Arte Povera Art

A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...

Hand Forged Iron Candelabra Holocaust Memorial Judaic Menorah Sculpture David Palombo was an Israeli sculptor and painter. He was born in Turkey to a traditional family and immigrated to the Land of Israel with his parents in 1923. They lived in the Nahalat Shiva neighborhood of Jerusalem. In 1940 he began his studies at Bezalel Academy of Arts and Design, and from 1942 was a student of sculptor Ze’ev Ben-Zvi. For a period of time, Palombo was an assistant at Ben-Zvi’s studio and also taught at Bezalel. During this period he was also a member of the “Histadrut HaNoar HaOved VeHaLomed” (The General Federation of Students and Young Workers in Israel). In the 1940s he took art lessons at night. In 1948 he went to Paris, where he visited the studio of the sculptor Constantin Brancusi whose work influenced him. Around 1958 he married the artist Shulamit Sirota. In 1960 he quit his job to devote himself to art. In 1964 he married for the second time to the artist Yona Palombo. The two of them went to live in an abandoned home on Mount Zion in Jerusalem. In 1966 he was killed when the motorcycle on which he was riding ran into a chain stretched across the street to prevent the desecration of Shabbat. His widow opened a museum in their home that was active until the year 2000. Work by Palombo is included in the Judaic collection of the Jewish Museum (a well known Hanukkah menora). Palombo executed the impressive metal gates of the Tent of Remembrance at the Yad Vashem, the memorial to the martyrs of the holocaust, as well as the gates to the Knesset Building the United Nations Educational Scientific and Cultural Organization (Unesco award) awarded him a scholarship for study in Japan. He worked in marble, granite, bronze, iron and steel. as well as with glass mosaic tiles. Palombo’s early works, in the 1950s, were influenced by modernist sculptors such as Brancusi. These works were composed of abstract images from nature and were carved out of stone or wood. At the end of the 1950s he began making metal sculptors, using the technique of welding. His work took on a more abstract and expressive character. Education 1940 Painting with Isidor Ascheim, New Bezalel School for Arts and Crafts, Jerusalem 1942 Sculpture with Zeev Ben Zvi, Jerusalem 1956 Mosaic, Ravenna, Italy 1958 Welding Course Awards And Prizes 1966 UNESCO Award Exhibitions: Sculpture in Israel, 1948-1958 Mishkan Museum of Art, Kibbutz Ein Harod Artists: Zvi Aldouby, Yitzhak Danziger, Arieh Merzer, Dov Feigin, Aaron Priver, David Palumbo, Menashe Kadishman, Kosso Eloul, Yehiel Shemi, Zahara Schatz. The Spring Exhibition of Jerusalem Artists, Artists' House, Jerusalem Artists: Palombo, David Bezalel Schatz, Mordechai Levanon, Fima, Ludwig Blum 12 Artists, The Bezalel National Museum, Jerusalem Avraham Ofek, Aviva Uri, Avigdor Arikha, Yosl Bergner, Lea Nikel, Palombo, Ruth Zarfati, General Exhibition, Art in Israel 1960 Tel Aviv Museum of Art Artists: Naftali Bezem, Nachum Gutman, Shraga Weil, Shraga, Marcel Janco, Ruth Schloss

Johanan Ben Yaakov was born in 1913 in Germany. He immigrated to Palestine-Eretz-Israel in 1933. He Studied in 1943 in Bezalel, Jerusalem together with Mordechai Ardon and Isidore As...

SIMONS, Vera (1920 - 2012) Vera Habrecht Simons, was a German/American aviation pioneer, aeronaut and photo collage artist. She played a very important role in balloon development a...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produc...

Nino Longobardi (b. 1953): Untitled, 1983 Mixed media on paper. 19 x 14 in. (image), 26 x 21 in. (frame). Provenance: Cowles Gallery Born in Naples in 1953, he is one of the leading figures of Italian painting in the last two decades. Nino Longobardi did not attend schools or academies of art, rather he trained on-the-job: in art galleries, with artists such as Carlo Alfano...

