Marc Chagall

Marc Chagall – The Burning Bush from the Story of Exodus

1966

This artwork titled "Les Montgolfieres, Place de la Concorde, Paris" 1987 is a original colors lithograph on Arches paper by French artist (Fanch, Francois Ledan, born 1949) It is hand signed and numbered 67/250 in pencil by the artist. The image size is 25.25 x 19.5 inches, framed is 37.25 x 31.25 inches. Printed by Atelier d'Art Dejobert, Paris, with their blind stamp at the lower left corner. Custom framed in a wooden gold frame, with off white matting. It is in excellent condition. About the artist: Francois "Fanch" Ledan (b. 1949) is noted for colorful scenes of his native Brittany. In 1968 he abandoned his studies in commercial design for full-time studies in painting and fine art. His talent was quickly recognized and soon he was involved in major European shows. He became involved in printmaking in 1973 when he learned lithography in Paris. Since then he has had numerous one-person shows in Europe, North America and South America. His paintings and lithographs from the 1970's and 1980's display characteristics often associated with "naïve" art. His views of Paris, a city which has embraced naïve art, display the attention to detail, In the 80's he turned to more brightly colored paintings and again a connection to Impressionism. He began to work on paintings that he refers to as "interior...

This artwork "Woman Sitting" c.1990 is an offset lithograph by American artist Barbara A. wood, born 1926. It is hand signed and numbered 222/975 in penc...

This artwork titled "Mujer Con Sombrero (Woman with Hat)" 1972 is a large original colors lithograph on Arches paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and numbered 81/100. in pencil by the artist. The artwork size 36.35 x 25.85 inches, sheet size is 37.25 x 26.25 inches, framed size is 52.25 x 40.5 inches. Published by Transworld Art, New York , Printed by Bank Street Atelier, New York. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #132 page 123. Custom framed in a wooden black and silver frame, with silver bevel and fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...

This artwork "Untitled II" is an original color lithograph with embossing by noted Spanish artist Alvar Sunol Munoz Ramos, b.1935. It is hand signed and numbered 101/260 in pencil by...

This vintage 1930s black and white lithograph by Arnold Ronnebeck (1885-1947), a prominent Colorado artist from the WPA era, beautifully captures the Grand Lake...

"Mexican Orchestra" is one of the George Overbury Hart's largest pieces. It is #14 from a limited edition of 50. The image captures a festive event with hanging lanterns, an orches...

In these beady-eyed playboys, Durieux pokes some fun at the pride and pretensions of the Great Gatsby class. Here are two Americans pretending to be macho on a Mexican beach. Caroline Durieux (American, 1896 – 1989) Printmaker, painter, satirist, innovator, social activist, Caroline Durieux was born in New Orleans and was already making sketches by the age of four. Her formal art training was at Newcomb College (1912-1917) and the Pennsylvania Academy of Fine Arts (1918-1920). Carl Zigrosser of the Philadelphia Museum of Art encouraged Durieux to try lithography. While living in Mexico, she learned lithography from Emilio Amero...

Three native Mexican women all similarly dressed in traditional, flowing white dresses covered in dark, fringed shawls raise their heads as if the...