(after) Josef Albers

Homage to the Square: R-I D-5 (from "Albers")

1977

"Sacrifice Economy" Silkscreen 39" x 27.5" inch by Patricio Gonzalez Silkscreen Not framed From "Looking for Happiness" series LOOKING FOR HAPPI...

"Indianapolis Museum of Art Inaugural Exhibitions", 25 October 1970, is an eye popping large bold colorful geometric abstract silk screen. It is signed on the lower right. Robert Indiana, one of the preeminent figures in American art since the 1960s, played a central role in the development of assemblage art, hard-edge painting, Pop art, Neo-Dada, American Modernism and Modern Art. A self-proclaimed “American painter of signs,” Indiana created a highly original body of work that explores American identity, personal history, and the power of abstraction and language, establishing an important legacy that resonates in the work of many contemporary artists such as Andy Warhol, Keith Haring, Roy Lectenstein, David Hockney, Romero Britto, Richard Hamilton and Robert Rauschenberg who make the written word a central element of their oeuvre. Robert Indiana was born Robert Clark in New Castle, Indiana on September 13, 1928. Adopted as an infant, he spent his childhood moving frequently throughout his namesake state. At 14 he moved to Indianapolis in order to attend Arsenal Technical High School, known for its strong arts curriculum. After graduating he spent three years in the U.S. Air Force and then studied at the Art Institute of Chicago, the Skowhegan School of Sculpture and Painting in Maine, and the Edinburgh College of Art in Scotland. In 1956, two years after moving to New York, Indiana met Ellsworth Kelly, and upon his recommendation took up residence in Coenties Slip, where a community of artists that would come to include Kelly, Agnes Martin, James Rosenquist, and Jack Youngerman had studios. Indiana, like some of his fellow artists, scavenged the area’s abandoned warehouses for materials, creating sculptural assemblages from old wooden beams, rusted metal wheels, and other remnants of the shipping trade that had thrived in Coenties Slip. The discovery of 19th century brass stencils led to the incorporation of brightly colored numbers and short emotionally charged words onto these sculptures as well as canvases, and became the basis of his new painterly vocabulary. Although acknowledged as a leader of Pop, Indiana distinguished himself from his Pop peers by addressing important social and political issues and incorporating profound historical and literary references into his works. In 1964 Indiana accepted Philip Johnson’s invitation to design a new work for the New York State Pavilion at the New York World’s Fair, creating a 20-foot EAT sign...

Then Came a Stick and Beat the Dog, 1984 is a stellar example of his use of incredibly bright colors and a plethora of irregular shapes. The first thing you notice about this piece besides its colossal size is the color palette. The colors are highly saturated and vibrant; they carry a certain narrative, heavy quality that speaks to you. To name a few, Stella uses electrifying colors of magenta, pink, silver, brown, green, lavender, and aquamarine. These hues dazzle in plain sight but also accentuate the disorderly shapes of cones and cylinders. The outlines of these forms spill over the edge of the paper while the magical swirls of lines occupy your vision. The diversity in texture and layering of color on top of each other heightens the sense of mass and weight incorporated into this work. The rhythmic lines and experimental quality of irregular shapes compose a kind of poetic allure. Inspired by gouaches done by the Russian avant-garde artist, El Lissitsky, Stella takes on a fresh new rendition. El Lissitzky’s works that Stella had seen in Tel Aviv were based on a song called “Had Gadya.” Stella designated titles for each variant in the series that becomes very much a part of his style as an artist. This piece is an example that highlights Stella as an artist who fuses inspiration from his well-traveled life into an aesthetically and culturally pleasing work of art. In all of this work’s interwoven structures, layered colors, and historic background, lies the mastery of Frank Stella, as a distinct artist in his ability to combine a vast array of elements. Created in 1984, Then Came a Stick and Beat the Dog, 1984 from Illustrations After El Lissitzky's Had Gadya is a hand-coloring and collage with lithograph, linocut, and silkscreen on T. H. Saunders paper (background) and shaped, hand-cut Somerset paper (collage). Hand-signed and dated by Frank Stella (Massachusetts, 1936 - ) in pencil in the lower left: ‘F. Stella ‘84’, this work is numbered from the edition of 60 in pencil in the left; published by Waddington Graphics, London. Catalogue Raisonné & COA: Frank Stella Then Came...

Utilizing a bold color palette of red, black, yellow, and blue-grey, Leger creates an abstract work in which shapes and forms appear to drift in space. The large, red central image h...

Utilizing a bold color palette of purple, yellow, red, and black, Léger creates an abstract work in which shapes and forms create a constructive unit. We detect hints of a road, a la...

Patrick Heron Small Yellow: January, 1973 Screenprint Hand-signed, titled and numbered by the artist 42.4 x 52.2 cm - Sheet 69.8 x 79.4 x 2.5 cm - Framed Edition 42 of 72 condition:...

Michael Rothenstein Little Zoo III, 1990 Screenprint on Velin Arches paper 54 x 45 cm Edition 9 of 100 hand-signed and numbered 9 of 100. published by Flowers Graphics, London in 19...

Ian Tyson Study for Sculpture, 1966 Screenprint on wove paper Artist Proof, from an edition of 12 + 3 AP hand-signed, numbered and titled by the artist in pencil, on the front Ian T...

Howard Hodgkin Still Life, 1980 Colour screenprint on Velin Arches paper, signed with initials, dated and numbered 77/100 in pencil. 79 x 73 cm published by Bernard Jacobson Ltd, Lon...

Rocca Luis César Rita, 2023 Serigraph in six colors 21.70 x 21.70 in Edition of 30 This serigraph (silkscreen or screen print) is part of a limited e...