Richard Lindner

Offset Lithograph Poster Resistible Rise of Arturo, Bertold Brecht 1968 Pop Art

1968

Vintage 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 Paris gallery was started in 1946 by Aimé Maeght. The artists exhibited are mainly from France and Spain. Since 1945, the gallery has presented the greatest modern artists such as Matisse, Bonnard, Braque, Miró, and Calder. In 1956, Adrien Maeght opened a new parisian venue. The second generation of “Maeght” artists was born: Bazaine, Andre Derain, Giacometti, Kelly, Raoul Ubac, then Riopelle, Antoni Tapies, Pol Bury and Adami, among others. Jean-Paul Riopelle, CC GOQ (7 October 1923 – 12 March 2002) was a painter and sculptor from Quebec, Canada. He became the first Canadian painter (since James Wilson Morrice) to attain widespread international recognition. Born in Montreal, Riopelle began drawing lessons in 1933 and continued through 1938. He studied engineering, architecture and photography at the école polytechnique in 1941. In 1942 he enrolled at the École des beaux-arts de Montréal but shifted his studies to the less academic école du Meuble, graduating in 1945. He studied under Paul-Émile Borduas in the 1940s and was a member of Les Automatistes movement. Breaking with traditional conventions in 1945 after reading André Breton's Le Surréalisme et la Peinture, he began experimenting with non-objective (or non-representational) painting. He was one of the signers of the Refus global manifesto. In 1947 Riopelle moved to Paris and continued his career as an artist, where, after a brief association with the surrealists (he was the only Canadian to exhibit with them) he capitalized on his image as a "wild Canadian". His first solo exhibition took place in 1949 at the Surrealist meeting place, Galerie La Dragonne in Paris. Riopelle married Françoise Lespérance in 1946; the couple had two daughters but separated in 1953. In 1959 he began a relationship with the American painter Joan Mitchell, Living together throughout the 1960s, they kept separate homes and studios near Giverny, where Monet had lived. They influenced one another greatly, as much intellectually as artistically, but their relationship was a stormy one, fueled by alcohol. The relationship ended in 1979. His 1992 painting Hommage à Rosa Luxemburg is Riopelle's tribute to Mitchell, who died that year, and is regarded as a high point of his later work. Riopelle's style in the 1940s changed quickly from Surrealism to Lyrical Abstraction (related to abstract expressionism), in which he used myriad tumultuous cubes and triangles of multicolored elements, facetted with a palette knife, spatula, or trowel, on often large canvases to create powerful atmospheres. The presence of long filaments of paint in his painting from 1948 through the early 1950s[8] has often been seen as resulting from a dripping technique like that of Jackson Pollock. Rather, the creation of such effects came from the act of throwing, with a palette knife or brush, large quantities of paint onto the stretched canvas. Riopelle's voluminous impasto became just as important as color. His oil painting technique allowed him to paint thick layers, producing peaks and troughs as copious amounts of paint were applied to the surface of the canvas. Riopelle, though, claimed that the heavy impasto was unintentional: "When I begin a painting," he said, "I always hope to complete it in a few strokes, starting with the first colours I daub down anywhere and anyhow. But it never works, so I add more, without realizing it. I have never wanted to paint thickly, paint tubes are much too expensive. But one way or another, the painting has to be done. When I learn how to paint better, I will paint less thickly." When Riopelle started painting, he would attempt to finish the work in one session, preparing all the color he needed before hand: "I would even go as far to say—obviously I don't use a palette, but the idea of a palette or a selection of colors that is not mine makes me uncomfortable, because when I work, I can't waste my time searching for them. It has to work right away." A third element, range of gloss, in addition to color and volume, plays a crucial role in Riopelle's oil paintings. Paints are juxtaposed so that light is reflected off the surface not just in different directions but with varying intensity, depending on the naturally occurring gloss finish (he did not varnish his paintings). These three elements; color, volume, and range of gloss, would form the basis of his oil painting technique throughout his long and prolific career. Riopelle received an Honorable Mention at the 1952 São Paulo Art Biennial. In 1953 he showed at the Younger European Painters exhibition at the Solomon R. Guggenheim Museum in New York City. The following year Riopelle began exhibiting at the Pierre Matisse Gallery in New York. In 1954, works by Riopelle, along with those of B. C. Binning and Paul-Émile Borduas represented Canada at the Venice Biennale. He was the sole artist representing Canada at the 1962 Venice Biennale in an exhibit curated by Charles Comfort...

