(after) Paul Klee

Paul Klee Etching "Die Szene mit der Laufenden"

1925

Helio-etching on hand-made paper, 1923 by Paul Klee. Signatur is printed, lower center: Klee From portfolio Paul Klee, Handzeichnungen 1921-1930; Here no 15 Image: 5.55 x 7.48 in ( 1...

Helio-etching on hand-made paper, 1927 by Paul Klee. From portfolio "Paul Klee, Handzeichnungen 1921-1930" Here no 41 Measurements: Image: 5.51 x 7.48 in ( 14 x 19 cm ), Framed: 13.4...

A vintage helio-etching on hand-made paper, 1949, after a 1923 drawing by Paul Klee. From portfolio Paul Klee, Handzeichnungen 1921-1930; Here no 16 Image: 7.68 x 3.03 in ( 19,5 x 7...

Helio-etching on hand-made paper, 1922 by Paul Klee. Signatur is printed, lower center: Klee From portfolio Paul Klee, Handzeichnungen 1921-1930; Here no 8 Image: 7.56 x 5.63 in ( 19...

Helio-etching on hand-made paper, 1926 by Paul Klee. Signatur is printed, lower center: Klee From portfolio Paul Klee, Handzeichnungen 1921-1930; Here no 31. Image: 4.09 x 7.52 in (...

Helio-etching on hand-made paper, 1926 by Paul Klee. Signatur is printed, top right: Klee From portfolio Paul Klee, Handzeichnungen 1921-1930; Here no 34 Image: 7.6 x 5.79 in ( 19,3 ...

Lester Johnson Girls Walking State 3 etching 1986. Designated edition number 8 of 21 in pencil lower left recto. Signed in pencil "Lester Johnson" lower right recto.

This is an aquatint print by French painter Georges Rouault titled "Dors mon amour" ("Sleep, My Love") (plate facing page 164) from Cirque de l'étoile filante (The Shooting Star Circ...

This is an aquatint print by French painter Georges Rouault titled "Le Rencheri" from Cirque de l'étoile filante (The Shooting Star Circus) 1935, published 1938 by Ambroise Vollard....

Lovis Corinth (1858 Tapiau - 1925 Zandvoort), Rudolf von Rittner as Florian Geyer, 1924 (Müller 854), drypoint signed in pencil. 20.4 × 14.2 (plate size), 37.7 × 30.6 cm (sheet size). Published by Karl Nierendorf, Berlin. Framed in a passepartout. - Strong, precise impression. Frame a little bit rubbed and with two small damages. About the artwork The knight is a leitmotif in Lovis Corinth's work, culminating in his Self-Portrait in Armour of 1914. Of all the paintings on this theme, Corinth most often depicted Florian Geyer. Descended from a Franconian noble family, he fought for the freedom of the peasants during the peasant wars of the Reformation, first diplomatically and then militarily, leading the legendary Schwarzen Haufen (Black Troops). The name derives from the black uniforms with which Geyer dressed the peasants willing to fight. During the Napoleonic occupation, the freedom fighter Florian Geyer was sung about by the Romantics, and the free corps Die Schwarze Schaar, founded in 1813 by Major von Lützow, succeeded the Schwarzer Haufen. It was against this historical background that Gerhard Hauptmann wrote the revolutionary drama Florian Geyer, which premiered at the Deutsches Theater in Berlin in 1896. While the actor Rudolf Rittner, who would later appear in Fritz Lang's films, initially played the role of Schäferhans, he took over the leading role in the new production at Berlin's Lessing Theatre in 1904, again directed by Emil Lessing, which established his fame as an actor. Hauptmann himself praised the acting. He wrote to Hugo von Hofmannsthal: "It went quite well with Florian Geyer. In any case, I had the great pleasure of seeing the play again in an admirable performance". And Lovis Corinth was so taken with Rittner's performance that he painted an oil portrait of him in the role of Florian Geyer in 1906. After two further graphic versions in 1915 and 1920/21, Corinth returned to the painting a year before his death and almost twenty years after the oil painting to create this graphic version in 1924. Even the inscription in the picture was taken over. This proves all the more the importance of the knight and freedom fighter for Corinth's self-image. The oil painting, in particular, proclaims the single-minded determination to fight to the last for the values defended, manifested in the oil painting by the tattered flag held out to the enemy. There is a parallel with Rainer Maria Rilke's 1899 story The Cornet, in which the protagonist goes down with the flag that he first saved at the risk of his life. Consequently, the portrait is also a self-portrait, and the knight's armour is not an academic costume or an ironic refraction, but an expression of Corinth's self-image, which also includes his self-representation as an artist. The Secession poster...

According to Gesine Tosin, Richard Hamilton irritated contemporary critics in the 1970s with a series of works -- romantic images of flowers, still lifes and landscapes, interspersed with scatological motifs. "Once exhibited, the critics regarded the paintings as evidence either of a kinky sexual aberration or an early onset of senility." (Hamilton 1982, p.79. ) Trichromatic flower-piece is one of these works, which questioned the categories of high and low art through its appropriated imagery. In the words of Richard Hamilton: “The Shit and Flowers series was was inspired in a sense by Barcelona, walking on the Ramblas where thousands of postcards are displayed. (…) I bought three pictures of flowers. I took them back to Cadaqués and began to play about with them, at first by putting a little paint on the surface.” According to Andrew Kim Tyler: “Working at Atelier Crommelynck, Paris in 1973-4, Hamilton used a traditional still life subject, a bouquet of flowers, to pursue his interest in the combination of photographic images with planes of color and hand-drawn aspects, but subverting the image with addition of a large turd. Perversely he set out to produce by manual means an etching with the characteristics of a commercially made reproduction resulting in Trichromatic flower-piece.” In addition to the edition of Trichromatic Flower-piece, Hamilton printed...

This is an artist proof aquatint of a woman peeking around a cactus with ducks mysteriously hovering in the upper right corner and a giant beautiful cactus overgrowing. The mood is ...