Renzo Eusebi

Italian Artist Abstract Lithograph

Color lithograph with color paper collage, 1987. Pencil signed lower right and dated, and numbered lower left 5/24. Litho depicts a poem titled "Ariadne" by T. Weiss. Published by ...

Le masque à gaz, 1971, edition of 300. Signed "Arman" in pencil l.r., numbered in pencil l.l. Lithograph in purple and gold on paper, image size 25 3/8 x 19 3/8 in. (64.3 x 49.0 cm),...

1982-84 Hunter College, New York (M.F.A.) 1978-80 School of Visual Arts, New York 1973-77 Bezalel Academy of Art, Jerusalem (B.F.A.) American, born in Romania Lives and works in New York City Solo Exhibitions 2008 Michael Steinberg Fine Art, New York 2006 Galeria Joan Prats, Barcelona 2005 Karpio + Facchini Gallery, Miami Jacob Karpio Galeria, San Jose (Costa Rica) 2004 Michael Steinberg Fine Art, New York 2001 Marella Arte Contemporanea, Milan 2000 Von Lintel & Nusser, New York Galerie Von Lintel & Nusser, Munich 1998 Galerie Thomas von Lintel, Munich 1997 Galerie des Archives, Paris 1995 Galerie Samuel Lallouz, Montreal L.A. Louver, Los Angeles 1994 Marc Jancou Gallery, London Galerie des Archives, Paris 1993 Galerie Barbara Farber, Amsterdam Real Art Ways, Hartford (Connecticut) 1992 Tom Cugliani Gallery, New York Galerie Marc Jancou, Zurich Galerie des Archives, Paris 1989 Tom Cugliani Gallery, New York Galerie Barbara Farber, Amsterdam Studied at bezalel from 1973 to 1977. And it was a very fascinating time because it was a highly conceptually based school. Very much influenced by Joseph Beuys, and European Conceptualism, I didn’t really like the atmosphere there that much, because it was dominated by male painters like Jörg Immendorf, Marcus Lupertz, and a few others. then came to New York to study at SVA for two years. New York in 1978 was exciting. I was very lucky to be in a class that was full of very bubbly and very energetic artists like Keith Haring, Kenny Scharf, Tim Rollins, Moira Dryer, Frank Holliday, and Tom Cugliani (who later became one of my dealers).The eighties were dominated largely by Neo-Expressionist paintings. There were Germans, such as Baselitz, Kiefer, Richter, Penck, and the Italians, Clemente, Chia, Cucchi, Palladino as well as Schnabel, Fischl, Basquiat, Salle, and many others, but all of their paintings were figuratively based. But below the popular consent, there was a group of painters who were working more in the vein of what Stephen Westfall referred to as “Neo-Surrealism,” including George Condo, Jeffrey Wasserman, Kenneth Scharf, David Humphrey. However, I felt that Carroll Dunham and you were the only two painters who seemed to be less interested in the kind of narrative, lyrical, or let’s say, stationary composition. He belongs to the generation of Terry Winters, Elizabeth Murray, David Reed and Jonathan Lasker but in some strange way, if we’re looking back to the mid-eighties, we have to include New Image painters like Susan Rothenberg, Neil Jenney, and Robert Moskowitz who were working in between the figure and abstraction with a kind of condensation and compression, in relationship, lets say, to cartoon imagery. There are artists like Jeff Koons, or even Damien Hirst who took the Duchampian aspect and brought it into the continuity of his readymade. But for me, I see no difference between the crack in “Large Glass” and the drips in Jackson Pollock’s paintings. There was something that I felt in my own equation of the continuity between Paul Klee, Duchamp, Picabia, and, oddly enough, Clyfford Still. What essentially is important is how different artists carry on a dialogue among themselves so that they can all keep their work vital. Whether from the abstract paintings of Richmond Burton, Fabian Marcaccio extending the borders of his paintings on to the wall, or Cady Noland’s early scattered installation, my own pre-occupation with machinery, urban environment, and the Duchampian models has always materialized in relationship to other forms of art making. Selected Group Exhibitions: 2014 Drawing on Difference: An Ambition by Saul Ostrow and Lidija Slavkovic, Studio Vendome Gallery, New York. 2013 Drawing on Habit: An Ambition by Saul Ostrow and Lidija Slavkovic, South Carlton Beach and The Betsy-South Beach Exhibition Programs, Art Basel, Miami Beach. 2013 Imprinted Pictures: Lydia Dona...

Arman (November 17, 1928 – October 22, 2005) was a French-born American artist. Born Armand Fernandez in Nice, France, Arman was a painter who moved from using objects for the ink or...

Paul Aizpiri was a painter and sculptor born in 1919 in Paris, France to an Italian mother and a father from the Basque Country, Spain. His signature compositions always had a touch...

John Altoon (1925-1969) UNTITLED, 1966, color lithograph, hand signed in pencil and inscribed trail proof II, sheet 29 ¾ x 41 ¼, printed by Gemini G.E.L.,...

"Cali" is a typical motif by Maurice Estève. The lithograph in colours was published in an edition of 100. 49,6 x 65 cm. Signed and numbered.

