Takashi Murakami

MADSAKI HAPPINESS OVERDOSE AZUL MARIANO

2020

Artist: Takashi Murakami Title: MADSAKI COSMIC OVERDOSE Medium: Offset lithograph Year: 2020 Edition: From The rare edition of 100 Size: 19 7/10 × 19 7/10 in. Hand Signed & Numbere...

Artist: Hajime Sorayama, Japan, b. 1947 Size: 17" x 24" Medium: Lithograph on High Gloss Paper Signature: Lower Left Subject: Nude Female in Black Leather Jacket and Boots, Urinating...

Artist: Hajime Sorayama, Japan, b. 1947 Size: 17" x 24" Medium: Lithograph on High Gloss Paper Signature: Lower Left Subject: Nude Female in Black Leather Jacket and Boots, Urinating...

Artist: Andy Warhol (after) Title: 'Mick Jagger' Framed Announcement card. Medium: Lithograph Size: Image size: 6" x 4" Framed: 10" x 8" Year: 1975 Description: Signed and numbered o...

Artist: Roy Lichtenstein (American, 1923-1997) Title: "As I Opened Fire Poster (Triptych) (First Edition)" Year: 1966 Medium: The Complete Set (Triptych) of Three Offset-Lithograph, Posters on white wove paper This is one of the few signed sets from the 1966 edition of approximately 3,140 printed by Drukkerij Luii & Co. and published by the Stedelijk Museum., not to be confused with one of the 6+ subsequent reprints up to and even after the artist's death in 1997) Reference: "The Prints of Roy Lichtenstein: A Catalogue RaisonnE 1948-1997" - Corlett App. 5, page 324; "Lichtenstein Posters" - DAring/Osten No. 14, page 114 Overall size (triptych of all three prints): 25.25" x 62.82" Sheet size (each): 25.25" x 20.94" Image size (each): approx. 24.07" x 19.69" The Triptych set, comes framed floating on Black mat and framed with white Moulding. In excellent condition The work is hand-pencil signed in pencil by Lichtenstein in the lower right margin of the third print. Each panel has the correct printed inscription on the verso "edition and color correction / Stedelijk Museum, Amsterdam / [copyright symbol] R. Lichtenstein 1964...

Jean Michel Basquiat "Untitled 1997" Limited Edition Print: Lithograph in Colors Approximate Size: 30 x 22 in 76 x 56 cm Edition: Unnumbered limited edition Other: Stamped By Artist...

A vibrant vintage poster in blue, pink, brown, and classic 1960's avocado green, by Scottish Pop art progenitor Eduardo Paolozzi. Machinery extends upward in two arms like a space-age car engine...

One of the most acclaimed artists to emerge from post-war Asia, Takashi Murakami is known for his signature “Superflat” aesthetic: a colorful, two-dimensional style that straddles th...

Original poster: BATMAN - Museo Dell'Automobile Torino Artist: after Andy Warhol. Size 27.25" x 37" Printed: 1996 in Milan, Italy. Excellent condition. This pop art Italian p...

Original poster for the pop art exhibition "Pop Sammlung Beck" at Museum am Ostwall in Dortmund from 4 October - 22 November 1970. Pop Sammlung Beck was a major Pop Art collection ...

