Wood Sculptures

Hugo Urrutia’s “From Dusk to Dawn” is a masterful 29-inch high by 38-inch wide sculptural wall artwork, crafted with meticulous precision using oil lacquer paint on carved Baltic birch. Part of his acclaimed “Flexible Rigids” series, this work challenges the boundaries between rigid geometry and fluid motion, transforming a structured surface into a captivating, undulating form. Urrutia’s innovative approach to sculptural abstraction and his ability to evoke natural harmony through architectural precision make this artwork ideal for collectors of modern wall sculptures, geometric art, and unique design-inspired pieces. In “From Dusk to Dawn”, Urrutia builds a mesmerizing composition of repeating triangular modules, meticulously carved to create a dynamic wave-like effect across the surface. The artwork’s deep red gradient transitions from darker tones at the top to vibrant crimson hues at the base, suggesting a natural progression reminiscent of twilight giving way to morning light. The carved facets interact beautifully with light, producing subtle shifts in shadows, reflections, and tones that shift as the viewer changes perspective. The repetitive geometric pattern creates both rhythm and structure, while the gentle curvature of the surface adds an organic flow, echoing Urrutia’s inspiration from natural phenomena like rippling water, wind-blown fabric, or synchronized flocks of birds. The contrast between the bold, rich hues and the natural wood accents further enhances the sculpture’s modern elegance, making it a striking centerpiece for contemporary interiors and architectural spaces. Key Features: Original artwork: Sculptural wall art crafted with carved Baltic birch and oil lacquer paint Dimensions: 29 inches high by 38 inches wide; 5 inches deep Design concept: “Flexible Rigids” series, transforming rigid geometry into flowing, harmonic forms Visual impact: Rich red gradient with natural wood accents and dynamic triangular carvings Display: Signed by the artist on the back; no framing required Certificate of authenticity included with purchase Delivery: Free local Los Angeles area delivery; affordable Continental U.S. and worldwide shipping available Hugo Urrutia, a multidisciplinary artist and architect, explores the intersection of art, design, and technology in his sculptural works. Inspired by natural movement and architectural precision, Urrutia’s pieces evoke the beauty of harmony, rhythm, and balance. A graduate of the prestigious Architectural Association in London, Urrutia has exhibited his works worldwide, solidifying his reputation as a visionary artist who redefines the relationship between art and space. “From Dusk to Dawn” is a stunning exploration of geometry, color, and form, seamlessly blending organic flow with architectural structure. Ideal for modern interiors, creative workspaces, or gallery walls, this one-of-a-kind sculpture transforms its environment with a dynamic energy and sophisticated elegance. Collectors seeking art that embodies innovation, movement, and timeless design will find “From Dusk to Dawn” an exceptional addition to their collection. REPRESENTATION Artplex Gallery, Los Angeles, CA EXHIBITIONS 2023 Artplex Gallery, Los Angeles, CA 2019 JoAnne Artman Gallery, Laguna Beach, USA 2019 Contemporaneo Ashville, Ashville, USA 2019 Canvas Hotel, Dallas, USA 2019 Decorazon Gallery, New York, USA 2018 George Billis Gallery, New York City, USA 2018 Ro2 Gallery, Dallas, USA 2018 Reveal Art Fair, Saratoga Springs, USA 2018 Aqua Art Fair, December. Miami, USA 2018 Cube Gallery, Winter 2018 London, UK 2018 SORAA, Frankfurt, Germany 2017 Decorazon Gallery, Dallas, USA 2016 Retrospect Galleries, Byron Bay, Australia 2015 Angela Royo Contemporary Art, Bogota, Colombia 2014 Decorazon Gallery, Dallas, USA 2012 Architectural Association Members’ Room, London 2012 Angela Royo Contemporary Art, Bogota, Colombia 2012 The Delicate Mayhem Gallery, London, UK 2011 Charlotte Jackson...

Abstract Hanging Sculpture - Triangle by Mickey "Kano" Kane (American, 1939-2002). This simple yet striking piece can be viewed from both sides. On one side, the piece features a su...

Abstract Hanging Sculpture - Triangle by Mickey "Kano" Kane (American, 1939-2002). This simple yet striking piece can be viewed from both sides. It is composed of two separate trian...

