Femme Couchee, Cubist Lithograph by Pablo Picasso

1979-1982

Pablo Picasso's print features a painter in his studio capturing the likeness of a nude woman posing on a setee or chaise lounge. Sitting at his easel, the painter uses blue paint on...

Reclining on a sofa, the nude female model looks backward toward her raised feet as the painter renders her portrait. Comprised of short, wavy lines, this scene by Pablo Picasso focu...

Rendered with soft, minimal lines, this portrayal of a mother and her child is sweet and comforting. Staring over the head of the child, the mother supports the boy as he rests on he...

In this bustling print, Pablo Picasso creates an energetic and complex scene featuring a female nude in the background with a small white-painted face beside it on the right, while a...

Seated beside her likeness, the nude model in this Pablo Picasso print stares at the painter while he contemplates the portrait he has rendered on the canvas. Both nude, the figures ...

This raucous scene by Latin American Surrealist Roberto Matta shows leaping nude figures flying through the air above what look like boulders. Their bodies are warped and stretched a...

Reclining Cubist Nude Woman Max Weber (April 18, 1881 – October 4, 1961) was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to more figurative Jewish themes in his art. He is best known today for Chinese Restaurant (1915), in the collection of the Whitney Museum of American Art, "the finest canvas of his Cubist phase," in the words of art historian Avis Berman. Born in the Polish city of Białystok, then part of the Russian Empire, Weber emigrated to the United States and settled in Brooklyn with his Orthodox Jewish parents at the age of ten. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow. Dow was a fortunate early influence on Weber as he was an "enlightened and vital teacher" in a time of conservative art instruction, a man who was interested in new approaches to creating art. Dow had met Paul Gauguin in Pont-Aven, was a devoted student of Japanese art, and defended the advanced modernist painting and sculpture he saw at the Armory Show in New York in 1913. In 1905, after teaching in Virginia and Minnesota, Weber had saved enough money to travel to Europe, where he studied at the Académie Julian in Paris and acquainted himself with the work of such modernists as Henri Rousseau (who became a good friend), Henri Matisse, Pablo Picasso, and other members of the School of Paris. His friends among fellow Americans included some equally adventurous young painters, such as Abraham Walkowitz, H. Lyman Sayen, and Patrick Henry Bruce. Avant-garde France in the years immediately before World War I was fertile and welcoming territory for Weber, then in his early twenties. He arrived in Paris in time to see a major Cézanne exhibition, meet the poet Guillaume Apollinaire, frequent Gertrude Stein's salon, and enroll in classes in Matisse's private "Academie." Rousseau gave him some of his works; others, Weber purchased. He was responsible for Rousseau's first exhibition in the United States. In 1909 he returned to New York and helped to introduce Cubism to America. He is now considered one of the most significant early American Cubists, but the reception his work received in New York at the time was profoundly discouraging. Critical response to his paintings in a 1911 show at the 291 gallery, run by Alfred Stieglitz, was an occasion for "one of the most merciless critical whippings that any artist has received in America." The reviews were "of an almost hysterical violence." He was attacked for his "brutal, vulgar, and unnecessary art license." Even a critic who usually tried to be sympathetic to new art, James Gibbons Huneker, protested that the artist's clever technique had left viewers with no real picture and made use of the adage, "The operation was successful, but the patient died."[8] As art historian Sam Hunter wrote, "Weber's wistful, tentative Cubism provided the philistine press with their first solid target prior to the Armory Show." The Cellist...

A superb, richly-inked impression of this very scarce, important German Expressionist lithograph on smooth, cream wove paper. Edition of approximately only 20. Signed in pencil. Publ...

A very good impression of this color lithograph. Signed and numbered 51/180 in pencil. Printed by Mourlot, Paris. Published by Leon Amiel, New York, and XXe Siècle, Paris. From the s...

Claes Oldenburg Parade of Women from the Deluxe hand signed edition of 1 Cent Life Portfolio (Acquired from the Estate of Robert Indiana), 1964 Color lithograph on wove paper Published by E.W. Kornfeld, Germany, Written by Walasse Ting, Edited by Sam Francis Hand-signed by Claes Oldenburg on the lower right front; numbered 85/100 on the colophon page a copy of which is affixed to the back of the frame -see photo Frame included: elegantly floated and framed in hand made museum frame with UV plexiglass, and colophon page with unique edition number affixed to the back. (see photos) This hand signed work is from the Deluxe hand signed edition of only 100 - not to be confused from the unsigned edition of 2000. (None of the works from the edition of 2000 were ever signed by Oldenburg.) Hand signed editions are rarely if ever seen on the marketplace. This original lithograph, splayed across two pages, is from the Deluxe edition of the legendary 1 Cent Life Portfolio, one of the most important and celebrated artistic collaborations of the 1960s. Chinese American artist and writer Walasse Ting, in collaboration with Sam Francis, assembled a group of the most significant Pop and Abstract Expressionist artists in America, including Pop Artist Claes Oldenburg, along with the European COBRA artists to create the definitive artistic portfolio, with text by Walasse Ting. The Deluxe edition, which features hand signed prints was published in a limited edition of only 100. This is one of them. Of the 100, editions numbered 60-100, or 40 portfolios, were reserved exclusively for Artists & Collaborators. This hand signed Claes Oldenburg lithograph...

Maurice Estève - Composition Original Lithograph 1964 Dimensions: 32 x 25 cm Revue XXe Siècle Cahiers d'art published under the direction of G. di San Lazzaro. French painter born...

Lanny Lasky (1923-2011) Untitled, c. 1970s Print (lithograph?) Sight: 22 1/4 x 17 1/2 in. (image) Framed: 30 1/2 x 22 1/2 x 1 1/2 in. Signed lower right, numbered lower left: 113/120 Lasky was as passionate about making art accessible to all as she was about creating it. She devoted much of her time to art education — as an education director for the Hudson River Museum, at the Lincoln Center Institute and the Bronx Council on the Arts. She was a consultant to the New York State Council on the Arts and the Connecticut State Department of Education and worked in many capacities, including director at the Museum of Modern Art’s education department from 1986 to 2001. Lasky brought art to countless Riverdale children and senior citizens through her work with Riverdale Neighborhood House. “Throughout her life she was always committed to her work as an artist, but she was also seriously committed to art education and that was important,” her son, Michael Lasky, said. “She worked toward innovative art programs and had the kids paint...