Abstract Impressionist Figurative Sculptures

This aqua resin and acrylic sculpture is an abstract female for created by Kevin Kelly. The dimensions are noted include a 3 1/2 inch high base. Kelly works out of his Brooklyn studi...

Reaching, ca. 1980. Cast bronze. Signed in lower region on wrist. A rare example from the artist's later period influenced by figurative abstraction with expressionist tendencies. James Edward Lewis (August 4, 1923 – August 9, 1997) was an African-American artist, art collector, professor, and curator in the city of Baltimore. He is best known for his role as the leading force for the creation of the James E. Lewis Museum of Art, an institution of the HBCU Morgan State University. His work as the chairman of the Morgan Art Department from 1950 to 1986 allowed for the museum to amass a large collection of more than 3,000 works, predominantly of African and African diasporan art.[1] In addition, he is also well known for his role as an interdisciplinary artist, primarily focused on sculpture, though also having notable examples of lithography and illustration. His artistic style throughout the years has developed from an earlier focus on African-American history and historical figures, for which he is most notable as an artist, to a more contemporary style of African-inspired abstract expressionism. Early and personal life James E. Lewis was born in rural Phenix, Virginia on August 4, 1923 to James T. Lewis and Pearline (Pearlean) Harvey.[5] Lewis' parents were both sharecroppers. Shortly after his birth, his father moved to Baltimore for increased job opportunity; James E. was subsequently raised by his mother until the family was reunited in 1925. They lived for a short time with distant relatives until moving to a four-bedroom house on 1024 North Durham Street in East Baltimore, a predominantly African-American lower-class neighborhood close to Johns Hopkins Hospital. Lewis' primary school, PS 101, was the only public school in East Baltimore that served black children. Lewis grew up in a church-going family, his parents both active members of the Faith Baptist Church, devoting the entirety of their Sundays to church activities. His parents worked a variety of different jobs throughout his youth:[6] his father working as a stevedore for a shipping company, a mechanic, a custodian, a mailroom handler,[6] and an elevator operator.] His mother worked as both a clerk at a drugstore[7] and a laundress for a private family.[4] Lewis' primary exposure to the arts came from Dr. Leon Winslow, a faculty member at PS 101 who Lewis saw as "providing encouragement and art materials to those who wanted and needed it." In fifth grade, Lewis transferred to PS 102. Here, he was able to receive specialized Art Education in Ms. William's class under the guidance of Winslow. He was considered a standout pupil at PS 102 as a result of his introduction to the connection between the arts and the other studies. His time spent in Ms. Pauline Wharton's class allowed for him to experiment with singing, to which he was considered a talented singer. His involvement in this class challenged his earlier belief that singing was not a masculine artistic pursuit. He was able to study both European classics and negro spirituals, which was one of his earliest introductions to arts specific to American black culture. Under Ms. Wharton's direction, he was also involved in many different musical performances,[6] including some works of the Works Progress Administration's Federal Theatre Project.[8] Lewis attended Paul Laurence Dunbar High School, where his love of the arts was heightened through his industrial art class with Lee Davis...

This aqua resin and acrylic sculpture is an abstract female for created by Kevin Kelly. The dimensions are noted include a 4 inch high white base. The pedestal is separate. Kelly wor...

William King (1925-2015). Reclining figure, ca. 1965. Cast and welded bronze, 7 x 9.5 x 5 inches. Unsigned. William King, a sculptor in a variety of materials whose human figures traced social attitudes through the last half of the 20th century, often poking sly and poignant fun at human follies and foibles, died on March 4 at his home in East Hampton, N.Y. He was 90. His death was confirmed by Scott Chaskey, who is married to Mr. King's stepdaughter, Megan Chaskey. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses -- a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. But for all its variation, what unified his work was a wry observer's arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. Mr. King's work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. But the comic element of his work probably caused his reputation to suffer. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder. and Elie Nadelman. The critic Hilton Kramer, one of Mr. King's most ardent advocates, wrote in a 1970 essay accompanying a New York gallery exhibit that he was, "among other things, an amusing artist, and nowadays this can, at times, be almost as much a liability as an asset." A "preoccupation with gesture is the focus of King's sculptural imagination," Mr. Kramer wrote. "Everything that one admires in his work - the virtuoso carving, the deft handling of a wide variety of materials, the shrewd observation and resourceful invention - all this is secondary to the concentration on gesture. The physical stance of the human animal as it negotiates the social arena, the unconscious gait that the body assumes in making its way in the social medium, the emotion traced by the course of a limb, a torso, a head, the features of a face, a coiffure or a costume - from a keen observation of these materials King has garnered a large stock of sculptural images notable for their wit, empathy, simplicity and psychological precision." William Dickey King...

