20th Century Abstract Sculptures

Abstract steel sculpture by Naomi Press. Signed with initials. Naomi Press is a female abstract sculptor, who was one of the very few women working in large scale with steel in the ...

Abstract sculpture depicting the Greek myth of Leda and the swan. Edition 2 of 7.

Jim’s of Lambertville is proud to offer this artwork by: Val Bertoia (born 1949) Val Bertoia was born in Santa Monica, California in 1949. In the 1950s, his family moved from Cali...

Perspex form, vacuum formed acrylic and spray painted black, 1970, signed and dated verso, from the edition of 106, although an edition of 750 was planned it was not fully executed, published by xartcollection, Zurich, 59 x 59 x 9.8 cm. (23.2 x 23.2 x 3.9 in.) In 1970 British-Pop artist Richard Hamilton was invited to produce an edition of 750 small-scale multiples of the Guggenheim. The intention was to produce vacuum-form reliefs in Perspex and offset the costs of expensive molds by creating a large edition. In the end, the project proved more technically difficult than anticipated. Of the three colours (black, white and chrome), only a total of 271 were realised, 117 in white. The xartcollection was created in 1968 in Zurich, Switzerland by Sandro Bocola...

A sculpture by Charles Fine. “Huitlacoche” is a contemporary sculpture, encaustic on wood bee's wax in creams and whites by American artist Charles Fine. The artwork is signed on the...

Linda Stein, Division 233 - Mixed Media Metal Wood Bone Stone Contemporary Art Wall Sculpture In the 1990s Linda Stein began to work on a series called Blades, sculptural works that...

A sculpture by David Mach. "Matchstick Head" is a small sculpture executed in matchsticks & depicting an abstracted mask by contemporary artist David Mach.

Linda Stein, Three Bells 326 - Mixed Media Metal Wood Stone Contemporary Art Wall Sculpture In the 1990s Linda Stein began to work on a series called Blades, sculptural works that i...

Additional Information: Karl Stirner's works are inspired by other well known contemporaries... Harry Bertoia, Abbott Pattison, and James Bearden. “Karl...

Clifford Singer's Geometrical Clouds Series has evolved since 1974.

Alan Shields Bucket, 1977-79 Metal wire wrapped in dyed paper 13 3/4 x 8 1/4 x 3 3/4 inches Unsigned

Certificate of authenticity Included (issued by gallery)

Certificate of authenticity Included (issued by gallery)

Certificate of authenticity Included (issued by gallery)

Abstract terracotta sculpture

Sculpture of abstract boat

A sculpture by Ron Reihel. "Elutheria" is an abstract, cast resin, plaster, wood and canvas wall sculpture executed in a deep, glossy black by contemporary artist Ron Reihel. Ron Rei...

'Calendar Wheel' is an original assemblage by the American artist Charles Berg. Within a divided drawer, Berg has assembled a variety of found objects: metal balls, a clock, a sheet of copper punched with the word 'wind,' a Victorian card of a woman, etc. The artwork takes its name, however, from a transparent 1935 calendar in the lower right. Berg here is following the tradition other artists who specialize in assemblage, including Joseph Cornell, Robert Rauchenberg, and Betye Saar...

PABLO PICASSO (1881-1973) Le déjeuner sur l'herbe (A. R. 517) Terre de faïence tile, 1964, proof aside from the edition of 50, partially painted, with the Empreinte Originale de P...

Arrow Paul von Ringelheim, Austrian/American (1933–2003) Date: circa 1968 Steel Sculpture Size: 98 x 27 x 8 in. (248.92 x 68.58 x 20.32 cm)

Arturo Di Modica, Italian/American (1941 - ) - Abstract Figures, Year: 1980-81, Medium: Bronze sculpture, signature, numbering and date inscribed, Edition: 1/1, Size: 55 x 36 x 3...

Spirit of the Wind, by Allan Houser, apache, abstract, sculpture, limited edition lifetime bronze casting excellent condition

Pleasant Memories, bronze, sculpture, Allan Houser, Apache, contemporary, modern GLENN GREEN GALLERIES' LONG ASSOCIATION WITH ALLAN HOUSER Allan Houser was represented by Glenn Gree...

