Vintage Frank Stella poster Musee des Vosges (Konskie II, Polish village)
View Similar Items
Frank StellaVintage Frank Stella poster Musee des Vosges (Konskie II, Polish village)1983
1983
About the Item
- Creator:Frank Stella (1936, American)
- Creation Year:1983
- Dimensions:Height: 28.75 in (73.03 cm)Width: 19.25 in (48.9 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Some edge wear, slight creasing along edge, and dimples throughout paper.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU121129326082
Frank Stella
Frank Stella is one of the central figures in postwar American art. A proponent of minimalism and non-representational abstraction, Stella is a painter, printmaker and sculptor. A native of Massachusetts, he attended Phillips Academy in Andover and earned a BA from Princeton, where he studied art and color theory with Josef Albers and Hans Hofmann.
Stella frequented New York galleries as a student and was intrigued by the work of Jackson Pollock and Franz Kline, both of whom were at the height of their creative powers in the late 1950s. After moving to New York in 1958, he gravitated toward the geometric abstraction and restrained painting style of Barnett Newman and Jasper Johns. Johns’s flat, graphic images of common objects such as targets and flags prompt viewers to question the essential nature of representation and whether these pictures are really paintings or simply new iterations of the items themselves. Stella pushed Johns’s reasoning further, considering paintings on canvas as objects in their own right, like sculptures, rather than representations. This led him to reject certain formal conventions, eschewing sketches and often using nontraditional materials, like house paint.
In 1959, Stella created his “Black Paintings,” series, in which bands of black paint are separated by thin, precise stripes of bare canvas. At a time when contemporary painting was all about wild gestures, thick paint and formal abandon, these pieces created a sensation. That same year, Stella's work was included in the exhibition "Sixteen Americans" at the Museum of Modern Art in New York, and he joined the roster of artists represented by Leo Castelli Gallery. In 1960, he began introducing color into his work and using unconventionally shaped canvases to complement his compositions.
In his “Eccentric Polygon” series, from 1965 and ‘66, Stella embraces asymmetry and bold color, creating forms delineated by painted fields and by the edges of the canvas. This series was followed by the 1967–70 “Protractor” series, characterized by colorful circles and arcs. Named after the ancient cities whose circular plans Stella had noticed while traveling in the Middle East during the 1960s, these works usually comprised several canvases set flush against one another so that the geometric figures in each section came together in a larger, more complex whole.
Also in the mid-1960s, Stella started exploring printmaking, initially working with Kenneth Tyler, of Gemini G.E.L., and later installing printing equipment in his own studio. In 1968, he created the “V” series of lithographs,which included the print Quathlamba I. Following a solo exhibition at the Museum of Modern Art in 1970, Stella began working in three dimensions, adding relief elements to paintings, which could almost be considered wall-mounted sculptures.
Stella’s 1970–73 “Polish Village” series was inspired by a documentary photos and architectural drawings of Polish synagogues that had been destroyed by Nazis during World War II. The resulting works — composed primarily of paint and cloth on plywood — are more rugged and less polished than his previous series. Herman Melville's Moby Dick was his muse for a series of three- dimensional works he created in the 1980s in which waveforms, architectural elements and Platonic solids play a prominent role. During this period, Stella embraced a new, exuberant style that is exemplified in "La Scienza della Fiacca." In 1997, he oversaw the creation of the Stella Project, a 5,000-square-foot work inside the Moores Opera House at the University of Houston. A large free-standing sculpture by Stella stands outside the National Gallery of Art in Washington, D.C.
Stella’s work is in the collections of numerous important museum collections around the world, including New York’s Museum of Modern Art and Metropolitan Museum of Art; the Menil Collection, in Houston; the Hirshhorn Museum and Sculpture Garden, in Washington, D.C.; and the San Francisco Museum of Modern Art. He was awarded the National Medal of Arts by President Obama in 2009, and was given the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center in 2011.
Find a collection of Frank Stella's art on 1stDibs.
