to Huntsville and earned his bachelor’s degree from Sam Houston State University. He then studied art with artist Fernand Leger in France for two years before moving to Houston to open his own art school.
(Biography provided by Reeves Antiques)- ShippingRetrieving quote...Ships From: Houston, TX
- Return PolicyA return for this item may be initiated within 7 days of delivery.
- Modern Abstract Earth Toned Cubist Inspired Figurative Harvest Scene PaintingLocated in Houston, TXModern geometric figurative painting featuring Pablo Picasso inspired faces nestled amongst heavily abstracted harvest imagery. Reminiscent of a Cubist style of abstraction, the work...Category
20th Century Modern Figurative Paintings
MaterialsOil, Board
- Green Toned Abstract Figurative Marathon Runner with Colorful Target PaintingLocated in Houston, TXGreen toned abstract figurative painting by Houston, TX artist, Sherry Sullivan. Painting depicts an abstracted figure of a marathon runner with expose...Category
21st Century and Contemporary Modern Figurative Paintings
MaterialsCanvas, Oil
- Abstract Yellow and Orange Toned Figurative Grid of Nude Bodies PaintingLocated in Houston, TXYellow toned abstract figurative painting by French artist Christophe Stora depicting human bodies in a grid and in several postures and motions. This...Category
20th Century Modern Abstract Paintings
MaterialsCanvas, Oil
- Colorful Purple, Pink, & Green Modern Portrait of Man Playing Billiards or PoolBy Gerald GarstonLocated in Houston, TXColorful modern figurative portrait of a man playing billiards or pool by Connecticut artist Gerald Garston. The work features a man in a blue bowler ha...Category
1970s Modern Figurative Paintings
MaterialsCanvas, Oil
- Modern Colorful Abstract Painting of Three Female Figures and a BirdLocated in Houston, TXModern colorful abstract painting by Texas artist Don Snell. The work features two central female figures with a third face entering from the lower left corn...Category
Mid-20th Century Modern Figurative Paintings
MaterialsOil, Canvas
- "Re Brick Abstract" Graffiti of Two Figures on Brick WallLocated in Houston, TXAbstract acrylic painting of two childlike graffiti figures drawn on a brick wall against a bright blue sky by artist J. P. Smith in 1969. Signed and ...Category
1960s Modern Abstract Paintings
MaterialsAcrylic
- Ceremonial Dancers oil and tempera painting by Julio De DiegoBy Julio de DiegoLocated in Hudson, NYArtwork measures 48" x 30" and framed 56 ¼" x 38 ¼" x 3" Provenance: John Heller Gallery, NYC, circa 1975 (label verso) The artist's daughter Corbino Galleries, Sarasota, FL (1990)...Category
1940s Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- The Magician oil and tempera painting by Julio de DiegoBy Julio de DiegoLocated in Hudson, NYJulio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...Category
1940s American Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- St. Atomic oil and tempera painting by Julio de DiegoBy Julio de DiegoLocated in Hudson, NYJulio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...Category
1940s American Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- Inevitable Day – Birth of the Atom oil and tempera painting by Julio De DiegoBy Julio de DiegoLocated in Hudson, NYJulio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Bibliography Art in America, April 1951, p.78 About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...Category
1940s American Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- "Shattered" WPA Mid 20th Century Modernism American Scene Surrealism FigurativeBy Leon BibelLocated in New York, NY"Shattered" WPA Mid 20th Century Modernism American Scene Surrealism Figurative Estate stamp on the stretcher, verso. Provenance: Estate of the artist. 20 x 24 inches. BIO Leon Bibel continued painting through 1941 and resumed work in both painting and especially wood sculpture by 1960. He worked until his very last day in 1995. His last series of large wood sculptures were modeled on spice boxes, which were miniature buildings...Category
1930s American Modern Figurative Paintings
MaterialsCanvas, Oil
- Signed Antique American School Modernist Cubist Jazz Piano Original Oil PaintingLocated in Buffalo, NYVintage American modernist abstract piano painting. Oil on canvas, circa 1940. Signed. Framed. Image size, 24"L x 20"H.Category
1940s Modern Abstract Paintings
MaterialsCanvas, Oil