Abstract Hanging Sculpture - Triangle by Mickey "Kano" Kane (American, 1939-2002). This striking piece can be viewed from both sides. It is composed of two separate triangles which ...

Territorios by Fernando Otero Measures: 20.5 in. H x 28.5 in. W x 4 in D Found objects in wood box wall sculpture One of a kind Artist Fernando Otero was born in Lima (1972). He gra...

Sandblasted carved glass, cast glass, bronze and wood. Steve Linn describes himself as a documentary sculptor, conducting meticulous research on each of his selected subjects and ...

This series of eight abstract sculptures by Shayne Dark is made from applewood burls collected from apple orchards in Prince Edward County. "Many of the local apple orchardists were ...

This abstract wooden sculpture is made from African Teak root on an English Windsor base. This is an organic piece in caramel colors and a variety of textures. The sculpture is a stu...

I am usually not thinking so much about a finished work, but am inspired, accepting and mystified by the process of creating it. I see each of my works as a rehearsal in enduring un...

Narrative figures in various combinations of human, animal and natural forms are the main characters of this work. This blending of forms is reflective of nature, mythology and story...

“Iris Crystals” is a rich blue colored wall sculpture made out of solid koa wood and then painted and sealed with a UV matte sealer. The geometric facets are hand carved and add intr...

This sculpture from the "Aliens" series. In this series I created miniatures from different materials, combining them with fabric. Each sculpture is an association with some real o...

This series of four sculptural wall pieces combines painting and organic materiality, exploring the intersection of nature and contemporary art. Made from reclaimed corkwood, each wo...

This series by Chloe Hedden and Bill Hedden explores the growth forms of the mineral pyrite.  Pyrite or 'fools gold' grows in organic ever expanding interconnected cubes. This father...

Date: circa 1965 Bronze sculpture, wooden base Size: 10 x 8 x 3.75 in. (25.4 x 20.32 x 9.53 cm)

sculpture on wood by Spanish artist CODINA CORONA. Sculpture of one piece of wood Josep Maria Codina Corona (Igualada, 1935 - Barcelona, 2006) was a Catalan sculptor. He studied at...

Imprints/I am Yourself is a work of collection; a collection of images augmented by Casey Waterman to create a habitat where paralleled materials, connotations, and ambiguity comment...

Polygon dragon on oak stele oxidized 20x20x70 Unique polygon sculpture with burner insert on an oxidized oak stele. The body of the dragon is made of rusty steel, whereas the wings...

2452 ACRYLIC PAINTED DOWELS IN ARCHITECTURAL PLYWOOD WITH BEVELED EDGES. Matt Bilfield is no stranger to process oriented art, as the Fox Sports Lead Animation Designer, he is build...

"RAKU RED AND WHITE", 2019, in wheel-formed white glaze with copper red blush, sprig, stamp, gold leaf and raku fired with kintsuji gold by artist Andrew Cornell Robinson, is one of a series of sculptural objects that include ceramic, glass and mixed media grottoes and containers. A project exploring the vessel form and notions of gratitude, plenty, poverty in material or humanity. Robinson has led artists to explore tableware as sculptural form – "Changing attitudes and emerging social behaviors in food preparation and the social and cultural rituals of eating have lead to changes in the way tableware is made and used." Andrew Cornell Robinson is an interdisciplinary artist working across media (ceramics, textiles, painting, prints, etc.). His work is influenced by collaborative craft communities, traditions, and the performative qualities of cultural production. The underlying ideas exploring identity, histories, rituals, and power in his work aim to create a space for intimate experiences and open narratives. He studied ceramic sculpture at the Glasgow School of Art and the Maryland Institute College of Art where he received a BFA. He was awarded an MFA from the School of Visual Arts, where he became interested in the intersection of memory, identity, politics, and power. He has been featured in many publications including Sculpture Magazine, Huffington Post, Hyperallergic, Art Info, et al. He has participated in curatorial and research projects and recently was a participating artist in Debtfair a project in the Whitney Biennial. Andrew has also worked on collaborations with designers such as Donna Karan’s Urban Zen project where his work in ceramics led to workshops with artisans in Haiti and the creation of a ceramic studio in Port-au-Prince. He is currently working with The Powerhouse Arts Workshop and their design team from the Pritzker-prize winning architecture firm Herzog & de Meuron in the design and development of a contemporary industrial fabrication center established to serve the working needs of artists in New York City. He is currently a member of the faculty at Parsons School of Design and Greenwich House Pottery in New York City. His work has been presented extensively throughout the world with the Anna Kustera Gallery, David & Schweitzer Contemporary, Christopher Stout...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck...