Vintage gallery exhibition poster. Bright vivid red and bold yellow. The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was...

Larry Rivers "The Music Festival of the Hamptons / July 18-27 1997" poster, Not hand signed. [Dimensions: 24" H x 18" W] Larry Rivers (born Yitzroch Loiza Grossberg) (1923 – 2002) was an American artist, musician, filmmaker, and occasional actor. Considered by many scholars to be the "Godfather" and "Grandfather" of Pop art, he was one of the first artists to merge non-objective, non-narrative art with narrative and objective abstraction. Rivers took up painting in 1945 and studied at the Hans Hofmann School from 1947–48. He earned a BA in art education from New York University in 1951. His work was quickly acquired by the Museum of Modern Art. A 1953 painting Washington Crossing the Delaware was damaged in fire at the museum five years later. He was a pop artist of the New York School, reproducing everyday objects of American popular culture as art. He was one of eleven New York artists featured in the opening exhibition at the Terrain Gallery in 1955 along with Paul Mommer, Leonard Baskin, Peter Grippe During the early 1960s Rivers lived in the Hotel Chelsea, notable for its artistic residents such as Bob Dylan, Janis Joplin, Leonard Cohen, Arthur C. Clarke, Dylan Thomas, Sid Vicious and multiple people associated with Andy Warhol Factory and where he brought several of his French nouveau réalistes friends like Yves Klein who wrote there in April 1961 his Manifeste de l'hôtel Chelsea, Arman, Martial Raysse, Jean Tinguely, Niki de Saint-Phalle, Christo & Jean Claude, Daniel Spoerri or Alain Jacquet, several of whom, like Rivers, left some pieces of art in the lobby of the hotel for payment of their rooms. In 1965, Rivers had his first comprehensive retrospective in five important American museums. His final work for the exhibition was The History of the Russian Revolution, which was later on extended permanent display at the Hirshhorn Museum and Sculpture Garden in Washington, DC. He spent 1967 in London collaborating with the American painter Howard Kanovitz. In 1968, Rivers traveled to Africa for a second time with Pierre Dominique Gaisseau to finish their documentary Africa and I, which was a part of the groundbreaking NBC series Experiments in Television. During this trip they narrowly escaped execution as suspected mercenaries. During the 1970s, Rivers worked closely with Diana Molinari and Michel Auder on many video tape projects, including the infamous Tits, and also worked in neon. Rivers's legs appeared in John Lennon and Yoko Ono's 1971 film Up Your Legs Forever. From 1940–1945 he worked as a jazz saxophonist in New York City, changing his name to Larry Rivers in 1940 after being introduced as "Larry Rivers and the Mudcats" at a local pub. He studied at the Juilliard School of Music in 1945–46, along with Miles Davis, with whom he remained friends until Davis's death in 1991. Larry Rivers was born in the Bronx to Samuel and Sonya Grossberg, Jewish immigrants from Ukraine. In 1945, he married Augusta Berger, and they had one son, Steven. Rivers also adopted Berger's son from a previous relationship, Joseph, and reared both children after the couple divorced. In 1949 he had his first one-man exhibition at the Jane Street Gallery in New York. This same year, he met and became friends with John Ashbery, and Kenneth Koch. In 1950 he met Frank O’Hara. This same year he took his first trip to Europe spending eight months in Paris, France, reading and writing poetry. Beginning in 1950 and continuing until Frank’s death in July of 1966, Larry Rivers and Frank O’Hara cultivated a uniquely creative friendship that produced numerous collaborations, as well as inspired paintings and poems. In 1951 Rivers’ works were shown at the Tibor de Nagy Gallery where he continued to show annually (except 1955) for about 10 years. In 1954 he had his first exhibition of sculptures at the Stable Gallery, New York. In 1955 The Museum of Modern Art acquired Washington Crossing the Delaware. This same year he won 3rd prize in the Corcoran Gallery national painting competition for “Self-Figure.” Rivers’ also painted “Double Portrait of Berdie” in 1955, which was soon purchased by the Whitney Museum. In 1957 he and Frank O’Hara began work on “Stones,” a collaborative mix of images and poetry in a series of lithograph for Tatyana Grosman company ULAE. During this time he also appeared on the television game show “The $64,000.00 Question” where along with another contestant, they both won, each receiving $32,000.00. In 1958 he again spent time in Paris and played in various jazz bands. In 1959 he painted Cedar Bar Menu...