This one depicts a sports wristwatch over an aerial landscape and is titled Clock Maze (it should be Watch Maze) SIMONS, Vera (1920 - 2012) Vera Habrecht Simons, was a German/Americ...

Hand Forged Iron Stone Mosaic Hanukah Menorah Candelabra David Palombo was an Israeli sculptor and painter. He was born in Turkey to a traditional family and immigrated to the Land of Israel with his parents in 1923. They lived in the Nahalat Shiva neighborhood of Jerusalem. In 1940 he began his studies at Bezalel Academy of Arts and Design, and from 1942 was a student of sculptor Ze’ev Ben-Zvi. For a period of time, Palombo was an assistant at Ben-Zvi’s studio and also taught at Bezalel. During this period he was also a member of the “Histadrut HaNoar HaOved VeHaLomed” (The General Federation of Students and Young Workers in Israel). In the 1940s he took art lessons at night. In 1948 he went to Paris, where he visited the studio of the sculptor Constantin Brancusi whose work influenced him. Around 1958 he married the artist Shulamit Sirota. In 1960 he quit his job to devote himself to art. In 1964 he married for the second time to the artist Yona Palombo. The two of them went to live in an abandoned home on Mount Zion in Jerusalem. In 1966 he was killed when the motorcycle on which he was riding ran into a chain stretched across the street to prevent the desecration of Shabbat. His widow opened a museum in their home that was active until the year 2000. Work by Palombo is included in the Judaic collection of the Jewish Museum (a well known Hanukkah menora). Palombo executed the impressive metal gates of the Tent of Remembrance at the Yad Vashem, the memorial to the martyrs of the holocaust, as well as the gates to the Knesset Building the United Nations Educational Scientific and Cultural Organization (Unesco award) awarded him a scholarship for study in Japan. He worked in marble, granite, bronze, iron and steel. as well as with glass mosaic tiles. Palombo’s early works, in the 1950s, were influenced by modernist sculptors such as Brancusi. These works were composed of abstract images from nature and were carved out of stone or wood. At the end of the 1950s he began making metal sculptors, using the technique of welding. His work took on a more abstract and expressive character. Education 1940 Painting with Isidor Ascheim, New Bezalel School for Arts and Crafts, Jerusalem 1942 Sculpture with Zeev Ben Zvi, Jerusalem 1956 Mosaic, Ravenna, Italy 1958 Welding Course Awards And Prizes 1966 UNESCO Award Exhibitions: Sculpture in Israel, 1948-1958 Mishkan Museum of Art, Kibbutz Ein Harod Artists: Zvi Aldouby, Yitzhak Danziger, Arieh Merzer, Dov Feigin, Aaron Priver, David Palumbo, Menashe Kadishman, Kosso Eloul, Yehiel Shemi, Zahara Schatz. The Spring Exhibition of Jerusalem Artists, Artists' House, Jerusalem Artists: Palombo, David Bezalel Schatz, Mordechai Levanon, Fima, Ludwig Blum 12 Artists, The Bezalel National Museum, Jerusalem Avraham Ofek, Aviva Uri, Avigdor Arikha, Yosl Bergner, Lea Nikel, Palombo, Ruth Zarfati, General Exhibition, Art in Israel 1960 Tel Aviv Museum of Art Artists: Naftali Bezem, Nachum Gutman, Shraga Weil...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

Günther Uecker (German, b. 1930) Do it Yourself, 1969 Medium: Two nails, 300g hammer, wood board Dimensions: 34 × 16.5 × 7 cm (13 2/5 × 6 1/2 × 2 4/5 in) Signature: Hand-signed in pe...

Arte Povera Exhibition - Galerie Di Meo, Paris is an offset realized for the exhibition in 2005. Good condition, no signature. The exhibition is in Galerie Di Meo in Paris from May to July 2005. The Arte Povera Artists are: Alighiero Boetti, Michelangelo Pistoletto, Jannis Kounellis, Mario Merz, Gilberto Zorio, Giovanni Anselmo, Pino Pascali...

Gilardi Exhibition - Galerie Di Meo is a colored offset print realized in 1991. This artwork was realized in occasion of the exhibition by Piero Gilardi held at Galerie Di Meo in ...