The Shy One, bronze, sculpture, by Allan Houser, mother, child, Apache, Native limited edition bronze casting lifetime casting wood base GLENN GREEN GALLERIES' LONG ASSOCIATION WIT...

Stamped with the artist’s monogram, dated 94 and numbered 6/6 (on the reverse) Bronze, on York stone base Executed in 1994, this work is number 6 from an edition of 6. Provenance: ...

Karel Appel L'Oiseau, 1977 Hand-Signed Unique Wood sculpture (Polychrome over wood) Diameter 34"

Jean (Hans) Arp's Seuil Configuration (1977) exemplifies the artist's mastery of organic abstraction, a defining feature of his sculptural oeuvre. This work, composed of sleek, biomo...

Reclining Figure II, by Allan Houser, Apache, abstract, figurative, bronze Allan Houser was born in 1914. His artwork is an ongoing testimony to Native life in America – its beauty...

This collaborative was done at the studio called "On First Studios" (meant First Avenue downtown, N.Y.C.); but the collaboration was dissolved after a sma...

Cameo Pink Seaform with Black Lip Wrap (94.678.s1), 1994 Dale Chihuly (American, b. 1941) 14 x 32 x 18 inches Born in Tacoma, Washington, Dale Chihuly became the most famous ornate ...

"The Last Sip" Wall Sculpture 23" x 19" inch by Gosha Ostretsov Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in Moscow. PUBLIC COLLECTION...

Zephyr Green Macchia with Blue Lip Wrap, 1996 Dale Chihuly (American, b. 1941) 8 x 10 x 10 inches Signed and Dated on Bottom Born in Tacoma, Washington, Dale Chihuly became the most...

"Portal-Thorns" Wall Sculpture 71" x 59" inch by Gosha Ostretsov Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in Moscow. PUBLIC COLLECTIO...

"Mask of the Minister of Culture" Sculpture 16" x 12" in by Gosha Ostretsov Edition 2/10 Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in M...

"The mask of the Minister of Defense" Sculpture 15" x 13" in by Gosha Ostretsov Edition 2/10 Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works...

Rachel Whiteread Untitled 'Torso', 1995 Plaster 9 1/4 x 7 1/8 x 3 1/2 inches Rachel Whiteread (b. 1963) came to prominence in the early 1990s as a cohort of artists, known as the Y...

"Mask of the Minister of Industry" Sculpture 16" x 13" in by Gosha Ostretsov Edition 2/10 Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in...

Observant, by Allan Houser, bronze, sculpture, limited edition, blanketed figure GLENN GREEN GALLERIES' LONG ASSOCIATION WITH ALLAN HOUSER Allan Houser was represented by Glenn Gre...

Kinetic sculpture by George Rickey. Incised with the artist's signature, date 1975 and number 1/3 (on the base). Dimensions: minimum: 79 by 21 ⅜ by 10 in. maximum: 79 by 80 by 10 in...

"Mask of the Minister of Education" Sculpture 16" x 13" in by Gosha Ostretsov Edition 2/10 Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works i...

Duality manifests in her work as she juxtaposes rough, jagged edges with smooth, polished surfaces, as well as with the physical structure of the work, has each of the pieces typical...

Duality manifests in her work as she juxtaposes rough, jagged edges with smooth, polished surfaces, as well as with the physical structure of the work, has each of the pieces typical...

"Cotton" Wall Sculpture 71" x 59" inch by Gosha Ostretsov Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in Moscow. PUBLIC COLLECTIONS: The State Tretyakov Gallery, St. Petersburg, Russia The State Russian Museum, St. Petersburg, Russia The Moscow Contemporary Art Museum, Moscow, Russia The Saatchi Collection, London, England The Arctic and Antarctic Museum, St. Petersburg, Russia The Freud Museum of Dreams, St. Petersburg, Russia SOLO EXHIBITIONS: 2017 I’ve been abducted hundreds of times! Palazzo Nani Bernardo. 2016 I've been abducted hundreds of times! Triangle gallery, Moscow 2014 Autotrans NG. Zarya art center. Vladivostok 2010 Heavy Patients, Rabouan Mousson Gallery 2009 Apocalypse, Marat Guelman Gallery, Moscow Art Moscow, Triumph Gallery Banality and Eternity', Triumph Gallery Gosha for Kids, Triumph Gallery The Adventures of Robin Hood, Paradise Row, London 2008 Dead Souls...

