Joan Miró

"Miro & Artigas - Sculpture in Ceramic Terres de Grand Feu" Original Lithograph

1956

"Season's Greetings" is an original color silkscreen by Schomer Lichtner. The artist signed the piece in the screen on verso. This piece features abstract, linear patterns in blue and white on a brown paper background. 6 1/4" x 4 5/8" art 14" x 12 1/2" frame Milwaukee artist, Schomer Lichtner passed away on May 9, 2006 at the age of 101. He continued to amaze and create with his whimsical paintings of ballerinas and cows. He and his late wife Ruth Grotenrath, both well-known Wisconsin artists, began their prolific careers as muralists for WPA projects, primarily post offices. Schomer Lichtner was well known for his whimsical cows and ballerinas, such as his "Ballerina Dancing on Cow" sculpture below. The late James Auer, art critic for the Milwaukee Journal Sentinel referred to Lichtner as the artist laureate of Milwaukee, Wisconsin. He was the official artist of the Milwaukee Ballet. Lichtner also painted murals for industry and private clients. Schomer was a printmaker and produced block prints, lithographs, and serigraph prints. His casein (paint made from dairy products) and acrylic paintings are of the rural Wisconsin landscape and farm animals. He became interested in cows when he and Ruth spent summers near Holy Hill in Washington County. According to David Gordon, director of the Milwaukee Art Museum, Schomer Lichtner had a tremendous joie de vivre, " joy of life," and expressed it in his art. Schomer Lichtner was nationally known for his whimsical paintings and sculptures of black- and white-patterned Holstein cows and elegant ballerina dancers. Lichtner also painted all sorts of combinations of beautiful women, flowers and country landscapes. James Auer, former Milwaukee Journal Sentinel art critic, said that his art eventually "exploded into expressionistic design elements with bold, flat areas of color and high energy that anticipated Pop Art." Auer went on to describe Lichtner’s work as full of "wit, vigor and virtuosity." As early as 1930, Lichtner’s work was shown at the prestigious Carnegie International Exhibition in New York and at museums throughout the Midwest. As a student, he was a protégé of another icon of 20th century American art, Gustave Moeller...

"Skiing Near Holy Hill" is an original silkscreen print by Schomer Lichtner. The artist initials are lower right, and the title is along the lower edge. This print depicts people skiing near Holy Hill, Wisconsin. The artist used a muted blue, a deep and dark purple, and accents of red to create this piece. 4 7/8" x 6 7/8" art 11 7/8" x 13 7/8" frame Milwaukee artist, Schomer Lichtner passed away on May 9, 2006 at the age of 101. He continued to amaze and create with his whimsical paintings of ballerinas and cows. He and his late wife Ruth Grotenrath, both well-known Wisconsin artists, began their prolific careers as muralists for WPA projects, primarily post offices. Schomer Lichtner was well known for his whimsical cows and ballerinas, such as his "Ballerina Dancing on Cow" sculpture below. The late James Auer, art critic for the Milwaukee Journal Sentinel referred to Lichtner as the artist laureate of Milwaukee, Wisconsin. He was the official artist of the Milwaukee Ballet. Lichtner also painted murals for industry and private clients. Schomer was a printmaker and produced block prints, lithographs, and serigraph prints. His casein (paint made from dairy products) and acrylic paintings are of the rural Wisconsin landscape and farm animals. He became interested in cows when he and Ruth spent summers near Holy Hill in Washington County. According to David Gordon, director of the Milwaukee Art Museum, Schomer Lichtner had a tremendous joie de vivre, " joy of life," and expressed it in his art. Schomer Lichtner was nationally known for his whimsical paintings and sculptures of black- and white-patterned Holstein cows and elegant ballerina dancers. Lichtner also painted all sorts of combinations of beautiful women, flowers and country landscapes. James Auer, former Milwaukee Journal Sentinel art critic, said that his art eventually "exploded into expressionistic design elements with bold, flat areas of color and high energy that anticipated Pop Art." Auer went on to describe Lichtner’s work as full of "wit, vigor and virtuosity." As early as 1930, Lichtner’s work was shown at the prestigious Carnegie International Exhibition in New York and at museums throughout the Midwest. As a student, he was a protégé of another icon of 20th century American art, Gustave Moeller...

"Milwaukee Reads - Harry W. Schwartz Bookshop" is a silkscreen poster for a bookshop in Milwaukee, Wisconsin. The illustrator Arnold (Arnie) Gore designed it a...

An original color silkscreen print by Ruth Grotenrath. A lovely assortment of different foods both vegetable and animal alike. The photos do not do this piece justice. The dark color...

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...

Leigh Behnke was born in Hartford, Connecticut in 1946. She studied at both the Southern Connecticut State College and at the Pratt Institute of Brooklyn New York. She also received...

Abstract Composition, Coffee Grinder Hand signed in Hebrew Lower right. limited edition. Dimensions: H 18.5" x 24.9" Bergner, Yosl (Vladimir Jossif) (b Vienna, 13 Oct 1920). surr...

Michael Mazur "The Artist" Hand signed and editioned from the edition of 50 1967 Michael Burton Mazur (1935-August 18, 2009) was an American artist who was described by William Grim...