Sekhar Kar

Faces, Moods, Expression, Mixed Media work by Contemporary Artist "In Stock"

2016

Sekhar Kar - Untitled - 14 x 11 inches ( unframed size ) Mixed media on board ** Delivered in parcel form mounted but not framed. Style : Sekhar Kar paintings depict men and women...

Usha Hooda - Untitled , 10 x 14 inches ( unframed size ) Pen & Ink on Paper , 2007 Inclusive of Framed & Rolled Delivered. Usha Hooda is an artist, aesthete, interior designer par e...

Re. the works : These are a set of 9 works of size 14 x 11 inches ( unframed work size ) . To get the best out of them we recommend placing them together in interesting ways . Few ...

Anita Roy Chowdhury - Landscape - 10 x 7 inches ( unframed size) Mixed Media on Paper Inclusive of shipped in roll form. Style : Her works manifest human figures, nude or draped in ...

Anita Roy Chowdhury - Habitat - 30 x 24 inches ( unframed size) Oil on canvas Inclusive of shipped in roll form. Style : Her works manifest human figures, nude or draped in differen...

Anita Roy Chowdhury - Mother nature - 30 x 24 inches ( unframed size) Oil on canvas Inclusive of shipped in roll form. Style : Her works manifest human figures, nude or draped in di...

Shana Wilson's "Young Woman on Blue Chair" is a 16" x 20" (26.5x30.5 Framed) masterpiece that captures the essence of contentment and relaxation. The young nude woman, with brown hair and a tranquil expression, sits on a light blue chair against a backdrop of a warm, ochre-toned wall. Her posture, leaning to one side with one arm on the armrest and the other resting on her lap, exudes comfort. This framed artwork masterfully portrays a sense of calm and ease, inviting viewers to appreciate the serene moment it portrays. Wilson's attention to detail and use of color create a captivating and emotionally resonant composition. About the Artist: Over seven billion souls exist on this planet, each with a unique face and story. Shana transfers her visceral love for the human landscape to canvas, tenderly cradling its peaks and valleys, darkness and light, colors and neutrals, empty and full, hard edges and soft curves. Each brush stroke creates a controlled cacophony as it assembles the intricate jigsaw of the human face. An entire life’s journey is written on this human landscape; a journey that begs to be documented and treasured. Shana’s legacy project is to paint inspirational women from all walks of life, inclusive of all cultures and orientations. The subjects all have one thing in common; the ability to inspire and create social change. She pays tribute to them on canvas, painting a long overdue celebration of trail-blazing women. Visit any major gallery or museum in the world and it is teeming with paintings of nude women...

Hal Lotterman was born in Chicago, Illinois in 1920 and studied at the University of Illinois and the University of Iowa. He received his BFA and MF...

MARZENA KAWALEROWICZ Polish artist. Currently, she lives and works in Warsaw. She has been exhibiting her paintings all over the world. Most important exhibitions were in "Galerie Je...

