Nemesio Antunez

Nemesio Antunez Chilean Artist Original Hand Signed engraving 1983 n6

1983

Ernesto Garcia Peña (Cuba, 1949) 'Our time" (from Porfolio Grabados Cubanos)', 1977 linocut print on paper Canson 320 g. 23.6 x 17.6 in. (59.8 x 44.6 cm.) Edition of 200 Ref: GAE-309...

Eduardo Naranjo (Spain, 1944) 'Creación V', 1984 engraving on paper 15 x 20.9 in. (38 x 53 cm.) Edition of 225 ID: NAR1115-002-225 Hand-signed by author

José Viera (Spain, 1949) 'El día', ca. 1990-1999 engraving on paper 15.8 x 24.5 in. (40 x 62 cm.) Edition of 225 ID: VIE1176-002-225 Hand-signed by author

José Viera (Spain, 1949) 'La noche', ca. 1990-1999 engraving on paper 15.8 x 24.5 in. (40 x 62 cm.) Edition of 225 ID: VIE1176-001-225 Hand-signed by author

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...

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 use of 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 "Coffee Break...

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...