Constructivist Art

Like many of his peers--including de Kooning, Pollock, Rothko and others--Loew painted in a figurative style before the war and participated in the WPA mural project which gave other...

Johnson was a student of Ilya Bolotowsky and specialized in works based on the constructivist philosophy of Mondrian. Works well in a minimalist home.

This artwork is not framed. Antony Squizzato is a talented French artist who likes to experiment with different styles and techniques.

Original vintage Soviet Constructivist propaganda poster - In our time, the public social system, which we are responsible for supporting, is the...

Monastery Gate (work no. HVP03012) is the most unique contemporary modern abstract geometric bronze sculpture by acclaimed Dutch constructivist Henk van Putten, who was born in The N...

Zabriskie Point is a part of the Amargosa Range located east of Death Valley in Death Valley National Park in California, United States, noted for its ...

Note: This work was exhibited in 1984 at Graham-Shay Gallery and appears in the exhibition catalogue (image attached). Seymour Fogel was an American artist whose artistic output included social realist art early in the century, abstract art and expressionist art at mid-century, and transcendental...

Rare two sheet original vintage movie poster designed by the Stenberg Brothers (Vladimir 1899-1982; Georgii 1900-1933) for a comedy film A Perfect Gentleman starring Monty Banks. Striking Soviet...

This artwork makes a great diptych with "Salvatory Outburst" (see pictures). In French the name means "floating point", as in computing, however the French uses the comma as a decim...

This artwork makes a great diptych with "Floating Comma" (see pictures). This item is not framed. Antony Squizzato is a talented French artist who likes to experiment with differen...

Lissitzky, El, Kunstgewerbemuseum KGM - - USSR Russische Ausstellung 1929 (Zurich Museum of Design - USSR Exhibition). Reprint 1980 Offset, Photomontage. This is a reproduction of a very rare vintage...

Artist's comment : "Artworks from the "Duels" series concerns duality between instinct, the colored background, and reason, the black tracks, difficulty of...

Xavier Magaldi (1975) lives and works in Geneva. The Swiss artist Xavier Magaldi discovered graffiti in the late 80s, interested in this new artistic movement, it essentially will expand its research work on the letter and freestyle. Graffiti has been able to extract energy and the power of the plot. It is these free art moments...

This item is not framed. Antony Squizzato is a talented French artist who likes to experiment with different styles and techniques.

Due to the current situation related to the Novel Coronavirus pandemic, our gallery will donate 10% of our commission from this sale to the Kansas City Artists Coalition, which has b...

At the petrol station is an original vintage silver salts photograph, made by the great Russian Constructivist artist Aleksandr Michajlovic Rodčenko (Saint Petersburg, 1891 - Moscow, 1956) in 1935 ca. Printed later, presumably between the 1940s and the 1950s. In very good conditions, it is rare and precious. A scene of ordinary life is portrayed in an unusual point of view. The oblique cuts, the use of diagonal as the dynamics of this image, the close position of the machine are constants of Rodčenko'style and something of absolutely revolutionary and innovative at that time in the field of photography! Provenance: Museum of Modern Art, Oxford, Great Britain; Forum Auction, London; Private Collection. Bibliography: Alexander Rodchenko. Catalog of the retrospective exhibition published from the Museum of Modern Art, Oxford, 1979. Aleksandr Michajlovič Rodčenko (St. Petersburg, 1891 - Moscow, 1956) Aleksandr Michajlovič Rodčenko was a Russian painter, photographer and graphic designer, a leading figure of the Russian avant-gardes who collaborated in the establishment of the Constructivist movement. In 1924 Rodcenko definitively abandoned painting as the main artistic medium to embrace photography...

Xavier Magaldi (1975) lives and works in Geneva. The Swiss artist Xavier Magaldi discovered graffiti in the late 80s, interested in this new artistic movement, it essentially will expand its research work on the letter and freestyle. Graffiti has been able to extract energy and the power of the plot. It is these free art moments...

This Estuardo Maldonado sculpture in engraved stainless steel, it's a unique artist's first edition. The support is in satinated steel.

Richard Meier Pericolosamente, 2011 Silkscreen Collage (mix media), sheet size: 30" x 30" signed numbered dated in pencil by the artist edition of 50 Richard Meier, (b.1934)...

N.M. Kochergin. Razrukha I armiya truda! (Dislocation and the Army of Labor). Red Russian propaganda poster designed by N. Kochergin, verses by Demyan Bednii, Color lithograph, 1920. 22 x 30". Ref: The Bolshevik Poster...

