Katherine Bello

Naples

2021

Jennifer Bricker-Pugh Time to Begin...Again Materials: Mixed Media on Canvas Date: 2018 Dimensions : 30"x1.5"x36" Signed by hand COA provided Description: In my opinion, color is an ...

Jennifer Bricker-Pugh Primrose Acrylic on Canvas Year: 2021 Size: 30x30x1.5in Signed, dated and inscribed by hand COA provided Ready to hang Ref.: 924802-1084 Jennifer is an Abstrac...

Ted Hinrichs Spirit of Nature Acrylic on Canvas Year: 2021 Size: 30x40in Framed: 32x42x2.5in Signed by hand COA provided Ref.: 24802-1714 *Framed in black Wood Tags: Abstract, Acryl...

Ted Hinrichs Desert Evening Acrylic on Canvas Year: 2020 Size: 60x24x1.5in Signed by hand COA provided Ref.: 24802-1717 *on Stretcher Frame ready to hang Tags: Abstract, Acrylic, Ge...

Ted Hinrichs Red Rope Acrylic on Canvas Year: 2022 Size: 24x36in Framed: 26x38x1.75in Signed by hand COA provided Ref.: 24802-1727 *Framed in naural Wo...

Ted Hinrichs Calipso Acrylic on Canvas Year: 2023 Size: 29.25x35.5in Framed: 31.5x27.5x1.5in Signed by hand COA provided Ref.: 924802-1791 *Framed in black Wood Tags: Abstract, Acry...

Untitled 01 [Remains of the Remains 01], 2018 oil on canvas 78 47/64 H x 59 1/16 W in 200 H x 150 W cm The large-sized paintings, signed by Zsolt Berszán...

Diving for Pearls, 1986 Oil on canvas 88 x 76 in. (223.5 x 193 cm) Signed, dated, and titled, verso

James Joyce's Smile, 1984 Oil on canvas 66 x 87 in. (167.6 x 221 cm) Signed, dated, and titled, verso

In "Shattered Atlas: The Modern Burden," the artist Masri presents a 40" x 30" mixed media canvas that epitomizes 'Shattered Cubism,' a style that fragments reality into geometric fo...

Large Scale Mid-Century Earth-tone Horizontal Abstract by Joseph Vasica Very large scale (70"H x 160"W) (5.8'H x 13.3'L) mid-century abstract with soft edge, grey and burnt sienna...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...