Imprints/I am Yourself is a work of collection; a collection of images augmented by Casey Waterman to create a habitat where paralleled materials, connotations, and ambiguity comment...

EMERSON WOELFFER Abstract Form No. 1 1979 Porcelain on wooden plinth 3.5 x 3.5 x 11.5 inches

This sculptural wall piece, crafted from reclaimed cork oak wood and hand-painted with acrylic, features a vibrant composition of lush green foliage forming a smiling face. The organ...

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consisted of more than a dozen four- to seven-foot lengths of hardwood, each an uneven inch in depth and width. The sticks were warped, with worn yellow paint on one side and raw wood on the other three. Over the years she has painted the raw sides of the sticks, cut the wood into shorter lengths, and sliced paint off – and kept the residue from these actions. Sweibel has also made sculptures ranging from full-length sticks to tiny stick splinters. She built these sculptures using sliced-off paint. Timeworn materials and objects have an intelligence that the artist looks for and listens to. Shaping and reshaping material to find new form and elicit new insights in the material itself is the territory she is mining. The limitations of the process are its strengths. Her work is concerned with fragility, precariousness, adaptability, and strength. It is a visual response to powerful yet unseen forces - like wind and thoughts - that threaten, propel, ruin, and protect. Liz Sweibel is a multidisciplinary artist working in drawing, sculpture, installation, and digital photography and video. Her spare, personal language of abstraction transforms ordinary materials into statements about connectedness and responsibility: every action has an impact, the effects persist in space and over time, and we are accountable. By drawing attention to simple, ordinary “stuff of life” and referencing both shared and personal history, Sweibel’s work explores and reflects back fundamental experiences in response to our world and relationships. Her intention is to reinvigorate viewers’ awareness of the everyday – in its raw beauty and precariousness – in hopes that they might bring heightened senses of sight and care to their daily lives. Sweibel has participated in solo, two-person, and group exhibits in New York, Massachusetts, Maine, Connecticut, Michigan, and Tennessee since 1998. In 2016, Sweibel’s work was in the group shows Lightly Structured at Sculpture Space NYC, Precarious Constructs at the Venus Knitting Art...

