Ronald Hall

A Tale of Two Boys

2016

Large-scale abstract assemblage by Bay Area artist Michael Pauker (American, b.1957). Lively assemblage with various items: Paintings, small mirrors, biological illustrations of bird...

"Le Chat II" Oil Painting 20" x 17" inch by Zohra Efflatoun signed & dated Zohra Efflatoun came from an artistic family. Her half-sister Inji was a r...

Alirio Palacios Paisaje azul, 1997 Natural pigments on paper mounted on wood 150 x 160 cm 59 x 62.9 in. The artwork is signed and dated on the fro...

A painting by Nathan Oliveira. "Untitled" is a Bay Area Figurative Painting, oil on canvas in a brown and tan palette by American artist Nathan Oliveira. The artwork is signed in the lower right, "Oliveira 64". A Californian whose work is of preeminent importance during the post war period, Oliveira is most often associated with Park, Diebenkorn and the other artists with whom he sketched early in his career. Yet it was not an oversight when Oakland Museum director Paul Mills chose not to include Oliveira in the 1957 exhibition “Contemporary Bay Area Figurative Painting.” All came to figuration by initiating a sophisticated dialogue with abstraction, yet it is Oliveira, the often characterized ambivalent loner among Bay Area artists whose work is most often compared to Alberto Giacometti, Francis Bacon, or Willem de Kooning with whom he shared walls and space at The Images of Man exhibition held in New York at the Museum of Modern Art in 1959. During the early years, Oliveira’s lone figures often suggested an existential angst similar to that of Giacometti, but there was also a weightlessness and a transcendent aura that envelopes these figures; they appear as elemental, universal and eternal projections of selfless consciousness better understood within the bodiless realm of metaphysics. These qualities would remain in his work throughout his long career, yet he would find other themes to explore — the natural world where the essential nature of birds and animals exist in equal profundity with their human counterparts, the transient world of evanescent perception when memory must reconstruct momentary experience, and later, the ‘site’ paintings and monoprints that suggest the abandoned remnants of a long-lost civilization or tribe uncovered at an archeological dig. Through and through, flesh to bones, and bones to dust Nathan Oliveira has left us with a legacy of art that will surely remain untarnished by time or changing trends. His work exists within a realm rarely achieved by artists striving in a similar mode of expression. Unclouded by ego or wayward sentiment, it is also in the warmth and humble nature...