Cubist Art

Roger de la Fresnaye The Card Players Stone lithograph after a painting Printed in Mourlot workshop On Arches vellum 65 x 50 cm (c. 26 x 20 inch) Ex...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

"Unleashing the Inner Child" (rotating) Painting D 43" inch by Tasneem El-Meshad Medium: acrylic on wood (rotating) Academy of Fine Arts Cairo graduate Tasneem El Meshad describes ...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edwa...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

Raymond Debieve (1931-2011) Born in northern France as a twin to brother Michel Debieve (who also become an accomplished artist later in life), Raymond painted his entire life. His ...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edwa...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edwa...

This is a one of a kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 40x40. It is unframed. This is an cubist abstract painting using bright...

This is a one of a kind original abstract cubist acrylic painting on canvas by San Diego artist, Alexander Arshansky. Its dimensions are 20"x 24"x1...

GEORGES BRAQUE 1882-1963 Argenteuil-sur-Seine, 1882-1963 Paris Title: The Dance, 1934 Technique: Original Hand Signed Etching with Aquatint on paper Paper...

Constantin PETROFF (born in 1954) Cubist Composition à la Tour Eiffel Mixed media on panel Dimensions: 76 x 51 cm Signed lower right Provenance: Private collection, Paris...

Rodolphe-Théophile Bosshard Cubist Portrait, 1930 Original stone lithograph Printed signature in the plate On Arches vellum 28 x 22 cm (c. 11 x 9 inch) Excellent condition

Jean Émile LABOUREUR The Harbor Cafe, 1921 Original etching Signed in pencil by the artist Numbered on / 50 copies On vellum 32.5 x 39.5 cm (c. ...

One of a kind biomorphic cubist painting by local San Diego artist, Alexander Arshansky. It's dimensions are 25.25 x 25.25 x 2.5 in. A certificate of authenticity will follow deliver...

A serene monochrome composition where abstract shapes and lines converge in harmonious balance... The series ‘In Between the Shadows’ consists of structural and geometric photograph...

Title: Untitled 4 Medium: Oil on canvas Size: 24 x 19.5inches Frame: Framing options available! Age: 2000s Condition: Painting appears to be in excellent condition. Note: This...

The series ‘In Between the Shadows’ consists of structural and geometric photographs that take their inspiration from the cubist movement. The works aim to challenge the conventiona...

Original painting on canvas. Hand signed lower front by Fernando Fernandez. Canvas size 36 x 24 inches. Canvas is stretched. Artwork is in excellent condition. Frame has some minor...

An abstract composition where light and shadow dance around a central vase form... The series ‘In Between the Shadows’ consists of structural and geometric photographs that take thei...

A serene monochrome composition where abstract shapes and lines converge in harmonious balance... The series ‘In Between the Shadows’ consists of structural and geometric photograph...

Jean-Emile Laboureur (1877-1943), Paysage au Tunnel, etching, 1920, signed in pencil lower left, numbered (19/55 ep) lower right and also titled lower left edge. Reference: Sylvain L...

MEDIUM : Lithograph PRINTER : Atelier Art-Litho EDITOR : Armand ISRAEL, Paris SIGNATURE : Printed LIMITED : 399 copies unumbered PAPER : Arches vellum SIZE : 18 x 23" CONDITION : Ex...

BELA KADAR 1877-1956 Budapest 1877-1956 (Hungarian) Title: Village Horse and Rider, circa 1920s Technique: Hand Signed Gouache on Thin Wove Paper Paper size: 50 x 70 cm. / 19.7 x...

Soirée Philosophique (Philosophical Evening) 80 x 40 cm Acrylic on Canvas Soirée Philosophique depicts a single figure across multiple moments of the same evening: reading, thinking...

JOHN SUTTON (20th Century) Interior Signed, inscribed with title and dated: 12/5/42 Watercolour and chalks, unframed, in mount only 25 by 34.5 cm., 10 by 13 ½ in. (mount size 40 ...