I have seen this piece identified as Wizard and as Micawber from Charles Dickens David Copperfield ("something will turn up") Aronson, David 1923- David Aronson, son of a rabbi, was born in Lithuania in 1923 and immigrated to America at the age of five. He settled in Boston, Massachusetts where he studied at the school of the Museum of Fine Arts under Karl Zerbe, a German painter well known in the early 1900s. Aronson later taught at the school of the Museum of Fine Arts for fourteen years and founded the School of Fine Art at Boston University where he is today a professor emeritus. An internationally renowned sculptor & painter, Aronson has won acclaim for his interpretation of themes from the Hebrew Talmud and Kabala. His best known works include bronze castings, encaustic paintings, and pastels. His work is included in many important public and private collections, and has been shown in several museum retrospectives around the country. He is considered to be one of the most important 20th century American artists. At twenty-two David Aronson had his first one-man show at New York's Niveau Gallery. The next year, six of his Christological paintings were included in the Fourteen Americans exhibition at Manhattan's Museum of Modern Art where Aronson’s work was included alongside abstract expressionists Arshile Gorky, Robert Motherwell and Isamu Noguchi. In the 1950s, Aronson turned more toward his Jewish heritage for the inspiration for his art. Folklore as well as Kabalistic and other transcendental writings influenced his work greatly. The Golem (a legendary figure, brought to life by the Maharal of Prague out of clay to protect the Jewish community during times of persecution) and the Dybbuk (an evil spirit that lodges itself in the soul of a living person until exorcised) frequently appear in his work. In the sixties, Aronson turned to sculpture. His work during this period is best exemplified by a magnificent 8’ x 4’ bronze door which now stands at the entrance to Frank Lloyd Wright's Johnson Foundation Conference Center for the Arts in Racine, Wisconsin. In the seventies and eighties, Aronson continued his work in pastel drawings, paintings, and sculptures, often exploring religion and the frailties of man's nature. During this time, in addition to a traveling retrospective exhibition and many one-man shows in New York, Los Angeles, Chicago, and Boston at the Pucker-Safrai Gallery on Newbury Street, Aronson won many awards and became a member of the National Academy of Design in New York. Two years ago he retired from teaching to work full-time in his studio in Sudbury, Massachusetts. included in the catalog Contemporary Religious Imagery in American Art Catalog for an exhibition held at the Ringling Museum of Art, March 1-31, 1974. Artists represented: David Aronson, Leonard Baskin, Max Beckmann, Hyman Bloom, Fernando Botero, Paul Cadmus, Marvin Cherney, Arthur G. Dove, Philip Evergood, Adolph Gottlieb, Jonah Kinigstein, Rico Lebrun, Jack Levine, Louise Nevelson, Barnett Newman, Abraham Rattner, Ben Shahn, Mark Tobey, Max Weber, William Zorach and others. Selected Awards 1990, Certificate of Merit, National Academy of Design 1976, Purchase Prize, National Academy of Design 1976, Joseph Isidore Gold Medal, National Academy of Design 1976, Purchase Prize in Drawing, Albrecht Art Museum 1975, Isaac N. Maynard Prize for Painting, National Academy of Design 1973, Samuel F. B. Morse Gold Medal, National Academy of Design 1967, Purchase Prize, National Academy of Fine Arts 1967, Adolph and Clara Obrig Prize, National Academy of Design 1963, Gold Medal, Art Directors Club of Philadelphia 1961, 62, 63, Purchase Prize, National Institute of Arts and Letters 1960, John Siimon Guggenheim Fellowship 1958, Grant in Art, National Institute of Arts and Letters 1954, First Prize, Tupperware Annual Art Fund Award 1954, Grand Prize, Third Annual Boston Arts Festival 1953, Second Prize, Second Annual Boston Arts Festival 1952, Grand Prize, First Annual Boston Arts Festival 1946, Traveling Fellowship, School of the Museum of Fine Arts 1946, Purchase Prize, Virginia Museum of Fine Arts 1944, First Popular Prize, Institute of Contemporary Art 1944, First Judge's Prize, Institute of Contemporary Art Selected Public Collections Art Institute of Chicago Virginia Museum of Fine Arts Bryn Mawr College Brandeis University Tupperware Museum, Orlando, Florida DeCordova Museum Museum of Modern Art Print Collection, New York Atlanta University Atlanta Art...

Imprints/I am Yourself is a work of collection; a collection of images augmented by Casey Waterman to create a habitat where paralleled materials, connotations, and ambiguity comment...

"Kota Reliquary Figure Nigeria" is a wood and copper sculpture created in Nigeria circa 1970. A head is made with wide red eyes. Their hair is in...