Oil on cardboard by Nandor VAGH WEINMANN (1897-1978), France, 1930s. Naked back. With frame: 64x56 cm - 25.2x22 inches ; without frame: 46x38cm - 18.1x15 inches. 8F format. Signed "Nandor V. Weinmann" lower left. In its Montparnasse frame. Very good condition. Born October 3, 1897 in Budapest, Nándor is the older brother of Elemer and Maurice Vagh-Weinmann. He came to Paris to present his work in 1931. He died on December 12, 1978 near Montereau (Seine-et-Marne) following an automobile accident. He is the most colorful of the three “expressionist” brothers. Painter of figures, landscapes, especially open mountains, and bouquets in bright colors. He is also a religious painter and then finds the tragic condition. Born in BUDAPEST on October 3, 1897, Nandor Vagh Weinmann belongs to a profoundly artistic people. Living in the heart of Central Europe where they came from Asia a millennium ago, the Hungarians have preserved a strong ethnic individuality whose mark is their very synthetic, non-Indo-European language. Resistant to secular invasions, they have kept the virtues of a very ancient humanity that have become rare in our modern world, especially since their way of life has remained essentially rural until today. In the arts they know how to express a generous, extreme sensibility and by the poetic verb, by the musical rhythms and also by a popular art of a richness, an exceptional harmony. Until the age of thirty-four, during the decisive years of childhood and youth, Nandor Vagh Weinmann was intimately imbued with popular life and the soul of Hungary. From the capital where his father was a jeweler and had a family of ten children, Nandor was the fifth, he knew first of all the suburbs, the populated districts, the rigors in winter of the cold and the snow. A very mobile existence made him acquainted with all of Hungary, from the Danube to Transylvania, its infinite plains and its wild mountains, its immense villages with ample low houses, and its towns which are still immense villages. The painter is passionate about rustic works, harvest scenes, beautiful folk costumes. Coming into direct contact with the peasants, he learned to know their soul. These contacts gave the artist a direct feeling for popular life and soul, as Millet once understood the peasants of Barbizon and Normandy whose existence he shared. What fascinated Nandor Vagh Weinmann above all were the festivals which enlivened the dreary life of the countryside, the circuses, the merry-go-rounds, the gypsies unleashing orgies of music, light and color. In the party, and especially the Hungarian party, the whole soul of a people, all its energy, its need for movement, for intensity, is expressed in its pure state and realizes the primary and essential form of what is called beauty. And as if melted at the party, there is the infinite steppe where herds of horses and oxen circulate where terrible storms sometimes roar where the seasons unfold their grandiose splendours. The young Nandor Vagh Weinmann nourishes his sensitivity to his inexhaustible shows, both eternal and always new, a sensitivity which very early declared itself that of a painter. Since the age of fourteen he painted, and since then he never stopped doing it. Two of his brothers Maurice, two years his junior, who had a remarkable career similar to that of Nandor and later Elemer who became Maurice's pupil, also devoted themselves to painting, despite family obstacles. And the three brothers united by a common passion worked together in Hungary and later in France. Painting was so much in the blood of the family, as in the past among the Veroneses, the Breughels, the Lenains, the Van Loos and so many other artistic dynasties, that three sons of the Vagh Weinmanns became painters in their turn. One of these, Emeric, son of Nandor, today occupies an important place in the contemporary school. Nandor, at fifteen, was a pupil of the Academy of Fine Arts in Budapest where he worked diligently, then at that of Vienna. He painted many portraits, but also landscapes, compositions and, by his relentless work, managed to live from his brush, although married very young and having to overcome many hardships. He therefore knew the hardships and miseries of life. These strongly impregnated his vision as an artist and explain the thrill of humanity that runs through all his work. A particularly moving experience was reserved for him at the age of twenty. In the hospitals of Budapest he had to paint extraordinary cases, operations, frightful wounds, the deformations to which our poor body is subjected by traumas and physiological decompositions. In these circumstances, it is not a question of gratuitous art, of formal research but of immediate, authentic expressions of our flesh and our being. We know that Breughel Velázquez and Goya had been haunted by the sight of cripples and of madmen Géricault by that of corpses. But life is ultimately stronger than anything, and it is life that Nandor Vagh Weinmann has passionately observed and translated through all the places where he has always painted on nature. Nothing stopped him. It happened to him to paint, for example in front of the mill of Linselles by a weather so cold, that nobody could stay outside, and that he did not leave the place before having finished his work. Because he works constantly on the ground, under the sky, in the silence he loves. His reputation is established. He exhibited at the national fair in Budapest, in the big cities of Hungary Szeged, Szombathely, Veszprém, Kaposvar. In 1931, like all artists in the world, he came to France. But unlike the others, he did not settle in Paris. Because Nandor Vagh Weinmann does not belong to this group of cosmopolitans that we call the School of Paris. He settled in Toulouse, where he remained for a long time with his brothers, and traveled throughout France, eager for new ties, exhibiting in the most diverse cities, in Bordeaux, Marseille, Lyon, Agen, Bayonne, Dax, Tarbes, Grenoble, Nice, Cannes, Strasbourg, Mulhouse, Colmar, Lille. He even crossed borders. He was in Saint Sebastian, in Geneva, and once in Egypt in 1927 where he painted King Fouad...

