Nemesio Antunez

Chilean signed limited edition original art print engraving 22x30 in.

1978

"Herve Telemaque (France, 1937-2022) 'Hommage au manche', 1979 engraving on paper 30 x 22.1 in. (76 x 56 cm.) ID: TEL1361-005-000"

"Herve Telemaque (France, 1937-2022) 'FEU', 1975 engraving on paper 30 x 22.1 in. (76 x 56 cm.) ID: TEL1361-004-000"

Herve Telemaque (France, 1937-2022) 'La pêche miraculeuse', 2005 silkscreen on canvas 39.4 x 31.9 in. (100 x 81 cm.) Edition of 99 Unframed ID: TEL1361-013-106

"Herve Telemaque (France, 1937-2022) 'Lame de fond', 1979 engraving on paper 30 x 22.1 in. (76 x 56 cm.) ID: TEL1361-008-000"

"Herve Telemaque (France, 1937-2022) 'Aube', 1979 engraving on paper 30 x 22.1 in. (76 x 56 cm.) ID: TEL1361-002-000"

"Herve Telemaque (France, 1937-2022) 'Le balai', 1979 engraving on paper 30 x 22.1 in. (76 x 56 cm.) ID: TEL1361-006-000"

An original mixed media, Photo Etching, Aquatint, Drypoint on paper by the collaboration of two artists, Robert Flemming and Mizin Shin. This piece entitled Judgment Hour measure ...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "The Football Players...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "Moving Woman" has been conceived while Aptekar was working on a monumental piece of 23 x 45 x 17 feet titled "The Defeat of the City of Plutonium: A Holocaust Prevented". The strong image of a human female naked body depicted as being one of the building parts...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...