Sydney Kumalo. Features a bronze stylized female figural form sculpture fixed to a marble plinth and wood base. Bears signature on base. Measures 9 1/2" x 4 1/4". There is no edition number on the piece. Sydney Kumalo (1935 - 1988) was born in Sophiatown, Johannesburg, on 13 April 1935. His was one of the families who had to move out of the "white" city to the South Western Townships, or Soweto. Raised in Diepkloof and educated at Madibane High School, he took with him from old Sophiatown the curious and diverse heritage of its heyday. Art classes in the Catholic school, "Sof' town" blues and jazz, the vibrant street culture and growing defiance of its population of various races who were gradually forced out into separate race-group areas. So it was that these various aspects of his early life created for Kumalo a cultural mix of a Zulu family related to the traditional royal house; city schooling, nascent township music and lingo; growing urbanised political defiance and the deep-rooted Zulu pride and respect for the legends and ancient stories of a tribal people. This mix of old and new cultures was reinforced when he began his studies at the Polly Street Art Centre in 1953 where he became a member of Cecil Skotnes group of serious artists who were encouraged to acquire professional skills. Skotnes introduced a basic training programme with modelling as a component, which marked the introduction of sculpting (in brick-clay) at Polly Street. Kumalo was Skotnes’ assistant at Polly Street from 1957 to 1964, and having recognised his great talent as a sculptor, Skotnes encouraged him to become a professional artist. After Kumalo’s very successful assistance with a commission to decorate the St Peter Claver church at Seeisoville near Kroonstad, with painting designs, sculpture and relief panels in 1957, Skotnes arranged for Kumalo to continue his art training by working in Edoardo Villa ’s studio from 1958 to 1960. Working with Villa, he received professional guidance and began to familiarize himself with the technical aspects of sculpting and bronze casting. In 1960 he became an instructor at the Polly Street Art Centre. Kumalo started exhibiting his work with some of the leading commercial Johannesburg galleries in 1958, and had his first solo exhibition with the Egon Guenther Gallery in 1962. He was a leader of the generation who managed to leave behind the forms of African curios, reject the European-held paternalism which encouraged notions of "naive" and "tribal" African art, and yet still hold fast to the core of the old legends and spiritual values of his people. He introduced these subjects into his bronze sculptures and pastel drawings, evolving his own expressive, contemporary African "style". Together with Skotnes, Villa, Cecily Sash and Giuseppe Cattaneo, Kumalo became part of the Amadlozi group in 1963. This was a group of artists promoted by the African art collector and gallery director Egon Guenther, and characterised by their exploration of an African idiom in their art. Elza Miles writes that Cecil Skotnes’ friendship with Egon Guenther had a seminal influence on the aspirant artists of Polly Street: “Guenther broadened their experience by introducing them to German Expressionism as well as the sculptural traditions of West and Central Africa. He familiarised them with the work of Ernst Barlach, Käthe Kollwitz, Gustav Seitz, Willi Baumeister and Rudolf Sharf.” It is therefore not surprising that some of Kumalo’s sculptures show an affinity with Barlach’s powerful expressionist works. Guenther organised for the Amadlozi group to hold exhibitions around Italy, in Rome, Venice, Milan and Florence, in both 1963 and 1964. Kumalo’s career took off in the mid 1960s, with his regular participation in exhibitions in Johannesburg, London, New York and Europe. He also represented South Africa at the Venice Biennale in 1966, and in 1967 participated in the São Paulo Biennale. EJ De Jager (1992) describes Kumalo’s sculpture as retaining much of the “canon and formal aesthetic qualities of classical African sculpture. His work contains the same monumentality and simplicity of form.” His main medium for modelling was terra cotta, which was then cast in bronze, always paying careful attention to the finish of both the model as well as the final cast. He began casting the pieces he modelled in clay or plaster into bronze at the Renzo Vignali Artistic Foundry in Pretoria North. He worked throughout his life with its owners, the Gamberini family, and enjoyed learning the technical aspects of the casting process, refining his surfaces according to what he learned would produce the best results in metal. De Jager further writes that Kumalo’s distinctive texturing of the bronze or terra cotta is reminiscent of traditional carving techniques of various African cultures. “In many respects Kumalo thus innovated a genuine contemporary or modern indigenous South African sculpture”. Kumalo came to admire the works of the Cubists, and of British sculptors Henry Moore and Lynn Chadwick. He became noted for adapting shapes from them into his own figures. The success of his use of the then current monumental simplicity and purely aesthetic abstractions of natural forms has been emulated by many South African sculptors since the 1970s. He was in many ways the doyen of South African Black art. As such he was an important influence especially on younger African sculptors, by whom he is greatly revered. Through his teaching at Polly Street and at the Jubilee Centre, as well as through his personal example of integrity, dedication and ability, he inspired and guided students who in their own right became outstanding artists, for example, Ezrom Legae, Leonard Matsoso and Louis Maqhubela From 1969 onward, he allied himself with Linda Givon, founder of The Goodman Gallery in Johannesburg, where he exhibited regularly until his death in December 1988. Working with Givon also perpetuated his associations with his many friends of strong principles. Skotnes, Villa, Legae and later such peers from the Polly Street era as Leonard Matsoso, Durant Sihlali and David Koloane have all exhibited at The Goodman Gallery. Kumalo, Legae, and later Fikile (Magadlela) and Dumile (Feni) were among the leading exponents of a new Afrocentric art...

This unique wall sculpture blends organic materials with hand-painted details, presenting a melancholic expression formed by meticulously arranged green foliage. Crafted from reclaim...

Modern abstract brutalist metal sculpture by Houston artist Bob Fowler. The work features a skeletal figure welded in a box or locker. Firmly attached to a white and natural wood bas...

