Pablo Picasso

"Pour Roby" Etching by Pablo Picasso

1969

Casein monotype by Santa Barbara artist Olga Higgins depicting 2 young boys playing together. Hangs in its original walnut frame.

Alain Bonnefoit is a French figurative artist. His main subject depicts vast nonchalant scenes, where languid bodies assume softened poses. In this lithograph, as in the majority of ...

Richard Proctor (1936-2022) was a prolific and versatile artist who produced various works, including written and pictorial experiments. He received a Bachelor of Science in Art Ed...

This is an unusual composition of a "Circus" gathering, composed of naked acrobats and enthralled audience members garnering a primitive feel with humorous undertones. It is eligibly...

For regulars of our online gallery, you won't be surprised to see another work by Brennan, Californian artist, very secretive about himself, whose prolific and intensely surprising work we follow again and again. Today's featured work is a watercolor and black-and-white ink piece entitled "Rocket Launch," which has a landscape layout that ingeniously facilitates storytelling - A highly humorist piece -. signed and dated 2021. The quality of the drawing, the simplified lines, and the extremely elaborate organization of the elements deliver a reading from left to right and from right to left of a rocket that seems to have taken off. On the left, the main character is a cosmonaut who ultimately did not participate in the “intergalactic trip.” His mouth is represented by a simple hyphen, two wide-open eyes like marbles, and the hilarious double presence of a horseshoe that will not be enough to protect him from his fears and give him enough confidence to board the rocket. It's astounding with what economy of details Brennan brings to life the cosmonaut's dilemma: “Should I board the rocket or stay on solid ground?” By creating a back-and-forth effect from left to right, Brennan brings the "I'm going, I'm not going" dilemma of the cosmonaut to humorous life, with his helmet glued to his knees. Brennan pays an amazing tribute to all the great illustrators who have been contributors to major magazines, such as Art Spiegelman for the New Yorker, demonstrating his astonishing ability to activate a whole tragicomic aspect in a single image. Christopher Mark Brennan...

The woodblock print of a girl in red depicts a moment of introspection with the defined closed eyes of a little girl at the top of the work and the vision of a malicious face at the bottom. Kaoru Kawano was a woodblock...

Elegant pair of etchings by Marie Laurencin (French 1883-1956) from the "Poemes de Sapho" published in 1950 ref. 273. Each beautifully mounted in fram...

Heinrich Haberl (1869 Passau to 1934 Munich), Sturmhaube, c. 1900. drypoint, 14 x 10 cm (platemark), 28 x 21 cm (sheet size), 39 x 29 cm (passe-partout), titled "Sturmhaube" in lead at lower left and inscribed "Kaltnadelradierung", signed and locally inscribed "Heinrich Haberl Mchn. [Munich]" at lower right, inscribed again in lead on verso and with old collection stamp. - slightly darkened, fixed and mounted - The target in sight - About the artwork The theatrical "role-portrait" is to be seen against the background of the Rembrandt cult, which reached its climax at the end of the 19th century. The soldier seems to have stepped straight out of Rembrandt's Night Watch (1642) to fix something outside the picture with an alert and ready gaze. The steeply rising brim of the morion frames the gaze and thus perspectivises it as the actual 'pictorial action'. The gaze represents both the vigilant defence and the visionary goal of the battle. Not only the subject, but also the style of the etching needle reflect Rembrandt's understanding of the times. Strong contrasts of light and dark are created in a virtuoso free stroke, without losing the effect of the reflections on the helmet and in the eyes. This shows a kinship with the early prints of Lovis Corinth, who also saw himself as an artist in the role of the knight. Against this background, Haberl's picture can also be seen as a representation of his artistic self-image. About the artist Heinrich Haberl first attended the art school in Nuremberg and from 1892 studied at the Munich Academy. There he was a master student of Johann Leonhard von Raab, Rudolf von Seitz, Franz von Defregger...

Lucian Freud After Chardin 2000 Etching on White Somerset Textured Paper 30 3/4 x 37 3/4 inches; 78 x 96 cm Edition of 46 Initialed and numbered in graphite (lower recto) Frame available upon request Published by Matthew Marks Gallery...

A contemporary of David Hockney and Peter Blake, Colin Self is an important British printmaker whose innovative etching techniques and novel use of found materials have defined his d...

Image 12.5 x 9.3 in. / 31.7 x 23 cm Paper 25.3 x 19.75 in./ 65 x 50 cm Soft-ground etching and aquatint in two colors “à la poupée” on cream, thick, moderately textured Velin Arches...

Image 19.75 x 26.3 in. / 50 x 67 cm Paper 27.25 x 36 in./ 69.2 x 91.4 cm Etching in one color on white, thick, slightly textured Wookey Hole handmade paper watermarked with artist’s...