’Flying’ By Yutaka Takayanagi. Medium - Relief and lithographic print Edition - 14/20 Signed - Yes Size - 790mm x 570mm Date - 1976 Condition - Excellent. 10 out of 10. Born in Tokyo in 1941, Takayanagi's artistic journey began when he enrolled at Tokyo University of the Arts in 1960, studying under the renowned oil painter Kaoru Yamaguchi. His talent was quickly recognized when he received an Honorable Mention at the 8th Shell Arts Award Exhibition in the same year. During his time at university, Takayanagi took an intensive course in copper plate printing under Tetsuro Komai, receiving his degree from the graduate school in 1966. Fascinated by the simultaneous color print method, he started creating copperplate prints and soon gained recognition for his unique metallic reliefs, which he produced using collages of English newspapers. Takayanagi's passion for experimentation led him to create metallic emboss reliefs using his own photographs, and in the latter half of the 1980s, he moved on to silkscreen prints. He continued to push the boundaries of his art, constantly exploring new techniques and mediums. In 1978 and the following year, Takayanagi was appointed as an arts researcher for the Ministry of Culture and traveled to the United States, France, and the UK. These experiences enriched his artistic perspective and further cemented his reputation as a highly regarded artist. Takayanagi was part of the influential printmaking group Sosaku Hanga, which emerged in the early 20th century in Japan. This movement emphasized the artist's involvement in every stage of the printmaking process, from designing the image to carving and printing the blocks. Takayanagi's work often incorporates elements of nature and landscape, with an emphasis on texture and pattern. He also experimented with collage, incorporating found materials like newspaper clippings and photographs into his prints. Takayanagi's work has been exhibited extensively in Japan and internationally, including at the Museum of Modern Art in New York and the National Museum of Modern Art in Tokyo. He has also received numerous awards for his contributions to printmaking, including the Japan Print Association Award and the Purple Ribbon Medal...

’Minimum colour contrast with orange’ By Yutaka Takayanagi. Medium - Relief and lithographic print Edition - 1/20 Signed - Yes Size - 790mm x 570mm Date -1977 Condition - Excellent. 10 out of 10. Born in Tokyo in 1941, Takayanagi's artistic journey began when he enrolled at Tokyo University of the Arts in 1960, studying under the renowned oil painter Kaoru Yamaguchi. His talent was quickly recognized when he received an Honorable Mention at the 8th Shell Arts Award Exhibition in the same year. During his time at university, Takayanagi took an intensive course in copper plate printing under Tetsuro Komai, receiving his degree from the graduate school in 1966. Fascinated by the simultaneous color print method, he started creating copperplate prints and soon gained recognition for his unique metallic reliefs, which he produced using collages of English newspapers. Takayanagi's passion for experimentation led him to create metallic emboss reliefs using his own photographs, and in the latter half of the 1980s, he moved on to silkscreen prints. He continued to push the boundaries of his art, constantly exploring new techniques and mediums. In 1978 and the following year, Takayanagi was appointed as an arts researcher for the Ministry of Culture and traveled to the United States, France, and the UK. These experiences enriched his artistic perspective and further cemented his reputation as a highly regarded artist. Takayanagi was part of the influential printmaking group Sosaku Hanga, which emerged in the early 20th century in Japan. This movement emphasized the artist's involvement in every stage of the printmaking process, from designing the image to carving and printing the blocks. Takayanagi's work often incorporates elements of nature and landscape, with an emphasis on texture and pattern. He also experimented with collage, incorporating found materials like newspaper clippings and photographs into his prints. Takayanagi's work has been exhibited extensively in Japan and internationally, including at the Museum of Modern Art in New York and the National Museum of Modern Art in Tokyo. He has also received numerous awards for his contributions to printmaking, including the Japan Print Association Award and the Purple Ribbon Medal...

Horse Ride-Green, Violet, Brown. Original color lithograph, 1969. Edition of 75 signed and numbered impressions on Arches paper. Joan Miró was a famous Spanish Catalan surreal painter, sculptor and ceramicist, but he also created graphics, large installations and murals. His radical style for that time was a contribution to the early-20th-century avant-garde and complete abstraction later. Early fauvistic works showed the influence of Cézanne, in cubist compositions, but also a reference to the avant-garde interests of the painter. Few years later he started to change his artistic approach over the magic realism to surrealism. His surfaces become abstract and stayed like that until the rest of his career. Miró’s mature style evolved from the tension between his fanciful, poetic impulse and his vision of the harshness of modern life. The artworks are reflections of his subconscious mind, filled with pictorial signs, biomorphic forms, geometric shapes, and abstract and semi-abstract objects. He worked extensively in lithography and produced numerous murals, tapestries, and sculptures for public spaces. Miro’s composition...

John Altoon's work crosses a hybrid between abstract and figurative, influenced by Abstract Impressionism. He used color and line to connect sociopolitical messages with the viewer.

This lithograph is part of my private collection. It is limited in edition ,artist signed lower right and is in very good condition. Walter Becker was a German artist. Another impres...