Robert Jessup

The Mad Puppeteer as Don Giovanni, 1988

Born in Moscow, Idaho,and raised in Seattle, Robert Jessup received his BFA from the University of Washington in 1975 and his MFA from the University of Iowa in 1979. His work has be...

Born in Moscow, Idaho,and raised in Seattle, Robert Jessup received his BFA from the University of Washington in 1975 and his MFA from the University of Iowa in 1979. His work has be...

Born in Moscow, Idaho,and raised in Seattle, Robert Jessup received his BFA from the University of Washington in 1975 and his MFA from the University of Iowa in 1979. His work has been exhibited extensively since 1981 and is in numerous private and public collections including the metropolitan Museum of Art, the Brooklyn Museum, the University of Virginia, the University of Texas, the Anderson Museum of Contemporary Art, and the Dallas Museum of Art. He is a Professor Emeritus from the University of North Texas where he taught painting in the College of Visual Arts and Design from 1991 to 2018. His work is represented by the Conduit Gallery in Dallas, Texas. In 2019, Jessup and his wife, Faith Scott Jessup, moved to Whidbey Island...

Born in Moscow, Idaho,and raised in Seattle, Robert Jessup received his BFA from the University of Washington in 1975 and his MFA from the University of Iowa in 1979. His work has been exhibited extensively since 1981 and is in numerous private and public collections including the metropolitan Museum of Art, the Brooklyn Museum, the University of Virginia, the University of Texas, the Anderson Museum of Contemporary Art, and the Dallas Museum of Art. He is a Professor Emeritus from the University of North Texas where he taught painting in the College of Visual Arts and Design from 1991 to 2018. His work is represented by the Conduit Gallery...

Julio 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...

Jean Dassonval (French, 1939-2012) Untitled, 1989 Acrylic and mixed media on canvas 19 3/4 x 25 3/4 in. Signed lower right: Dassonval Stamped verso: Jean Dassonval Inscribed in Fren...

Matador and Bull (37) John F. Leonard American (1921–1987) Date: circa 1965 Oil on Board Size: 20 in. x 16 in. (50.8 cm x 40.64 cm)

Diavoletto di Cartesio is an original Contemporary artwork realized in 1992 by the italian artist Leo Guida (1992 - 2017). Original Oil on Wood. Dimensions: cm 96 x 3 x 60. Frame ...