Phoebe Adams

Large Biomorphic Abstract Bronze Sculpture Phoebe Adams Wall Hanging

1985

Zvi Yehuda Aldouby (1904 - 1996) was active/lived in Israel. Zvi Aldouby is known for Artist, teaching. Biography photo for Zvi Jehuda Aldouby Zvi Yehuda Aldouby (Hirsch Leib Zupnick), sculptor, born 1904, Galicia. Immigrated 1924. Upon aliyah in 1924 he worked in agriculture and construction. 1936-51 studied art and the history of art with Trude Haim, Professor J. Schwartzman, Ds. Schiff, Pinkerfeld, Aviyona, Javetz, and others. After WWII he worked for the Jewish Agency as an envoy in Italy under the aegis of the UNWRA, on the welfare of the survivors of the Holocaust in the DP Camps. In 1948 in Paris, he evaluated advanced studies in European Art Centers. He was a member of the Israel Painters and Sculptors Association. He was a member of the Artists' Village in Ein Harod from its inception. EIN HAROD About the Museum's Holdings: Israeli art is represented by the works of Reuven Rubin, Zaritzky, Nahum Gutman, Mordecai Ardon, Aharon Kahana, Arie Lubin, Yehiel Shemi, Yosl Bergner and others. The graphic arts collection contains drawings and graphic works by Camille Pissarro, Modigliani, Jules Pascin, Marc Chagall (almost all of his graphic work), and numerous other artists. The sculpture collection includes works by Jewish sculptors from all over the world including leading Israeli sculptors; Ben Zvi, Lishansky, David Palombo (brutalist), Yehiel Shemi, Aharon Bezalel and Igael Tumarkin (surrealist). Many Jewish sculptors from all parts of the world, beginning with Mark Antokolsky, are represented in the collection. In the sculpture courtyard there are works by Chana Orloff, Jacob Epstein (the works he bequeathed to the Museum), Enrico Glicenstein, Loutchansky, Constant and Indenbaum from Western Europe; Glid from Yugoslavia; William Zorach, Chaim Gross and Minna Harkavy from the United States; and most of the outstanding sculptors of Israel : Zev Ben-Zvi, Lishansky, Ziffer, Rudi Lehmann, Dov Feigin, Moshe Sternschuss, Zvi Aldouby, Yehiel Shemi, Aharon Bezalel, Hava Mehutan, Igael Tumarkin. Education: 1924-28 Hebrew University, Jerusalem, graduated 1931-37 Teachers' Seminar, Jerusalem, Teacher's Certificate 1938-29 Advanced studies, with Trude Haim Joseph Schwarzman, School of Art 1948-50 Advanced studies in Italy and France Teaching Taught history of art and sculpture Holon Awards And Prizes 1957 Herman Struck Prize, Artists' Association of Haifa and the North, Haifa Municipality 1963 Dizengoff Prize for Painting and Sculpture, Municipality of Tel Aviv-Jaffa 1964 Medal from Monaco International Exhibition 1965 Prize for the ''Breakthrough into the Negev'' proposal for a monument, Givati Corps, 52nd Brigade 1967 The Histadrut Executive Prize 1991 Worthy Citizen of Tel Aviv Award, Municipality of Tel Aviv-Jaffa Environmental Sculptures 1961 Levant Fair, Tel Aviv, "A Sculpture in a Garden" 1968 Atlit Youth Club, Bas- Relief- "Davd Playing Before King Saul" 1969 Netivot (Negev), "Yizkor"- Monument memorializing Aliyat Hanoar youngsters from Tunisia who perished in an air crash. 1944 Collective Annual Exhibition by Palestinian Artists Art Gallery of the ''Habima'' Building, Tel Aviv Artists: Hermann Struck, Moshe Sternschuss, Arie Reznik, Aaron Priver, Yitzhak Itzhak Danziger, Zvi Aldouby, Menachem Shemi, Moshe Castel, Shmuel Ovadyahu, Yohanan Simon, Marcel Janco. Group Exhibition - Etched Voices, Yad Vashem, Jerusalem painting...

