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Marius Sznajderman
Large Venezuelan Modernist Lithograph "The Balcony #3" Color Print
1984

Name: Large Venezuelan Modernist Lithograph "The Balcony #3" Color Print
Brand: Marius Sznajderman
Price: 705.47 CHF
Availability: InStock
Rating: 4.9 (105 reviews)

$850

£656.77

€759.29

CA$1,201.11

A$1,347.13

CHF 705.47

MX$16,368.90

NOK 8,958.28

SEK 8,493.08

DKK 5,667.71

About the Item

Marius Sznajderman was a painter, printmaker and scenic designer living and working in the United States. Born in Paris, France in 1926 his Jewish parents had migrated to France from Poland in 1923. In November 1942 the family fled Nazi-occupied France for Spain before settling in Caracas, Venezuela. He attended the School of Fine Arts in Caracas where his teachers included illustrator Ramon Martin Durban, scenic designer Charles Ventrillon-Horber and painter Rafael Monasterios. and immigrated to the United States in 1949, where he received a Bachelor of Fine Arts and Master of Fine Arts from Columbia University in New York. He settled in Hackensack, New Jersey, where he lived and had a studio for more than 50 years before moving to Amherst, Massachusetts in 2015. His work, which includes painting, prints and collages, as well as set designs, is in more than 45 museum and public institution collections in the United States, Latin America and Israel. He held more than 40 solo exhibitions at galleries and museums and participated in more than 75 group shows around the globe. He helped found the Taller Libre de Arte, an experimental workshop for the visual arts, sponsored by the Ministry of Education. The Taller Libre de Arte was a center for young artists to work and to meet with critics and intellectuals to discuss avant-garde ideas and artistic trends from Europe and Latin America. Among the notable artists who participated in the Taller Libre de Arte were Ramón Vásquez Brito, Carlos González Bogen, Luis Guevara Moreno, Mateo Manaure, Virgilio Trómpiz, Alirio Oramas, Dora Hersen, Alejandro Otero, Jesús Rafael Soto, Pascual Navarro, Aimée Battistini, José Fernández Díaz, Narciso Debourg, Oswaldo Vigas and Perán Erminy. Sznajderman’s early works as a student and young artist showed the influence of Cubism and Expressionism with subject matter ranging from figures to still life to Venezuelan landscapes. His work often explored Latin American themes, art and architecture. In 1948 Sznajderman was awarded the art student’s prize for a watercolor in the annual National Gallery exhibit. In 1949 Sznajderman had a solo exhibition at the Taller Libre de Arte. The exhibit catalogue was written by Sergio Antillano, a prominent Venezuelan writer and critic. That same year, Sznajderman immigrated to the United States to attend Columbia University, where he studied with scenic designer J. Woodman Thompson and printmaker Hans Alexander Mueller. He received a Bachelor of Science degree with a major in scenic design in 1953, after which he was drafted into the U.S. Army. In the military he worked as an artist-illustrator, completing his service in 1955. He returned to Columbia on the G.I Bill to attend Teachers College, where he received a Master of Fine Arts in art education. During the 1950s Sznajderman created set designs for Circle in the Square Theatre, the French Art Theatre and the Felix Fibish Dance Company, all in New York. By the late 1950s, however, his focus was shifting to fine arts and teaching. In 1960 Sznajderman was among the three founders, along with painters Sam Weinik and Ben Wilson, of the Modern Artists Guild (MAG), an association of modern artists working in northern New Jersey. Among the artists who were early members of MAG were Esther Rosen, Alexandra Merker, Erna Weill, Jerry Goldman, Lillian Marzell and Evelyn Wilson. In the 1950s, 1960s and 1970s, in addition to painting and printmaking, Sznajderman taught art, art history and design at a number of institutions including New York University, the School of Visual Arts, Fairleigh Dickinson University and the Ridgewood (N.J.) School of Art. He also taught art in New Jersey public schools under federal and state grants. During this period, Sznajderman’s work ranged from