Sand Pit Hungarian American Oil Painting Workers Horses European Modernism 1928 WPA The board measure 10 3/4 x 15 1/2 inches. The work was painted in Hunga...

"Harvest" Working Women Hungarian European Modernism Expressionism 1926 WPA Era. 10 x 11 inches oil on board. Painted in Hungary. Stephen (Istvan) Csoka was born in Gárdony, Hungary on January 2, 1897 and died in New York in 1989. He is best remembered as a painter and etcher of portraits, nudes, landscapes, genre, and horses. Csoka studied at the Budapest Royal Academy of Art and his memberships include Associate of the National Academy of Design in New York City; the Society of American Etchers in Brooklyn, NY; the Society of Brooklyn Artists; and the Hungarian Etchers Association. Csoka's exhibitions and awards include a medal at the Barcelona International Exhibition in 1929; a prize at the City of Budapest Exhibit in 1930; prizes at the Society of American Etchers in 1942 and 1945; prizes at the Library of Congress in 1944 and 1946; a prize at the Society of Brooklyn Artists in 1944; a prize at the Philadelphia Watercolor Club in 1945; the Corcoran Gallery of Art in 1945; the Carnegie Institute in 1943, 1944, and 1945; the Art Institute of Chicago in 1944; the Los Angeles Museum of Art in 1945; the National Academy of Design from 1940 through 1945; one-artist shows at the Contemporary Artists in 1940, 1943, and 1945; and the Minneapolis State Fair in 1943. *Stephen continued to recieve awards and exhibit his work throughout his life. In 1997, Hofstra Museum sponsored a Retrospective/Centennial exhibition in honor of his birth. Collections representing Csoka's work are the Metropolitan Museum of Art, New York, NY; the Brooklyn Museum, Brooklyn, NY; the Museum of Fine Arts, Boston, MA; the British Museum, London, England; the Bezalel National Museum, Jerusalem, Israel; the Butler Institute of American Art, Youngstown, Ohio; Whistler House Museum of Art, Lowell, MA; the Cleveland Museum of Art, Cleveland, OH; Columbus Museum of Art, Columbus, OH; the Sheldon Swope Art Museum, Terre Haute, IN; the Mobile Museum of Art, Mobile, AL; the Frederick R. Weisman Art Museum, Minneapolis, MN; the Museum of New Mexico, Santa Fe, NM; the Budapest Museum of Fine Arts, Budapest, Hungary; Hungarian National Gallery, Budapest, Hungary, the Museum of the City of Budapest, Budapest, Hungary; the Library of Congress, Washington, DC; Carnegie Museums of Pittsburgh, Pittsburgh, PA; the Chrysler Museum of Art, Norfolk, VA; Georgia Museum of Art, Athens, GA; Hofstra Museum, Hofstra University, Hempstead, NY; Holocaust Museum, Glen Cove, NY; National Academy of Art, New York, NY; New Orleans Museum of Art, New Orleans, LA; New York Historical Society, New York, NY;New York Public Library, New York, NY; National Gallery of Art, Washington, DC; Peabody Museum, Cambridge, MA; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Reading Public Museum, Reading, PA; Livingston Arts Center, Mount Morris, NY; Ball State Teachers College, Muncie, IN; City College, New York, NY; Fashion Institute of Technology, New York, NY; Hungarian Consulate, New York, NY; Hungarian Heritage, New Brunswick, NJ; Hunter College, New York, NY; IBM Collections; Princeton Print Club...