Yayoi Kusama Pumpkins (set of 2 large plush pumpkins): An iconic, vibrantly colored pop art set - these large Kusama plush (soft) pumpkins feature the univ...

"Gems of Dissent" Sculpture 89" x 39" x 39" inch by Gosha Ostretsov Full name: Gems of Dissent. Perpetual Motion Machine Medium: Wood and Acrylic. Mixed Media Born in 1967, in Mos...

"Official HII" Sculpture 79" x 35.5" x 35.5" inch by Gosha Ostretsov Mixed Media. Wood and Acrylic Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and...

"Have a Seat" Wall Sculpture 23" x 19" inch by Gosha Ostretsov Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in ...

"The Chase" Wall Sculpture 71" x 59" inch by Gosha Ostretsov Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in Moscow. PUBLIC COLLECTIONS: The State Tretyakov Gallery, St. Petersburg, Russia The State Russian Museum, St. Petersburg, Russia The Moscow Contemporary Art Museum, Moscow, Russia The Saatchi Collection, London, England The Arctic and Antarctic Museum, St. Petersburg, Russia The Freud Museum of Dreams, St. Petersburg, Russia SOLO EXHIBITIONS: 2017 I’ve been abducted hundreds of times! Palazzo Nani Bernardo. 2016 I've been abducted hundreds of times! Triangle gallery, Moscow 2014 Autotrans NG. Zarya art center. Vladivostok 2010 Heavy Patients, Rabouan Mousson Gallery 2009 Apocalypse, Marat Guelman Gallery, Moscow Art Moscow, Triumph Gallery Banality and Eternity', Triumph Gallery Gosha for Kids, Triumph Gallery The Adventures of Robin Hood, Paradise Row, London 2008 Dead Souls...