drawings, woodcuts and lithographs to watercolor and acrylic paintings and collages. He produced still life, figures, landscapes and seascapes. Inspirations included Venezuelan remembrances, culture and folklore; Mexican art and pre-Columbian imagery; as well as architecture and theater. Other works have been inspired by Greek mythology and the Commedia dell’arte. Contemporary events, such as the Vietnam War and the assassination of the Rev. Martin Luther King, Jr., also inspired some works. From 1974 to 1983 Sznajderman served as director of Galeria Venezuela in New York City for the National Council of Culture and Fine Arts of Venezuela (CONAC) while continuing to paint and exhibit. From 1980 to 1986 he oversaw the selection and coordination of the international editions of prints for AGPA (Actualidad Grafica – Panamericana), a project of the Latin American Container Corporation of America (later Smurfit Carton de Venezuela). Throughout his career, Sznajderman has also explored Jewish themes, including works in remembrance of the Holocaust. In 1988 he produced a limited-edition print, in collaboration with his uncle, the Yiddish journalist and author S.L. Shneiderman, on the occasion of Shneiderman’s 80th birthday. The print featured a 1938 poem by Shneiderman, “Elegy for My Shtetl,” written in Yiddish. The Yiddish text for the print was typeset using the last linotype machine used to print the New York-based Yiddish newspaper, The Forward. In 1989 he designed and supervised the production of a Holocaust memorial monument for Temple Beth El in Hackensack, New Jersey. Other works have explored Nazi concentration and extermination camps, the Vichy government and the Holocaust in France. For many years Sznajderman had a deep friendship and intimate creative relationship with Venezuelan painter Oswaldo Vigas. In 1987, following a trip of the two families to the Venezuelan Andes, a two-person show of landscapes by Sznajderman and Vigas was held at the venerable Ateneo de Caracas, Galeria los Espacios Calidos. In 1991 the Contemporary Art Museum of Caracas produced a retrospective exhibit of Sznajderman’s work. In 2001 Sznajderman began a collages and collage constructions series using Yiddish as a leitmotif. A selection of the works were exhibited at the Yiddish Book Center, Amherst, Massachusetts in 2005-2006. In 2005, Venezuelan poet Hugo Brett Figueroa published the book "Scargot" with illustrations by Sznajderman. Sznajderman also illustrated the 1993 book “Who Were the Pre-Columbians?” by Bernard Barken Kaufman and “Magicismos,” a book of poems by the Venezuelan poet Enrique Hernandez D’Jesus, published in 1989. In 2007, Warsaw Ghetto Revolt mural project and a Nazi concentration camp woodcut series created in 1958 and 1959, was exhibited at the Puffin Cultural Forum in Teaneck, New Jersey.[8] In 2011 and 2012 he produced the “Yanaka” series of collages on paper and a large collage construction using Chiyogami - traditional Japanese printed paper - purchased in 1990 in Tokyo. In 2011 Sznajderman created seven collages using unauthorized lithographs by Salvador Dali as material. The collages were reproduced in a limited-edition booklet titled “Dali, Dumas and Me.” The booklet described a series of events involving the late painter and printmaker Jorge Dumas, who had printed the Dali lithographs. The booklet was presented in 2013 during a solo exhibit by Sznajderman in New York City at Chashama Exhibit Space. More recently, Sznajderman created a series of print-collages composed from early serigraphs produced in the 1960s. He continued to work and exhibit until the final weeks of his life. Permanent Collections and Exhibitions Sznajderman's work is represented in the permanent collections of more than 45 museums and institutions, primarily in the United States but also in Europe, Latin America and Israel. They include the Smithsonian Institution, the Library of Congress, Instituto Nacional de Bellas Artes y Literatura in Mexico City, Museo de Bellas Artes (Caracas), the Museum of Jewish Heritage in New York, the Cincinnati Art Museum, the Simon Wiesenthal Center, the Birmingham Civil Rights Institute, the Irish Museum of Modern Art in Dublin and Yad Vashem in Jerusalem.