Vintage gallery exhibition poster. The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was founded in 1936 in Cannes. The Paris gallery was started in 1946 by Aimé Maeght. The artists exhibited are mainly from France and Spain. Since 1945, the gallery has presented the greatest modern artists such as Matisse, Bonnard, Braque, Miró, and Calder. In 1956, Adrien Maeght opened a new parisian venue. The second generation of “Maeght” artists was born: Bazaine, Andre Derain, Giacometti, Kelly, Raoul Ubac, then Riopelle, Antoni Tapies, Pol Bury and Adami, among others. Jean-Paul Riopelle, CC GOQ (7 October 1923 – 12 March 2002) was a painter and sculptor from Quebec, Canada. He became the first Canadian painter (since James Wilson Morrice) to attain widespread international recognition. Born in Montreal, Riopelle began drawing lessons in 1933 and continued through 1938. He studied engineering, architecture and photography at the école polytechnique in 1941. In 1942 he enrolled at the École des beaux-arts de Montréal but shifted his studies to the less academic école du Meuble, graduating in 1945. He studied under Paul-Émile Borduas in the 1940s and was a member of Les Automatistes movement. Breaking with traditional conventions in 1945 after reading André Breton's Le Surréalisme et la Peinture, he began experimenting with non-objective (or non-representational) painting. He was one of the signers of the Refus global manifesto. In 1947 Riopelle moved to Paris and continued his career as an artist, where, after a brief association with the surrealists (he was the only Canadian to exhibit with them) he capitalized on his image as a "wild Canadian". His first solo exhibition took place in 1949 at the Surrealist meeting place, Galerie La Dragonne in Paris. Riopelle married Françoise Lespérance in 1946; the couple had two daughters but separated in 1953. In 1959 he began a relationship with the American painter Joan Mitchell, Living together throughout the 1960s, they kept separate homes and studios near Giverny, where Monet had lived. They influenced one another greatly, as much intellectually as artistically, but their relationship was a stormy one, fueled by alcohol. The relationship ended in 1979. His 1992 painting Hommage à Rosa Luxemburg is Riopelle's tribute to Mitchell, who died that year, and is regarded as a high point of his later work. Riopelle's style in the 1940s changed quickly from Surrealism to Lyrical Abstraction (related to abstract expressionism), in which he used myriad tumultuous cubes and triangles of multicolored elements, facetted with a palette knife, spatula, or trowel, on often large canvases to create powerful atmospheres. The presence of long filaments of paint in his painting from 1948 through the early 1950s[8] has often been seen as resulting from a dripping technique like that of Jackson Pollock. Rather, the creation of such effects came from the act of throwing, with a palette knife or brush, large quantities of paint onto the stretched canvas. Riopelle's voluminous impasto became just as important as color. His oil painting technique allowed him to paint thick layers, producing peaks and troughs as copious amounts of paint were applied to the surface of the canvas. Riopelle, though, claimed that the heavy impasto was unintentional: "When I begin a painting," he said, "I always hope to complete it in a few strokes, starting with the first colours I daub down anywhere and anyhow. But it never works, so I add more, without realizing it. I have never wanted to paint thickly, paint tubes are much too expensive. But one way or another, the painting has to be done. When I learn how to paint better, I will paint less thickly." When Riopelle started painting, he would attempt to finish the work in one session, preparing all the color he needed before hand: "I would even go as far to say—obviously I don't use a palette, but the idea of a palette or a selection of colors that is not mine makes me uncomfortable, because when I work, I can't waste my time searching for them. It has to work right away." A third element, range of gloss, in addition to color and volume, plays a crucial role in Riopelle's oil paintings. Paints are juxtaposed so that light is reflected off the surface not just in different directions but with varying intensity, depending on the naturally occurring gloss finish (he did not varnish his paintings). These three elements; color, volume, and range of gloss, would form the basis of his oil painting technique throughout his long and prolific career. Riopelle received an Honorable Mention at the 1952 São Paulo Art Biennial. In 1953 he showed at the Younger European Painters exhibition at the Solomon R. Guggenheim Museum in New York City. The following year Riopelle began exhibiting at the Pierre Matisse Gallery in New York. In 1954, works by Riopelle, along with those of B. C. Binning and Paul-Émile Borduas represented Canada at the Venice Biennale. He was the sole artist representing Canada at the 1962 Venice Biennale in an exhibit curated by Charles Comfort...

Vintage exhibition poster commemorating James Rosenquist's 1974 exhibition at Dundee City Art Gallery, Scotland. A flashy red border complements an abstract black and white image reproducing Rosenquist's 1972 lithograph Zone, which is based on the artist's 1961 painting with the same title. "Text reads: Rosenquist Prints. Dundee City Art Gallery Albert Square Dundee DD1 IDA April 13th - May 11th 1974 Open Weekdays 10am-5pm Closed Sundays Admission Free. A Scottish Arts Council exhibition organised in association with the Petersburg Press...