German sculptor Nando Kallweit produces figurative bronze sculptures and reliefs with aquiline and a graceful modern appeal. Kallweit is inspired by seemingly disparate cultures; the strength of ancient Egyptian sculptures...

Bronze sculpture by Latin American sculptor Raúl Valdivieso (Chilean, 1931-1993). Valdivieso is known for his reinterpretation of the classic organic forms and human figures. Raúl Valdiveso was born September 9, 1931 in Santiago, Chile. In 1952 he began his studies at the School of Fine Arts at the University of Chile. There he took to sculpture and studied under professors like Marta Colvin...

German sculptor Nando Kallweit produces figurative bronze sculptures and reliefs with aquiline and a graceful modern appeal. Kallweit is inspired by seemingly disparate cultures; the...

This figurative outdoor sculpture in female form is forged in bronze and stainless steel. Galina Stetco used her own body as a model for the mould of this compelling and poignant l...

German sculptor Nando Kallweit produces figurative bronze sculptures and reliefs with aquiline and a graceful modern appeal. Kallweit is inspired by seemingly disparate cultures; the strength of ancient Egyptian sculptures...

Nando Kallweit’s "Amici V" is a contemporary bronze sculpture that captures the essence of unity and connection through its strikingly elongated abstract forms. This modern figurative artwork features three faceless figures standing tall together, their textured surfaces and slender silhouettes evoking a sense of strength and harmony. The interplay of light and shadow on the dark patina enhances the sculpture’s expressive depth, making it a sophisticated addition to minimalist, abstract, and contemporary art collections. Amici V symbolizes companionship, resilience, and shared experiences, resonating deeply with collectors who appreciate art that conveys emotion through form. German sculptor Nando Kallweit produces figurative bronze sculptures and reliefs with aquiline and a graceful modern appeal. Kallweit is inspired by seemingly disparate cultures; the strength of ancient Egyptian sculptures...

Imposing and very large scale mixed media 'assemblage' by French artist Armand Avril. The work includes the French tricolour flag colours, his symbolic cat sculptures and a highly colourful geometric image of the artist's mother sitting in a chair. The work is signed and dated to the reverse and comes with a certificate of authenticity from the gallery. This montage fully demonstrates Avril's geometric period whilst also expressing the humour and joy that he puts into all his work. A very strong sculptural image and a feast for the eyes in searching for and recognising the everyday objects used in making this piece come alive. This montage is made from wood pieces, plywood, oil paint, acrylic, bottle top and nails . The more sculpted areas of the piece stand out up to 3cm from the frame. Armand Avril was born in 1926 in Lyon. His father, Marcel Avril was a painter and collector of African art. At 16 Armand became an apprentice shepherd in Provence. Avril could always be seen equipped with a sketchbook and a book on the history of art whilst tending his flock. It was not until the age of 30, in 1956, that Armand embarked on painting as an autodidact, influenced by Raoul Dufy, Pierre Bonnard, Henri Matisse and the Lyonnaise School of Painting. He exhibited for the first time in 1957. In 1960, he left for a one-year trip to Africa. There he met the painter Jean Arène who introduced him to the village of Cotignac in the Var and to Louis Pons...

David Hare Dancer, circa 1955 Bronze with integral stand 68 high x 17 wide x 13 1/2 deep inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...