Arte Povera 2 Exhibition - Galerie Di Meo, Paris is an offset realized for the exhibition in 2010. Good condition, no signature. The exhibition is in Galerie Di Meo in Paris from October to November 2010. The Arte Povera Artists are: Giovanni Anselmo, Michelangelo Pistoletto, Alighiero Boetti, Luciano Fabro, Jannis Kounellis, Pier Paolo Calzolari, Giuseppe Penone, Giulio Paolini, Gilberto Zorio, Pino...

Gilardi Exhibition - Galerie Di Meo is a colored lithograph realized in 1991 . This artwork was realized in occasion of the exhibition by Piero Gilardi held at Galerie Di Meo in Pa...

Gilardi Exhibition - Galerie Di Meo is a colored offset poster realized in 1991 . This artwork was realized in occasion of the exhibition by Piero Gilardi held at Galerie Di Meo in ...

Gilardi Exhibition - Galerie Di Meo is a vintage offset printrealized in 1991 . This artwork was realized in occasion of the exhibition by Piero Gilardi held at Galerie Di Meo in ...

A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...

A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...

Emily Feinstein grew up with a father who was a cabinetmaker with a shop in the basement. She spent a lot of time making things and constructing with wood. Her ongoing interest in r...

Gabriel Mendoza Niño-Niña (Boy-Girl), 2020 Bronze on marble base 15.50 x 11.30 x 5.20 in Edition XII of XII Sculpture can be shown on two sides: front side is a girl and back side i...

Untitled (ID 1286) (Abstract Painting) Oil, ink and acrylic on paper - Unframed In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and ha...

Untitled (ID 1286) (Abstract Painting) Oil, ink and acrylic on paper - Unframed In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and ha...

Renaud Bihi Untitled Charbon Charcoal 28 x 28 x 68 cm 11 x 11 x 26.8 in. Renaud Bihi, an artist of materials and a man of contrasts, has had a singular career in the art world. On...

Renaud Bihi Untitled Bois brûlé et plumes Burnt wood and feathers 107 x 20 x 66 cm 42.1 x 7.8 x 25.9 in. Renaud Bihi, an artist of materials and a man of contrasts, has had a sing...

Oil, ink and acrylic on paper - Unframed In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets...

Set of 4 color screenprints, 1983, on polished aluminum foil, signed and numbered from the edition of 500, published by Fratelli Alinari Stamperia d'Arte, Florence, 42 x 33 cm. (16 3/4 x 13 in.) Including La Testa...

Renaud Bihi Totem Charbon et socle en granit Charcoal and granit base 40 x 40 x 154 cm 15.7 x 15.7 x 60.6 in. 2024 Renaud Bihi, an artist of materials and a man of contrasts, has ...

Composition of recovered bicycle wheel tyres on board. No frame needed as the thickness of the board is covered by the composition. 2.086 painted screws ...

Pair of kinetic sculptures in brass, hand hammered set in a wood box. This pair is a model for Jacques Jarrige's large "Curves" Unique and signed

"Rose" is an original artwork realized by Jannis Kounellis in 1963. It is hand signed overleaf and made with mixed media on cardboard. The Certificate of Authenticity is on a signed photograph. Exhibitions: Rome 1960 - the Dealer's Choice, Galleria Angelica, Rome, 2012. Reference: Luca Beatrice, Roma ’60, Milano, Silvana Editoriale, 2010, p. 189. Very good conditions, wooden frame included. Jannis Kounellis (1936 – 2017) was a Greek painter and sculptor. He anticipated and fostered the development of the Arte Povera movement. From the 1980s, his artworks often retrieved fragments and ancient objects...

Untitled / Hommage to Caravaggio is an Arte Povera Work realized by Yannis Kounellis in 2010 and made of iron, glass bottles, a shoe, jackets, trumpet and steel wire. Certificate of authenticity by the Artist. Exhibitions: About Caravaggio: Visioni e illusioni contemporanee, Frascati, Scuderie Aldobrandini, Museo Tuscolano, 1 dicembre 2012 – 7 aprile 2013; Novecento Italiano...