Richard Wilson

"Untitled Female"

“Untitled Female" is a colorful piece by Richard Wilson that has meaning for native Detroiters through use of the blues and oranges - their "Tiger" baseball team's colors and the "D"...

“Untitled Female" is a colorful piece by Richard Wilson that has meaning for native Detroiters through use of the blues and oranges - their "Tiger" baseball team's colors and the "D"...

"Mental Capacity" is a fictional experience whereby an African American man from the 1970s discovers his artistic side. It is generally known that most people are either left brain o...

"Head of Woman" is a wonderfully exciting example of Mid-20th century Expressionist art. This vibrant portrait is reminiscent of Matisse's Fauvist female...

SALE ONE WEEK ONLY UNTITLED by Fanny Rabel a Mexican artist who was born in Poland in 1922 is a soul wrenching work depicting among other things, the children killed by Nazi bombing in Spain during the Second World War. The lavender and purple surrounding the seated female figure and the kneeling child suggest both grief for the innocents' deaths and the prayers being offered for an end to the carnage. The bright gold and red can be read as either explosions or the hopeful light of redemption after death. Like Picasso's Guernica from 1937, this painting from 1965 can stand as a powerful anti-war statement. Numerous key galleries and museums such as Morton Auctions, Cerro de Mayka have featured Fanny Rabel's work in the past. Her anti-Nazi and anti-Fascism politics resulted in her participation in a mural called Retrato de la Burguesía in 1940 for the Sindicato Mexicano de Electricistas building on Alfonso Caso Street in Mexico City. Rabel met a group of exiled Spaniards in Mexico along with Antonio Pujol, who invited her to take part in a mural project headed by him, David Alfaro Siqueiros, Joseph Renau, Luis Arenal, Antonio Rodríguez Luna and Miguel Prieto. The artist died in 2008. Fanny Rabel born August 27, 1922, in Poland born Fanny Rabinovich, was a Polish-born Mexican artist who is considered to be the first modern female muralist and one of the youngest associated with the Mexican muralism of the early to the mid-20th century. She and her family arrived in Mexico in 1938 from Europe and she studied art at the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda", where she met and became friends with Frida Kahlo. She became the only female member of “Los Fridos” a group of students under Kahlo’s tutelage. She also worked as an assistant and apprentice to Diego Rivera and David Alfaro Siqueiros, painting several murals of her own during her career. The most significant of these is "Ronda en el tiempo" at the Museo Nacional de Antropología in Mexico City. She also created canvases and other works, with children often featured in her work, and was one of the first of her generation to work with ecological themes in a series of works begun in 1979. She is considered to be the first female muralist in Mexico. She was an assistant to Diego Rivera while he worked on the frescos for the National Palace and an apprentice to David Alfaro Siqueiros. Her most important mural is Ronda en el tiempo located in the Museo Nacional de Antropología, which was created from 1964 to 1965. She also created murals at the Unidad de Lavaderos Público de Tepalcatitlán (1945), Sobrevivencia, Alfabetización in Coyoacán in 1952 Sobrevivencia de un pueblo at the Centro Deportivo Israelita (1957) Hacia la salud for the Hospital Infantil de México (1982), La familia mexicana at the Registro Público de la Propiedad (1984) (which Rabel preferred to title Abolición de la propiedad privada) and at the Imprenta Artgraf. In collaboration with other artists, she participated in the creation of the murals at the La Rosita pulque bar (disappeared) and at the Casa de la Madre Soltera. She entered the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" shortly after it was established in 1942, taking classes with José Chávez Morado, Feliciano Peña and Frida Kahlo, with whom she became close friends. She changed her last name from Rabinovich to Rabel during her career. Rabel married urologist Jaime Woolrich and had two children Abel and Paloma Woolrich, both of whom became actors. The first exhibition of her work was in 1945 with twenty-four oils, thirteen drawings, and eight engravings at the Liga Popular Israelita with Frida Kahlo writing the presentation. In 1955, she had an individual exhibition at the Salón de la Plástica Mexicana. She had a large exhibition at the Museum of the Palacio de Bellas Artes to commemorate a half-century of her work. Her last exhibition was in 2007 at the Universidad Autónoma Metropolitana. Her work can be found in collections in over fifteen countries including those of the New York Public Library, the Library of Congress in Washington, D.C., the Royal Academy of Denmark, the National Library in Paris, the Casa de las Américas in Havana, the Benemérita Universidad Autónoma de Puebla and the Museo de Arte Moderno in Mexico City. A retrospective of her work after her death called Retrospectiva in Memoriam, Fanny Rabel (1922-2008) was held at the Museum of the Universidad Popular Autónoma del Estado de Puebla . She is considered to be the first modern female muralist in Mexico although she also did significant work in painting, engraving, drawing, and ceramic sculpture. Her work has been classified as poetic Surrealism, Neo-expressionism and is also considered part of the Escuela Mexicana de Pintura (the dominant art movement of the early to mid 20th century in Mexico) as one of the youngest muralists to be associated with it along with Arnold Belkin and José Hernández Delga. Rabel was more drawn to depicting mankind’s pain rather than happiness, sharing other Mexican muralists' concerns about social injustice. However, she stated to Leopoldo Méndez that she could not create combative works, with clenched fists and fierce faces, and she wanted to leave the Taller de Gráfica Popular. Méndez convinced her to stay, saying that more tender images are important to political struggle as well. Children with Mexican faces...