Black Tie, 1977 James Rosenquist, American, 1933–2017. Printed by Maurice Sanchez at Derrière L'Étoile Studios, Inc. Published by Sidney Singer Color lithograph on rolled white Arches Cover paper Blindstamp of a man in a hat, bottom right Hand signed in pencil. Dated 1977 lower right. Titled and numbered 76/100 lower left. Measures 73 1/2" x 37 James Rosenquist (November 29, 1933 – March 31, 2017) was an American artist and one of the proponents of the pop art movement. Drawing from his background working in sign painting, Rosenquist's pieces often explored the role of advertising and consumer culture in art and society, utilizing techniques he learned making commercial art to depict popular cultural icons and mundane everyday objects. While his works have often been compared to those from other key figures of the pop art movement, such as Andy Warhol, JIm Dine and Roy Lichtenstein, Rosenquist's pieces were unique in the way that they often employed elements of surrealism using fragments of advertisements and cultural imagery to emphasize the overwhelming nature of ads. He was a 2001 inductee into the Florida Artists Hall of Fame. Rosenquist was born on November 29, 1933, in Grand Forks, North Dakota, the only child of Louis and Ruth Rosenquist. His parents were amateur pilots of Swedish descent who moved from town to town to look for work, finally settling in Minneapolis, Minnesota. His mother, who was also a painter, encouraged her son to have an artistic interest. In junior high school, Rosenquist won a short-term scholarship to study at the Minneapolis School of Art and subsequently studied painting at the University of Minnesota from 1952 to 1954. In 1955, at the age of 21, he moved to New York City on scholarship to study at the Art Students League, studying under painters such as Edwin Dickinson and George Grosz. Talking about his experience at the Art Students League, Rosenquist said "I studied only with the abstract artists. They had commercial artists there teaching commercial work, I didn't bother with that. I was only interested in -- see, here's how it started. I was interested in learning how to paint the Sistine Chapel. It sounds ambitious, but I wanted to go to mural school". While studying in New York, Rosenquist took up a job as a chauffeur, before deciding to join the International...

This is a truly historic limited edition hand signed museum print from the 1960s - of the first North American building the legendary artists Christo ever wrapped: Christo Wrap In Wr...

Rare Keith Haring “Life is Fresh! Crack Is Wack!” 1987 sealed/unopened in its original shrink wrapping: A highly sought-after 1980s record album featurin...

Milton Glaser Newport Jazz Festival at The Russian Tea Room: The Russian Tea Room is an iconic restaurant in NYC located next to New York's Carne...

1980s Milton Glaser Poster Art: Milton Glaser Brooklyn Center for the Performing Arts at Brooklyn College: Vintage original Milton Glaser poster c.1984. Designed by Milton Glaser on the occasion of the 30th anniversary of the Brooklyn Center for the Performing Arts at Brooklyn College. In this piece Glaser creates music and dance incarnate: A colorful figure appears headless, its torso formed...