Beverly Pepper is an American sculptor known for her monumental works, site specific and land art. She remains independent from any particular art movement. She was married to the writer Curtis Bill Pepper. Pepper was born Beverly Stoll on December 20, 1922, in Brooklyn, New York. At sixteen, she entered the Pratt Institute in Brooklyn, New York to study advertising design, photography, and industrial design. She then embarked on a career as a commercial art director. She studied at Art Students' League and attended night classes at Brooklyn College, including art theory with György Kepes, who introduced her to the work of Lasló Moholy-Nagy and Man Ray. It was also at this time, in her mid twenties, that she met the environmental artist Frederick Kiesler. Drawn to post-war Europe in 1949, she studied painting in Paris at the Académie de la Grande Chaumière. There she attended classes with cubist painter André L'Hôte, and with Fernand Léger at his atelier. She also visited the studios of Ossip Zadkine and Brâncuși. Pepper began her career as a painter, but after a trip to Angkor Wat, Cambodia in 1960, she was so awed by the temple ruins surviving beneath the jungle growth that she turned to sculpture. She made her debut in 1962 with an exhibit of carved tree trunks at a gallery in Rome. After several exhibitions in New York and Rome, she was one of ten artists invited by Giovanni Carandente, along with David Smith, Alexander Calder, Arnaldo Pomodoro, Lynn Chadwick, and Pietro Consagra, to fabricate works in Italsider factories in Italy for an outdoor exhibition, "Sculture nella città", held in Spoleto during the summer of 1962. Beverly Pepper has had a long and extraordinary career. Like her contemporaries Louise Bourgeois and Louise Nevelson, Pepper forged a unique path as a mid-century feminist artist. As the 1960s progressed, Pepper turned to polished stainless steel. In some of the first works, she used a torch to carve used one-inch thick elements of stainless steel. From there, her pieces evolved into highly polished stainless with painted interiors. She was, in fact, one of the first artists, if not the first, to incorporate Cor-Ten steel into sculpture. Beginning in the 1970s, and to the present day, she has lived a bi-continental life traveling between Europe and the United States. Western Washington University outdoor sculpture collection. The collection has some pieces which qualify as "land art" including Alice Aycock's 1987 "The Islands of the Rose Apple Tree Surrounded by the Oceans of the Word, for You, Oh My Darling," and Nancy Holt's 1977-1978 "Stone Enclosure: Rock Rings." Other artists in the collection include Beverly Pepper, Robert Morris, Richard Serra, Isamu Noguchi, Bruce Nauman, Tom Otterness, and Mark di Suvero. Pepper's works have been exhibited and collected by major museums and galleries throughout the world, including: deCordova Sculpture Park and Museum, Lincoln, Massachusetts The Metropolitan Museum of Art, New York The Whitney Museum of American Art, New York Brooklyn Museum of Art, Brooklyn, New York The Albright-Knox Art Gallery, Buffalo, New York The White House Sculpture Garden, Washington, D.C. The Hirshhorn Museum and Sculpture Garden The National Museum of American Art, Smithsonian Institution, Washington, D.C. The Walker Art Center, Minneapolis, Minnesota The San Francisco Museum of Modern Art, California Denver Art Museum, Colorado Columbus Museum of Art, Ohio The Georgia Museum of Art, Athens, Georgia Centre Georges Pompidou, Paris, France Les Jardins du Palais Royal, Paris, France Palazzo degli Uffizi, Florence, Italy Galleria Nazionale d’Arte Moderna, Rome, Italy Forte Belvedere, Florence, Italy The Albertina Museum, Vienna, Austria The Museum of Modern Art, Barcelona, Spain The Wohl Rose Garden, Jerusalem, Israel The Contemporary Sculpture Center, Tokyo, Japan The Museum of Modern Art, Sapporo, Japan Europarkas Sculpture Park, Vilnius, Lithuania The Bradley Foundation, Milwaukee, Wisconsin The Gori Collection, Pistoia, Italy Nasher Sculpture Center, Dallas, Texas The City of Todi, Italy Indianapolis Museum of Art, Indianapolis Museu d'Art Contemporani de Barcelona, Barcelona, Spain Casal Solleric, Majorca, Spain Laumeier Sculpture Park, St. Louis, Missouri The Seattle Art Museum, Olympic Sculpture...

Abstract Sculpture by American Artist Jack Youngerman, from the Atlantic Ritchfield art collection. Abstract Form rotating on marble base. Initialed JY (Jack Youngerman, American, b....

"Mudflow" Wall Sculpture 46" x 39" x 5" inch by Gosha Ostretsov Medium: Wood and Acrylic Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in ...

"Prison" Wall Sculpture 71" x 59" inch by Gosha Ostretsov Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in Moscow. PUBLIC COLLECTIONS: Th...

Victor Vasarely Song, 1970 is a painted wood relief that is hand-signed by Victor Vasarely (Hungary, 1906 – France, 1997) on verso. Numbered from the edition of 55 on verso.

Victor Vasarely Bellatrix, 1970 is a painted wooden relief on aluminum that is hand-signed by Victor Vasarely (Hungary, 1906 – France, 1997) and is inscribed ' VASARELY E.A. VII' on ...

"Morning Grooming" Wall Sculpture 23" x 19" inch by Gosha Ostretsov Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in Moscow. PUBLIC COLLEC...

Volumen VPC-038, 1970 Unique Piece Direct carving on Cumarebo stone 40 x 32 x 20 cm 15.7 x 12.5 x 7.8 in ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Volumen VPC-062, 1972 Unique Piece Direct carving on Cumarebo stone 67 x 38 x 20 cm 26.3 x 14.9 x 7.8 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Maqueta Armonía de Volúmenes y Espacios -La Hoyada- BMPC-002, 1980(1982) Edition /25 Bronze 48 x 37 x 26 cm 18.8 x 14.5 x 10.2 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

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