"Trumpet Soloist" places the viewer in the midst of what might be a jazz festival and calls forth music we've all snapped our fingers to. The musician is in the midst of belting it o...

Large contemporary semi-abstract painting with a light texture and mostly monochrome black and white colour palette. The nude male figure in rich brown tones is abstracted. Contempo...

Title: «Orgia número 7» Collection: Muses Description: Acrylic on canvas, figurative, dark, love, gestural, modern Symbolism of the number 7: love. This image tells us an erotic story about goddesses who embark on a soft and passionate orgy. Seven naked and uninhibited women in a paradisiacal setting." Based on this description, the artwork in question is likely an erotic depiction of goddesses engaging in a sensual and passionate orgy. The symbolism of the number 7, which represents love, adds an additional layer of meaning to the artwork. The artwork is described as paradisiacal, suggesting that the women are enjoying themselves in a lush and idyllic environment. The image may be highly sensual and erotic, with a focus on the beauty and sensuality of the female form. The story being told is one of uninhibited pleasure and eroticism, with the goddesses embracing their sexuality and engaging in a free and passionate sexual experience. Victoria Tsemka...

Title: «Nefertiti» Description: Acrylic on canvas, figurative, Portrait, modern "She was and will continue to be the most beautiful woman of all times and peoples, without a doubt. Her popularity among the people did not fade with the exit from the historical stage of the reformer pharaoh." The work is talking about a woman who is considered to be the most beautiful of all time and people, and her popularity has not diminished even after the exit of a reformer pharaoh from the historical stage. It suggests that her beauty is timeless and everlasting, and she is revered by people even in contemporary times. The description could be referring to a historical figure, possibly a queen or a renowned beauty. Victoria Tsemka...

Title: «La Bruja» Collection: Muses Description: Acrylic on canvas, figurative, Vibrant, modern "Who is the witch of the big city today? How does she stand out from everyone else? She wants to break the rules and obeys her inner voice, she is not afraid to be herself, she chooses her own path, she lets magic enter her life every day, because living her life and loving herself is true magic." The artwork in question may celebrate the power and freedom of self-expression. The focus is on a woman who defies convention and chooses to live life on her own terms. She is described as a "witch," which suggests that she is seen as someone who is in touch with the mystical and the spiritual. The artwork may depict this woman as a bold and confident figure, with an unapologetic attitude and a strong sense of personal style. The imagery may be colorful and fantastical, with elements of nature and magic woven into the composition. The artwork may also convey a sense of joy and empowerment, with the message that being true to oneself is the ultimate form of magic. Overall, the artwork celebrates individuality, creativity, and the courage to pursue one's own path in life. Victoria Tsemka...

Title: «I love Stefie» Collection: Muses Description: Acrylic on canvas, figurative, nature, brown, modern "What kind of woman is she? Like an excerpt from a romantic novel, here it is. Fragile and beautiful, yet strong, brave, with refined taste, a lover of art and, above all, good manners. She inspires me! I want to be close to her, be a friend of the muse of my dreams." The artwork in question may be a portrait or depiction of a woman who embodies both fragility and strength, as well as beauty and refinement. The focus is on the woman's character and personality, rather than her physical appearance alone. The artwork may convey a sense of admiration or infatuation, with the artist or viewer expressing a desire to be close to the subject of the piece. The mention of good manners and a love of art suggests that the woman is sophisticated and cultured, with a refined and elegant sensibility. Overall, the artwork celebrates the beauty and complexity of women, with a focus on character and personality as well as physical appearance. Victoria Tsemka...

Title: «Amor de Cebracornio» Collection: Muses Description: Acrylic on canvas, figurative, nature, love, modern "The zebracorn is a symbol of madness and integrity at the same time. It is also a symbol of new and unnamed legends. Only a crazy girl can tame this mythical creature. The artwork symbolizes new pathways for imagination and the pure and gentle side of personality that exists in every woman: a combination of elegant sophistication that is hard to resist and a mysterious character. It is the charm that is inside every woman." The artwork in question features the zebracorn, a mythical creature that represents both madness and integrity. The artwork may be highly imaginative and fantastical, drawing on the viewer's sense of wonder and creativity. The zebracorn's symbolism of new and unnamed legends suggests that the artwork is intended to evoke a sense of mystery and intrigue. The image of a crazy girl taming the creature may symbolize the power of the human imagination to overcome even the wildest and most uncontrollable forces in the world. The artwork is described as representing the pure and gentle side of personality that exists in every woman, with a combination of elegance and mystery that is both alluring and enigmatic. Overall, the artwork celebrates the power of imagination and the strength and beauty of women. Victoria Tsemka...