Patrick Franc

The Circus, The Party Is Here! Oil On Board Signed Patrick Franc And Dated 1962

1962

Edith Piaf on stage watercolor and pencil on paper, mongrammed K for Charles Kiffer (1902-1992), Workshop stamp. Charles Kiffer is well known for his figures, paintings, prints, pos...

Lovely portrait of a young Boy standing on an armchair. Oil on canvas signed Felix BRYK. Swedish School, circa 1900-1910 Portraitist and ethnologist of the early twentieth century. ...

Portrait of a naked woman, Simone. Pastel signed on the left side J.A.GRAND-CARTERET. Circa 1930-1940. Jean Albert Grand-Cartenet is a painter of nudes and portraits who was the ...

GARDIANS IN CAMARGUE Oil on canvas signed Henri Emilien ROUSSEAU (1875-1933) and dated 1924. Orientalist painter, landscapes and horses. Here a Camargue scene depicting herdsmen watching their flocks. Beautiful original frame. Canvas has been re-lined. Canvas size: 73.5 x 100 cm With frame: 102 x 129 cm Henri Emilien Rousseau (1875-1933) was a painter who was considered the ‘Last Orientalist’. Born in...

Antique American school modernist circus scene by Ann Taube Goodman (Born 1905). Oil on canvas, circa 1925. Signed. Displayed in a modernist fra...

Jean Pierre Serrier (French, 1934-1989) Oil on canvas painting depicting four figures Hand signed lower right. Measures (frame) 26.5" x 30" wide, and (sight) 18.25." x 22.25" wide. Jean Pierre Serrier (1934 – 1989) was a French painter known for surrealism and absurdist art. Jean-Pierre Serrier was born in Montparnasse, Paris and attended the Académie des Beaux-Arts in Paris. the son of Louis and Solange Serrier. His father fought in World War II and became a prisoner of war. In 1940, as a six-year-old, he and his mother fled Paris for Corrèze in southwest France. Childhood memories of close escapes from German bombardments would later influence his absurdist philosophy of life. Passionate about drawing, in 1951 he applied and was admitted to the École nationale supérieure des arts appliqués et des métiers d'art in Paris. He shared an attic apartment in the 16th arrondissement with fellow student Jean-Baptiste Valadié. For income, he decorated shop windows. A trip to Spain provided motifs for early works. His student work might be characterized as art naïf (Naive art). While still a student, he sold a ceramic artwork to the poet and publisher Pierre Seghers, who would later commission drawings from him. He frequented jazz clubs in Saint-Germain des Près, and while listening to Sidney Bechet at the Vieux Colombier, he met his wife, Yvette.One of the last French Surrealist and follower of Nietzsche. His art conveyed the message to all of mankind that we are only human. The other Surrealist to center his art in philosophy was Rene Magritte whose paintings reflect his understanding of Sigmund Freud. He had his first exhibition in 1955, before being sent to Algeria to complete his military service. After graduating in 1955, he was drafted for military service, spent time in Germany and Morocco, and was sent to the front lines of the Algerian War. In 1959 he exhibited works at two Parisian galleries and at Juan-les-Pins on the Côte d'Azur. From 1961, he exhibited annually at the Salon des Artistes Français. In 1962, the City of Paris purchased his painting Un dimanche In 1961, Serrier made his first visit to the United States to exhibit at a New York gallery. In 1975 and 1979, he had successful exhibitions in New Orleans, and his work was included in art and news magazines, including Time and Newsweek. Beginning in the 1950s, his works included stylized portraits similar in some ways to the "big eyes" art of Margaret Keane, though it is uncertain that either artist influenced the other. Keane painted children, and so did Serrier, sometimes from life, but Serrier’s models are usually somewhat older, though uniformly slender and with androgynous features. A gallery owner introduced Serrier to American collectors Edgar Garbisch and his wife, Bernice Chrysler (daughter of Chrysler founder Walter P. Chrysler), who had a particular interest in naïve art; they commissioned a series of portraits from Serrier. At the same time, he met Reine Ausset in Paris, who in 1961 invited him to New York to take part in an exhibition at Galerie Norval on 57th Street. The show also included work by Moïse Kisling, and the exhibition program explicitly linked the two artists, saying that Serrier, who considered Moise Kisling "the Master," had found his own technique, but "the same vision joins the grand Kisling to the young Serrier: plenitude of shapes, sureness of palette, precision in outlines." In the 1960s he began painting slender, young, androgynous figures in groups, set in sparse landscapes with suggestions of the surreal and sometimes wearing costumes of the Commedia dell'arte. In some of these paintings the eyes of the figures are completely black, a motif that would continue in his later work. In 1965, he exhibited at Forest and Reed Gallery in London. Also in 1965, he discovered the small town of Martel, and with his old roommate Jean-Baptiste Valadié purchased a house that they opened as the gallery La Licorne (The Unicorn) in 1967. Responding to the political upheavals of May 1968 in France, and following the advice of Geneva gallery owner Roger Ferrero, Serrier's work became increasingly complex, idiosyncratic, and surreal. Imagery included the Tower of Babel, bodies suspended in space, and crowds of people all dressed alike, with identical features and entirely black eyes. Mannequins, playing cards, nudes, and levitating orbs also figured in the work. In a nod to Magritte, his men sometimes wear bowler hats. Another influence may have been the works of the Franco-Belgian surrealist Gaston Bogaert (1918-2008). Serrier's first major exhibit of these works, in Geneva in 1971, was titled Le Réalisme Fantastique. (Magic Realism) In 1972, he was made a member of the Société du Salon d'Automne, under whose auspices he was invited by the Polish government to exhibit in Warsaw in 1973, as part of a cultural exchange across the Iron Curtain. In 1976, he served on the jury of the Salon d'Automne. In 1975, New Orleans gallery owner Kurt E. Schon brought his work to several cities in the United States. A copiously illustrated monograph in English, Surrealism and the Absurd: Jean Pierre Serrier, was published in 1977. Author Thomas M. Bayer wrote: Serrier's world is one where—to use Friedrich Nietzche's term—the "human herd animal" is being confronted with the overwhelming task of coping with the world, his solitude, and at times, his resignation in the face of its monstrous size and duration. It is a world where the characterless, "blind" man faces the institutions, rules and symbols that made him into the being he now is…But Serrier does not lose himself in this world he portrays. He never forgets the old French tradition, the "black" humor, à la Molière. This classical humor at times is more felt than seen, in a manner that can be terribly funny, because it is horrifying, laughable, poignant and always true. Serrier told a friend, "In each of my paintings there's a message of hope amid the crowd of stereotypical figures. It could be an escaping dirigible, or a nymphet who flees like a deer under the red and blue trees of paradise...

Marcel Vertes (French/Hungarian, 1895 – 1961) ‘Circus performance’ Oil on canvas board Signed `VERTES` (to the reverse) 20 x 24 in. (51 x 61 cm.) Provenance: With the Hammer Gallerie...

This vibrant painting, "Circus" by Paulette van Roekens, captures the energy and excitement of a classic circus scene, bursting with color and lively detail. Van Roekens brings the j...