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Pablo Picasso
Black and maroon owl. 1951 turned vase. Ceramic

1951

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  • Manolo Hugue women. Llovera, bronze
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    Llovera, bronze Manuel Martínez Hugué (Barcelona, ​​1872-Caldas de Montbui, 1945) was a Spanish painter and sculptor, representative of the Catalan Noucentisme of the early 20th century. His work can be summarized as a synthesis of classicism and primitivism within modernity. He is widely cited under the colloquial name of Manolo. Born in Barcelona, ​​his bohemian and marginal life and his visits to the Els Quatre Gats café in Barcelona earned him the friendship of Santiago Rusiñol, Joaquín Mir, Isidro Nonell and Pablo Picasso, among other artists. In 1900 he moved to Paris, where he lived for ten years. There he met Jean Moréas and Guillaume Apollinaire, in addition to working on the design of jewelry and small pieces of sculpture, among which La Llobera (1911, Barcelona, ​​Museum of Modern Art, and Young Seated (1913, Paris, Center Georges Pompidou)). Driven by a dealer, Hugué moved to Céret in 1910, where he brought together a diverse group of artists, including Juan Gris, Joaquín Sunyer...
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  • F. Soriano Women "HERA" original iron sculpture 1995
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  • Codina Corona. Boat la barca Original- wood realistic sculpture-
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Unable to receive her degree due to continued hostility against Japanese Americans, Asawa left Milwaukee in 1946 to study at Black Mountain College in North Carolina, then known for its progressive pedagogical methods and avant-garde aesthetic environment. Asawa's time at Black Mountain proved formative in her development as an artist, and she was particularly influenced by her teachers Josef Albers, Buckminster Fuller, and the mathematician Max Dehn. She also met architectural student Albert Lanier, whom she would marry in 1949 and with whom she would raise a large family and build a career in San Francisco. Asawa continued to produce art steadily over the course of more than a half century, creating a cohesive body of sculptures and works on paper that, in their innovative use of material and form, deftly synthesizes a wide range of aesthetic preoccupations at the heart of postwar art in America. Asawa’s work has been exhibited widely since the early 1950s, including early solo exhibitions at Peridot Gallery, New York in 1954, 1956, and 1958. In 1965, Walter Hopps organized a solo exhibition of the artist’s sculptures and drawings at the Pasadena Art Museum (now Norton Simon Museum) in California, where Asawa completed a residency at the Tamarind Lithography Workshop the same year. Other solo presentations include those held at the San Francisco Museum of Art (1973); Fresno Art Museum, California (2001; traveled to Oakland Museum of California, 2002); de Young Museum, San Francisco (2006); Amon Carter Museum of American Art, Fort Worth, Texas (2012); and Norton Simon Museum of Art, Pasadena, California (2014). In 2018 to 2019, the Pulitzer Arts Foundation in St. Louis presented Ruth Asawa: Life’s Work, the first major museum exhibition of the artist’s work in more than a decade. 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