Creator:

Marius Sznajderman (1926 - 2018, American, French)

Creation Year:

1984

Dimensions:

Height: 21.75 in (55.25 cm)Width: 29.75 in (75.57 cm)

Medium:

Lithograph

Movement & Style:

Modern

Period:

20th Century

Condition:

Gallery Location:

Surfside, FL

Reference Number:

1stDibs: LU38212986482

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1945 Brazilian Master, Art Deco Nudes Serigraph Woodcut Carnaval Bahia

By Odetto Guersoni

Located in Surfside, FL

Genre: Brazilian Art Deco, African Diaspora Bahian Carnival Subject: Abstract Medium: Print Surface: Paper Country: Brazil Dimensions of overall paper are listed. This is from a series of work he did in the 1940's, we sold one called Ritmo Negro, they are about Afro-Brazilian jazz, dance and music. Odetto Guersoni was born in the city of Jaboticabal, State of São Paulo, in 1924. From 1936 to 1941 he attended the Liceu de Artes de Ofícios in São Paulo, beginning his artistic career in 1945, when he exhibited paintings in the Hall of the Plastic Artists Union . Two years later he was part of the collective group of 19, alongside Aldemir, Charoux, Otavio Araújo, Grassmann, Maria Leontina and several other artists that time would make famous. He then practiced a figurative painting of accentuated Expressionist lauds, characterized by deformation and coloring, raw and Satirical- as, moreover, so many of his fellow exhibitors at the time. As a French government scholar, Odette Guerzoni went to Paris in 1947 and the following year took part in the Peintres et Graveurs Etrangers and Art Libre exhibitions. Student of engraving by Renê Cottet, gradually transformed this expressive medium into his favorite, to the detriment of painting, which he practically abandoned soon after. In 1947, he participated in the 19 Painters exhibition at the Prestes Maia Gallery together with Lothar Charoux, Maria Leontina,Grassmann, Aldemir Martins, Luiz Sacilotto and hiró. Guersoni was awarded a scholarship by the French government, and traveled to Paris, where he began work in engraving. Back in Brazil, in 1951, he founded the Art Workshop, in São Paulo. In 1954, he returned to Europe for a year, financed by the International Labor Organization (ILO). In Geneva, he studied engraving with René Cottet (1902 - 1992) and worked in Stanley william Hayter's studio, Atelier 17, in Paris (1901 - 1988). From 1956 to 1957, he became director of the Union of Plastic Artists of São Paulo. From 1960, he attended, as a trainee, some art schools in the United States and Japan such as The New York School of Printing and Osaka University. In 1971, also in Japan, he attended the workshop of I. Jokuriti. Two years later, he was voted Best Recorder of the Year by the Paulista Association of Art Critics - APCA. He took part in a special room at the Ibero-American Biennial in Montevideo in 1983. The Pinacoteca do Estado de São Paulo - Pesp presents a retrospective of his work in 1994. Odetto Guersoni explores the wide spectrum of possibilities of the engraving. In addition to using techniques such as metal etching, lithograph, serigraph, linocut and, especially, woodcut he developed, in the 1950s, the philigraphy, in which the forms he developed gained points of embroidery made by Bonadei (1906 - 1974) . And, in the 1960s, the plastigraphy, in which he makes engravings on pasty surfaces, obtained from gypsum or other soft material. In the 1970s, technical investigations were associated with pictographic, ideographic, archaic symbol searches, Brazilian cave paintings and plant forms. The drawings are reduced to stylized, geometric shapes and transformed into abstract graphic elements. The artist works with few matrices, which, organized in rectangles, squares or circles, become modules to be combined. Guersoni juxtaposes them, adds, changes colors, and thereby composes colorful mandalas and structural geometries. Based on concise compositions, it produces color vibrations through optical illusions. In many of his woodcut works of the 1980s he uses smooth wood, knives, saws, gouges, punches, avoiding the natural textures of wood. In printing, it leaves the vibrant color and employs dosed inks with colorless masses, obtaining transparencies by superpositions. New journeys of study and specialization in engraving techniques took him in 1954 to Switzerland, 1960 to the United States, and in 1966 to Germany and Austria. Today, after having performed more than 40 individuals including 16 abroad and having participated in more than 50 collectives in several countries, Guersoni is considered one of the most notable Brazilian engravers. Conquered awards in several shows. CHRONOLOGY Individual exhibitions 1946 - Sao Paulo SP - 10th Salon of the Artists' Union, at the Prestes Maia Gallery 1947 - São Paulo SP - 19 Painters, at the Prestes Maia Gallery 1948 - Paris France - Peintres et Graveurs Etrangers at the École des Beaux-Arts 1949 - São Paulo SP - 13th Salon of the Artists' Union, at the Prestes Maia Gallery 1951 - São Paulo SP - 1st Paulista Salon of Modern Art, at Prestes Maia Gallery - silver medal 1953 - São Paulo SP - 2nd International Biennial of São Paulo, at MAM / SP 1954 - São Paulo SP - 3rd Paulista Salon of Modern Art, in the Prestes Maia Gallery 1955 - Rio de Janeiro RJ - 4th National Salon of Modern Art 1955 - Salvador BA - 5th Baiano Salon of Fine Arts, in Belvedere da Sé - honorable mention 1962 - São Paulo SP - Leirner Prize for Contemporary Art at the Folha Art Gallery - 1st printing award 1963 - Curitiba PR - 20th Salão Paranaense de Belas Artes, at the Public Library of Paraná 1963 - Rio de Janeiro RJ - Individual, no MAM / RJ 1968 - Bradford England - First International Print Biennale 1970 - São Paulo SP - Antonio Henrique Amaral, Odetto Guersoni, Tomie Ohtake, Pedro Tort and Gerda Brentani, in the Alberto Bonfiglioli Gallery 1971 - São Paulo SP - 11th International Biennial of São Paulo, at the Biennial Foundation - acquisition award 1973 - Punta del Este Uruguay - 1st Engraving Meeting of the Prata Basin Countries - International Prize 1977 - São Paulo SP - The Groups: the 40's, at the Lasar Segall Museum 1982 - São Paulo SP - Ismenia Coaracy, Odetto Guersoni and Alice Brill...

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Materials

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About the Item