- Vintage James Rosenquist poster MOCA Chicago 1972 neon yellow pink chromeBy James RosenquistLocated in New York, NYAn inverted car, gleaming in chrome, speeds through sumptuous layers of pink, translucent yellow, and a veil of lacy, flower-like shapes. Across the top, the artist’s name is splashe...Category
1970s Pop Art Abstract Prints
MaterialsOffset
- Sightseeing (black pull) James Rosenquist text Pop Art in black and whiteBy James RosenquistLocated in New York, NYThis abstract composition features a cropped view of the words SIGHT SEEING, in bold all-capital lettering. Roses fill the top line of text, and the bottom line of text in white is s...Category
1970s Pop Art Abstract Prints
MaterialsLithograph, Screen
- 1973 by Mark Lancaster Neon yellow and black British pop art graffitiLocated in New York, NYA dynamic neon-yellow and black Mark Lancaster screen print combining calligraphic paint strokes, paint drips, and smooth, graphic yellow gradients characteristic of the artist's mos...Category
1970s Pop Art More Prints
MaterialsScreen
- Study for Sculpture in the Form of an Inverted Q Above & Below Ground OldenburgBy Claes OldenburgLocated in New York, NYStudy for Sculpture in the Form of an Inverted Q: Above and Below Ground, 1975 Lithograph, soft-ground etching, and aquatint in six colors on cream, thick, slightly textured Rive BFK paper 14 × 11 in. / 35.2 × 28 cm Signed and dated in pencil, lower right, numbered in pencil, lower left. Edition of 100 with 20 AP. Printed by Bill Law, Winston Roeth and Allan Uglow at Petersburg Press...Category
1970s Pop Art Abstract Prints
MaterialsEtching, Aquatint, Lithograph
- 1-2-3 Outside James Rosenquist pop art muscle car print blue and orangeBy James RosenquistLocated in New York, NY1-2-3 Outside reproduces James Rosenquist’s 1963 oil painting of the same name, collected in the Spencer Museum of Art, The University of Kansas, Lawrence. Rosenquist sourced the ima...Category
1970s Pop Art Abstract Prints
MaterialsLithograph
- Bunraku, James Rosenquist, abstract Japanese puppetry monochrome Pop ArtBy James RosenquistLocated in New York, NYThis abstract monochrome print portrays large, shiny dark purple bubbles that cascade over a scribbled, dense background. The sense of moveme...Category
Late 20th Century Pop Art Abstract Prints
MaterialsLithograph
- Takashi Murakami record art 2018 (Takashi Murakami Kanye West)By Takashi MurakamiLocated in NEW YORK, NYTakashi Murakami Record Art 2018 (Takashi Murakami Kanye West Kid Cudi): This Takashi Murakami designed cover & record album is for Kids See Gh...Category
21st Century and Contemporary Pop Art Abstract Prints
MaterialsPaper, Offset
$100 Sale Price20% Off - Canadian Post Modern Pop Art Lithograph Vintage Poster Memphis Galerie MaeghtBy Jean-Paul RiopelleLocated in Surfside, FLVintage gallery exhibition poster. The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was founded in 1936 in Cannes. The Pa...Category
1970s Pop Art Abstract Prints
MaterialsLithograph, Offset
- Dream of William Burroughs (rare 1970s limited edition lithograph) for Earth DayBy Robert RauschenbergLocated in New York, NYROBERT RAUSCHENBERG Dream of William Burroughs, 1972 Offset lithograph 34 1/2 × 24 inches Edition 103/150 Signed, dated and numbered in black marker on the front Unframed Wonderful early 1970s print Words appearing in a dream of William Burroughs Co-published by Automation House and E.A.T., produced by Local One, Amalgamated Lithographers of America, New York Signed and numbered 103/150 in black marker This work is registered with the Robert Rauschenberg archives, reference number: RRF 72.E001 Text reads: THEY DID NOT FULLY UNDERSTAND THE TECHNIQUE. IN A VERY SHORT TIME THEY NEARLY WRECKED THE PLANET. More information about this work from the Rauschenberg Foundation: Lithopinion 26, the current affairs and graphic arts journal, dedicated its summer 1972 edition to the subject of “Our Transportation Mess.” Among the contributors were Theodore Kheel, who was a lawyer, leading labor mediator and arbitrator, as well as an environmentalist, and Senator Edward Kennedy. Kheel commissioned artists such as Romare Bearden, Christo, and Rauschenberg, his friend and client, to address the transportation system in the United States. Rauschenberg’s contribution was inspired by a dream that William Burroughs, the Beat writer, had described to him, and which resulted in the lithograph Dream of William Burroughs (1972) published by Experiments in Art and Technology (E.A.T.). Surrounded by images of various modes of transportation, the lithograph includes the words: “They did not fully understand the technique / in a very short time they nearly wrecked the planet.” As an E.A.T. board member, Kheel understood, like Rauschenberg, that environmentalism and technology were not conflicting views but symbiotic relationships. In Lithopinion 26, E.A.T. stated that it “supports technology when it tries to help people achieve their human potentiality [and] criticizes it when it doesn’t.” About Robert Rauschenberg: Robert Rauschenberg ushered in a new era of postwar American art in the wake of Abstract Expressionism. His approach, along with that of his contemporary Jasper Johns, was sometimes termed “Neo-Dada,” due to its relation to both European forebears and the physical gestures of American Abstract Expressionists. His Combine works (1954 to early 1960s) blurred the distinctions between painting and sculpture, as their flat surfaces were augmented with discarded materials and appropriated images. Rauschenberg also worked with photography, printmaking, papermaking, and performance, the last of which resulted in a number of collaborations with choreographers, including Merce Cunningham, Paul Taylor, and Trisha Brown. Rauschenberg was among the founding members of the innovative group Experiments in Art and Technology (E.A.T.) in 1966, and in 1984 he established the Rauschenberg Overseas Culture Interchange (ROCI) to bring art to communities around the world, saying, “I feel strong in my beliefs, based on my varied and widely traveled collaborations, that a one-to-one contact through art contains potent peaceful powers, and is the most non-elitist way to share exotic and common information, seducing us into creative mutual understandings for the benefit of all.” Rauschenberg’s nontraditional art practice and creative energy generated an enduring influence that impacted generations of artists, as noted by art historian Branden W. Joseph: “Rauschenberg’s was a position with which artists across the board were confronted and to which they almost necessarily had to respond. … Rauschenberg’s work served as a stimulus, an impetus and a challenge.” Robert Rauschenberg was born in 1925, in Port Arthur, Texas and died on Captiva Island, Florida in 2008. He has had numerous exhibitions worldwide, including “Robert Rauschenberg: A Retrospective,” Solomon R. Guggenheim Museum, New York (1997, traveled to Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, Houston, Museum Ludwig, Cologne and Guggenheim Museum, Bilbao, through 1999); “Combines,” Metropolitan Museum of Art, New York (2005, traveled to Museum of Contemporary Art, Los Angeles, Centre Pompidou, Paris, and Moderna Museet, Stockholm in 2007); “Cardboards and Related Pieces,” Menil Collection, Houston (2007); “Traveling ‘70–‘76,” Museu de Arte Contemporânea de Serralves, Porto (2008, traveled to Haus der Kunst, Munich, and Madre, Naples in 2009); “Gluts,” The Peggy Guggenheim Collection, Venice (2009, traveled to The Tinguely Museum, Basel, Guggenheim Museum Bilbao, and Villa e Collezione Panza, Varese in 2010); and “Botanical Vaudeville,” Inverleith House, Royal Botanic Garden, Edinburgh (2011). Gagosian Gallery first exhibited Robert Rauschenberg’s work in 1986. About William Burroughs William S. Burroughs was a Beat Generation writer known for his startling, nontraditional accounts of drug culture...Category
1970s Pop Art Abstract Prints
MaterialsOffset, Permanent Marker, Lithograph
- As I Opened Fire Poster, TriptychBy (after) Roy LichtensteinLocated in New York, NYSet of 3 color offset lithographs. The last panel is signed in pencil. Printed by Drukkerij Luii & Co., Amsterdam. Published by the Stedelijk Museum, Amsterdam. This is a reproductio...Category
1960s Pop Art Abstract Prints
MaterialsColor, Lithograph, Offset
- Keith Haring: Into 1984/Tony Shafrazi GalleryBy Keith HaringLocated in New York, NYColor offset lithograph. Signed and dated in felt-tip pen and pink ink, lower right. Published by Tony Shafrazi Gallery, New York.Category
1980s Pop Art Abstract Prints
MaterialsColor, Lithograph, Offset
- Takashi Murakami 'Superflat' exhibition poster (vintage Takashi Murakami)By Takashi MurakamiLocated in NEW YORK, NYTakashi Murakami Superflat Exhibition Poster 1999: Rare 1990s exhibit poster designed by Murakami and published by Marianne Boesky Gallery New York...Category
21st Century and Contemporary Pop Art Abstract Prints
MaterialsLithograph, Offset