Roberto Estopinan, Cuban, 1920 - 2015 Dimensions: 24.5" wide x 13" high plus 6" high base. Roberto Estopiñán (1921–2015) was a Cuban American sculptor known for his sculptures of the human form, including political prisoners. Born in Camaguey, Cuba, he lived in the United States for over fifty years. His works are held by major institutions such as the Museum of Modern Art, the Whitney Museum and the Smithsonian Museum of American Art. Roberto Gabriel Estopinan, a sculptor, draftsman, and printmaker, was born in Havana, Cuba on March 18, 1921. Estopiñán enrolled at the San Alejandro Academy when he was just 14 years old and became the protegé and studio assistant of the sculptor Juan José Sicre. After graduation he traveled first to Mexico, where he met and befriended Francisco Zuniga, and studied Pre-Columbian sculpture. In 1949 he traveled to Europe, visiting England, France and Italy. In these trips he encountered the sculpture of Henry Moore and Marino Marini, and their humanistic yet formal visions would be influential on Estopinan's work. Estopiñán was a pioneer of direct carvings using wood and of welding techniques in Latin America. Throughout the 1950s, Estopiñán received important prizes at various national exhibitions in Havana. In 1953 he was the only semi-finalist from Latin America at the Tate Gallery's international sculpture competition for a Monument to the Unknown Political Prisoner. In 1961, the artist moved to New York, where he resided until 2002. Roberto Gabriel Estopiñán a Cuban emigre sculptor who emigrated to exile in the United States not long after Fidel Castro’s revolution in 1959, is considered one of Latin America’s most important 20th-century artists. His work, which includes drawings and prints as well as sculptures in wood and bronze, is in the collections of New York’s Museum of Modern Art, the Smithsonian’s American Art Museum, the Art Institute of Chicago, and the Detroit Institute of Art, among many locations. He is best known for his stark, disturbing renderings of political prisoners, the fruit of his own experiences as a dissident under both Castro and his predecessor, the dictator Fulgencio Batista, and for his representations of the female torso that can remind viewers of both classical statuary and the high-modern, abstractly elongated work of Henry Moore.mHe was born in Havana to a father from Asturias in northwest Spain and a mother of African descent. Estopiñán was something of a prodigy. At the age of fourteen, he won the first prize in drawing at the Centro Asturiano, a regional association for Cubans of Asturian descent. Shortly afterward he received special permission to enter the San Alejandro Academy of Fine Arts in Havana. At the school he was mentored first by its director, the painter Armando Menocal (1863-1941), then by the landscape artist Antonio Rodríguez Morey (1872-1967), and finally by Juan José Sicre (1898-1974), regarded as one of Cuba’s greatest sculptors. Sicre, a professor of sculpture at the Academy, had helped introduce European modernist art to Cuba, and from the 1930s through the 1950s had sculpted monumental figures in Havana of José Martí and other Cuban national heroes that stand to this day. Estopiñán was first Sicre’s student, then his assistant, and, finally, his colleague for the next fifty years. After graduating from San Alejandro in 1942, Estopiñán began simultaneously teaching art at the Ceiba del Agua School for young men, assisting Sicre in public art projects and developing his own artistic vision. He also traveled widely, to Mexico, New York, France, and Italy. From the late 1940s through the 1950s his sculpture evolved from an early neoclassical phase under the influence of Maillol to what he defined as “formalist humanism”: emphasizing the abstract beauty of the shapes he sculpted while not abandoning the human figure as the basis of his work. As the 1950s progressed he chose to carve in native Cuban woods...

In the manner of Julio Gonzalez, mixed metal sculpture. Neo-Dada Abstract Sculpture: Assemblages Abstract sculpture followed a slightly different course. Rather than focusing on non-figurative subject matter, it concentrated on materials, hence the emergence of Assemblage Art - a form of three-dimensional visual art made from everyday objects, said to be 'found' by the artist (objets trouves). Popular in the 1950s and 1960s in America, assemblage effectively bridged the gap between collage and sculpture, while its use of non-art materials - a feature of Neo-Dada art - anticipated the use of mass-produced objects in Pop-Art. Assemblage sculpture is exemplified by the works of Louise Nevelson (1899-1988), such as Mirror Image 1 (1969, Museum of Fine Arts, Houston), and by Jean Dubuffet (1901-85) and his Monument with Standing Beast (1960, James R. Thompson Center, Chicago). The idiom was considerably boosted by an important exhibition - "The Art of Assemblage" - at the Museum of Modern Art, in New York, in 1961. Other examples of the Neo-Dadaist-style "junk art...

Colin Webster Watson (1926-2007). A patinated cast bronze sculpture of a stylized bird with a steel ring. Signed, numbered and dated (1985). With a Tallix foundry mark. Measu...

Paul de Pignol studied at the Ecole Nationale Supérieure des Beaux-Arts. He lives and works in Paris, and continues the exploration of bodies, moving fr...

Artist: Ellen Brenner-Sorensen Title: Untitled I Year: 1991 Medium: Bronze Sculpture, signature and number inscribed Edition: 1/8 Size: 27 in. x 20 in. x 16 in. (68.58 cm x 50.8 cm x...

Small unusual object in cast bronze. Freeform, Infinity symbolism and barbwire all in one unique piece. Its signed by an unknown Scandinavia Sculptor an...

Fluid Complexity Bronze Sculpture by Gardeco Objects Limited Edition Of 75 Pieces. Designed by Kris Demuelenaere. Dimensions: D 26 x W 32 x H 24 cm. Materials: Bronze. Gardeco stand...