Estelle Ginsburg

Klimt, Lithograph by Estelle Ginsburg

circa 1979

Gina Lombardi Bratter, American - Gabrielle, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 30, Size: 33 in. x 21 in. (83...

Artist: Estelle Ginsburg, American Title: Women in Interior #7 Year: 1978 Medium: Screenprint, signed and numbered in pencil Edition: 150 Image S...

This serigraph was created by contemporary American artist Hunt Slonem. Slonem is best known for his Neo-Expressionist paintings and bright tropical palette, and his subject matter o...

Artist: Bernard Schultze, German (1915 - 2005) Title: Hommage a Picasso Year: 1973 Medium: Etching, signed and numbered in pencil Edition: 75/90 Image Size: 21.5 x 17.5 Size: 30 x 21...

After Klimt is an artwork realized by Mino Trafeli in 1980. Etching, 70 x 50 cm., not framed. Edition XXV/XXV. Handsigned in the lower margin. Good conditions. Mino Trafeli (V...

After Gustav Klimt, Max Eisler #30, Brautzug; multi-color collotype after unfinished 1917/18 painting in oil on canvas. Painted in the last months of Klimt’s life, The Bride was one...

After Gustav Klimt, Max Eisler Plate #25, Baby; black & white collotype after the 1917 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT ...

After Gustav Klimt, Max Eisler #1, Die Freundinnen II; multi-color collotype after 1916/17 painting in oil on canvas which was destroyed by fire in May 1945 at Immendorf Castle Lower Austria. Eisler’s choice to begin his 1931 portfolio of works by Klimt with Girlfriends II was both bold and prescient. Just 14 years later, the painting was tragically destroyed in a fire. With such a loss, this rare and exquisite image is all the more valuable by virtue of having been made in color. In works from his late period, Klimt continued his fascination with exploring female dynamics and their various forms of love. Girlfriends II is a fine example of how space, color and ornament play a noticeable role in the evolution of his symbolic language. Wide swaths of space in the background as well as the two female forms create the structure. Klimt’s strong brushstrokes show a painterly quality and a new move toward abstraction which feels very far away from his earlier work. Nor should Klimt’s economy of line be overlooked. His draughtsmanship is what infuses the female bodies with movement, emotion and a profundity of life. Both women confront the viewer’s gaze unselfconsciously, as if they are modern-day Viennese women stepping out of a Klimtesque ukiyo-e print. Characteristic of this late period, Klimt uses ornament...