In Ford Shelby Blue, this dramatic sculpture by California artist Lori Cozen-Geller is rooted in minimalism. Using the rich glossy palette of cars—a nod to the west coast’s car cultu...

This ceramic buste is made by Spanish artist Pedro Quesada Sierra. The Spanish sculptor, despite his only 39 years, is already a lot of laureate artist. In March 2018 he received, ...

Shayne Dark has elevated the natural beauty of applewood burls by creating unique contemporary sculptures. The Canadian artist collected gnarled burls from old orchards in Prince Ed...

Astian Rey "SHARK PEOPLE"

Universal Harmony is a stunning balance of natural beauty and refined elegance, featuring the grounding warmth of Rosewood and the luminous energy of Quartz Crystal. The rich, organi...

“Specimen“ is a mixed media piece by artist Heather Nicol, and measures 16x13x3“. Part of a body of work known as Salon, this particular assemblage is co...

Imprints/I am Yourself is a work of collection; a collection of images augmented by Casey Waterman to create a habitat where paralleled materials, connotations, and ambiguity comment...

Imprints/I am Yourself is a work of collection; a collection of images augmented by Casey Waterman to create a habitat where paralleled materials, connotations, and ambiguity comment...

Imprints/I am Yourself is a work of collection; a collection of images augmented by Casey Waterman to create a habitat where paralleled materials, connotations, and ambiguity comment...

Susumu Kamijo The Sinner at Dusk, 2021 Walnut wood and oil paint with a matte protective coating 11 × 8 3/10 × 13 4/5 in 27.9 × 21.1 × 35.1 cm Edition of 50 Published by Avant Arte ...

Layered petals of white glass frit are composed within a black lacquer frame by artist Cheryl Wilson Smith. Wilson Smith's work is created by forming minute glass particles, known as...

"It's Complicated" is an abstract artwork by Stan Olthuis composed of acrylic paint on reclaimed bicycle inner tube, wrapped and mounted on painted pine f...

John Garrett was raised in southern New Mexico by parents who were both educators. They instilled in him an appreciation for the handmade with their collections of Native American a...

This abstract sculpture from the Windfall Series by Shayne Dark is made from one of the applewood burls collected from apple orchards in Prince Edward County, Ontario. Many of the lo...

The drama of black and white is elevated by this sculptural series of three paintings by Aron Hill. Here the Calgary artist uses clean minimalist form in black on three white circula...

Large mirror made by a Florentine woodcarver working in the early 18th century (it can be hung on the wall in either direction) Tuscany (Florence) Louis XIV style Carved and g...

Spinnaker is a modern mixed media wall sculpture. Made from MDF, acrylic and repurposed Black cherry wood. This is the second piece I made as I begin to experiment with additional ma...

This vibrant carved wood sculpture by Al Czerepak (1928-1986) features a charming and rustic design of a bird surrounded by colorful flowers and a butterfly. The textured carving sty...

Infinite Dream II encapsulates the essence of boundless potential, where each dream carries infinite possibilities. Crafted with Mahoni wood, this sculpture represents strength and r...

Junction II is a wood sculpture (poplar) by Wouter van der Vlugt, dimensions are 45 × 44 × 40 cm (17.7 × 17.3 × 15.7 in). It is a unique signed piece and it comes with a certificate...

This is an engaging black aluminum sculpture create by the Italian artist Patrizia Guerresi, in the 1988. The piece is a multiple of 1000 specimen on a black wooden base. The title o...

This intense and engaging artwork was created by the Italian artist Nato Frascà. The title is "Il Volume" translated in " The Book". This is a multiple of 50 specimens and this piec...

Medium: Sapele Wood Jim Perry’s sculpture has been included in the Whitney Biennial as well as solo exhibitions at Calloway Fine Art & Consulting, Washington, DC (2018); The Center ...

Nathaniel Kaz Bronze Sculpture to Isaac Bashevis Singer for Arts in Judaism Award, 1966 Bronze, Square wooden base, Metal tag Signed and dated "66" to back of bronze portion of the w...