This item is not framed. Antony Squizzato is a talented French artist who likes to experiment with different styles and techniques.

This item is not framed. Antony Squizzato is a talented French artist who likes to experiment with different styles and techniques.

Antony Squizzato describes most of his works as Neue Constructivism. In this piece, the term is a double entendre : the artwork litteraly figures a construction (Squizzato is also f...

This item is not framed. Antony Squizzato is a talented French artist who likes to experiment with different styles and techniques.

Original vintage Russian theatre advertising poster for a play performed at the Leningrad Music Hall in 1934, The Seducer of Seville (aka The Trickster of ...

Jazzy colored buildings, and there lead secret doors… This item is not framed. Antony Squizzato is a talented French artist who likes to experiment with ...

Original vintage Soviet movie poster for a German film Dagfin (translated into Russian as Life for Life - Zhizn za Zhizn), a 1926 silent film directed by J...

Ryan Sarah Murphy's creative practice is intuitive and process-driven, prompted by the found ephemera of my daily experience. Responding to the inherent energy within discarded and...

Ryan Sarah Murphy’s creative practice is intuitive and process-driven, prompted by the found ephemera in her daily experience. Responding to the inherent energy within discarded and ...

Ryan Sarah Murphy’s creative practice is intuitive and process-driven, prompted by the found ephemera in her daily experience. Responding to the inherent energy within discarded and ...

Ryan Sarah Murphy’s creative practice is intuitive and process-driven, prompted by the found ephemera in her daily experience. Responding to the inherent energy within discarded and ...

Ryan Sarah Murphy’s creative practice is intuitive and process-driven, prompted by the found ephemera in her daily experience. Responding to the inherent energy within discarded and ...

Ryan Sarah Murphy’s creative practice is intuitive and process-driven, prompted by the found ephemera in her daily experience. Responding to the inherent energy within discarded and ...

Ryan Sarah Murphy’s creative practice is intuitive and process-driven, prompted by the found ephemera in her daily experience. Responding to the inherent energy within discarded and ...

Ryan Sarah Murphy’s creative practice is intuitive and process-driven, prompted by the found ephemera in her daily experience. Responding to the inherent energy within discarded and ...

Ryan Sarah Murphy’s creative practice is intuitive and process-driven, prompted by the found ephemera in her daily experience. Responding to the inherent energy within discarded and ...

Ryan Sarah Murphy’s creative practice is intuitive and process-driven, prompted by the found ephemera in her daily experience. Responding to the inherent energy within discarded and ...

Ryan Sarah Murphy's creative process generates from a wholly intuitive place, prompted by the materials that come and go freely within the day-to-day experience. Currently, her work ...

Ryan Sarah Murphy's creative process generates from a wholly intuitive place, prompted by the materials that come and go freely within the day-to-day experience. Currently, her work ...

A folio sheet from the Album MA by Sándor Bortnyik. Signed in pencil by the artist bottom right, numbered in pencil bottom left, number 50 from the edition of 140. Presented in plain...

VMA-012, 2015 Edition / Talla directa sobre marmol blanco de Carrara 36 x 16 x 10,5 cm 14.1 x 6.2 x 41.3 in. The "Tu y Yo" (You and Me) series is based on complementary opposites and contain revealing elements of male and female symbology. As a tribute to his teacher Jesús Soto he introduces direct references to the work of the kinetics in hatched backgrounds of lines to produce the optical vibrations characteristic of that movement. JORGE SALAS...

Escena de recolección de frutas BRY-002, 1937 Edition 1/8 Bronze 200 x 113 x 11.5 cm 78.7 x 44.4 x 4.5 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...

Ofrenda CVIII 108, 2013 Unique Piece Acrilico sobre tela 70 x 70 x cm 27.5 x 27.5 in. About the Artist Born in New York on January 13, 1935. In 1941 he moved with his family to Car...

El cuadragésimo cuarto encuentro, 1997 Acrylic on canvas 112 x 132 x cm 44 x 51.9 x 0 in. About the Artist Born in New York on January 13, 1935. In 1941 he moved with his family to...

These series of paintings by Natalia Roman gather their inspiration from geometric, minimalist shapes and paintings from the beginning of Modernism, with a special emphasis on Art De...

Livre Russe et Francais, J.Povolozky/Editeur & Cie, Ca 1922. Color lithograph, signed in the stone. Rare Vintage Poster. As a painter, Natalia Gontcharova was, together with her ...