Aronson, David 1923- David Aronson, son of a rabbi, was born in Lithuania in 1923 and immigrated to America at the age of five. He settled in Boston, Massachusetts where he studied at the school of the Museum of Fine Arts under Karl Zerbe, a German painter well known in the early 1900s. Aronson later taught at the school of the Museum of Fine Arts for fourteen years and founded the School of Fine Art at Boston University where he is today a professor emeritus. An internationally renowned sculptor & painter, Aronson has won acclaim for his interpretation of themes from the Hebrew Talmud and Kabala. His best known works include bronze castings, encaustic paintings, and pastels. His work is included in many important public and private collections, and has been shown in several museum retrospectives around the country. He is considered to be one of the most important 20th century American artists. At twenty-two David Aronson had his first one-man show at New York's Niveau Gallery. The next year, six of his Christological paintings were included in the Fourteen Americans exhibition at Manhattan's Museum of Modern Art where Aronson’s work was included alongside abstract expressionists Arshile Gorky, Robert Motherwell and Isamu Noguchi. In the 1950s, Aronson turned more toward his Jewish heritage for the inspiration for his art. Folklore as well as Kabalistic and other transcendental writings influenced his work greatly. The Golem (a legendary figure, brought to life by the Maharal of Prague out of clay to protect the Jewish community during times of persecution) and the Dybbuk (an evil spirit that lodges itself in the soul of a living person until exorcised) frequently appear in his work. In the sixties, Aronson turned to sculpture. His work during this period is best exemplified by a magnificent 8’ x 4’ bronze door which now stands at the entrance to Frank Lloyd Wright's Johnson Foundation Conference Center for the Arts in Racine, Wisconsin. In the seventies and eighties, Aronson continued his work in pastel drawings, paintings, and sculptures, often exploring religion and the frailties of man's nature. During this time, in addition to a traveling retrospective exhibition and many one-man shows in New York, Los Angeles, Chicago, and Boston at the Pucker-Safrai Gallery on Newbury Street, Aronson won many awards and became a member of the National Academy of Design in New York. Two years ago he retired from teaching to work full-time in his studio in Sudbury, Massachusetts. included in the catalog Contemporary Religious Imagery in American Art Catalog for an exhibition held at the Ringling Museum of Art, March 1-31, 1974. Artists represented: David Aronson, Leonard Baskin, Max Beckmann, Hyman Bloom, Fernando Botero, Paul Cadmus, Marvin Cherney, Arthur G. Dove, Philip Evergood, Adolph Gottlieb, Jonah Kinigstein, Rico Lebrun, Jack Levine, Louise Nevelson, Barnett Newman, Abraham Rattner, Ben Shahn, Mark Tobey, Max Weber, William Zorach and others. Selected Awards 1990, Certificate of Merit, National Academy of Design 1976, Purchase Prize, National Academy of Design 1976, Joseph Isidore Gold Medal, National Academy of Design 1976, Purchase Prize in Drawing, Albrecht Art Museum 1975, Isaac N. Maynard Prize for Painting, National Academy of Design 1973, Samuel F. B. Morse Gold Medal, National Academy of Design 1967, Purchase Prize, National Academy of Fine Arts 1967, Adolph and Clara Obrig Prize, National Academy of Design 1963, Gold Medal, Art Directors Club of Philadelphia 1961, 62, 63, Purchase Prize, National Institute of Arts and Letters 1960, John Siimon Guggenheim Fellowship 1958, Grant in Art, National Institute of Arts and Letters 1954, First Prize, Tupperware Annual Art Fund Award 1954, Grand Prize, Third Annual Boston Arts Festival 1953, Second Prize, Second Annual Boston Arts Festival 1952, Grand Prize, First Annual Boston Arts Festival 1946, Traveling Fellowship, School of the Museum of Fine Arts 1946, Purchase Prize, Virginia Museum of Fine Arts 1944, First Popular Prize, Institute of Contemporary Art 1944, First Judge's Prize, Institute of Contemporary Art Selected Public Collections Art Institute of Chicago Virginia Museum of Fine Arts Bryn Mawr College Brandeis University Tupperware Museum, Orlando, Florida DeCordova Museum Museum of Modern Art Print Collection, New York Atlanta University Atlanta Art...

Over the past few years, Jesse Hickman has been making minimal abstract paintings on wood with few constraints. He calls this series Notes, thinking of these pieces as drawn sketches...

'We surround ourselves with elements from nature in the form of manicured lawns, sculpted trees, and our domesticated companions. We bend the natural world to our tastes and create a...