Lithograph after Georges Braque. Signed in the plate Edition of 150 Dimensions: 76 x 117 cm Bibliography: « Les Métamorphoses de Braque» of Heger de Loewenfeld and Raphaël de Cuttoli , Editions FAC, Paris, 1989. In 1961 Georges Braque decided with his laidary friend Heger de Loewenfeld to pick up certain of his works to in order to create artworks, this beautiful litograph is one of them. Héméra in the Mythology: In Greek mythology Hemera was the personification of day and one of the Greek primordial deities. She is the goddess of the daytime and, according to Hesiod, the daughter of Erebus and Nyx (the goddess of night). Hemera is remarked upon in Cicero's De Natura Deorum, where it is logically determined that Dies (Hemera) must be a god, if Uranus is a god. The poet Bacchylides states that Nyx and Chronos are the parents, but Hyginus in his preface to the Fabulae mentions Chaos as the mother/father and Nyx as her sister. She was the female counterpart of her brother and consort, Aether (Light), but neither of them figured actively in myth or cult. Hyginus lists their children as Uranus, Gaia, and Thalassa (the primordial sea goddess), while Hesiod only lists Thalassa as their child. The father of Cubism Three Cubist that distinguishes art historian periods were initiated and developed by Georges Braque: The Cubist Cézanne (1907-1909), Executive (1909-1912) and synthetic (1912-1922). Post-Impressionist and fawn, Braque no longer adheres to the contingency of a decorative way or the other. Cézanne’s paintings exhibited at the Grand Palais during the retrospective of 1907 are a revelation: Cézanne sought and invented a pictorial language. In his footsteps, Braque went to the South with the reasons of the Master. He returned with Estaque landscapes and surprising Ciotat it keeps Cezanne geometric model and retains the “passages” continuity from one surface to another to create the sensation of “turning around” of the object represented. But he wants to go after the consequences of the vision of Cezanne. In his paintings Houses in L’Estaque (1908) it simplifies the volumes of houses, neglects detail by removing doors and windows: the plastic rhythm that builds the table. Large Nude , a masterpiece of the period, can be considered the first work of Cézanne cubism . Systematizing and deepening Braque discoveries open the door analytical cubism. In 1909, his painting became more cerebral than sensual. The pattern is recreated in the two-dimensionality of the canvas, leaving aside any illusionistic perspective. In Still Life with Violin, objects are analyzed facets according to their characteristic elements, each facet referring to a particular view of the object. There are so many facets of points selected view: Table reflects the knowledge of the object and the ubiquity of the eye. Moreover, Braque is looking for the essence of the objects in the world rather than their contingency, which explains the absence of light source and use of muted colors (gray, ocher), contingent aspects of the object . But formal logic has stepped facets, erased any anecdote to the object and ultimately led to his painting a hermetic more marked on the edge of abstraction (see the series of Castle Roche-Guyon ). Braque, anxious to keep the concrete and refusing at all costs that the logic of Cubism takes the paintings to abstract, reintroduced signs of reality in his paintings in 1912 marks the beginning of Synthetic Cubism. Historians speak of “signs of real” rather than reality because what interests Braque, this is not to put reality into a table, but to create a painting which, by its language, refers to the real. To do this, he invented two major techniques XX th century inclusions and contributions. The inclusions consist of painting objects that have no real depth, materials (wallpaper in Nature morte aux playing cards faux wood is a pictorial inclusion) or letters (calligraphic inclusion in Portuguese ), made first brush and a few months later stencil. Contributions are defined in contrast with the collage on canvas of foreign materials: glued or sand paper, sawdust, etc.. Regarding the collages, Braque used for the first time in September 1912 a piece of adhesive paper imitating faux wood Compote...

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 18" x 14" x 1.5". It is unframed. A Certificate of Authenticity will fol...

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 18" x 14" x 1.5". It is unframed. A Certificate of Authenticity will fol...

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 36" x 24" x 1.5". It is unframed. A Certificate of Authenticity will fol...

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 20" x 16" x 1.5". It is unframed. A Certificate of Authenticity will fol...

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 18" x 14" x 1.5". It is unframed. A Certificate of Authenticity will fol...

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 30" x 24" x 1.5". It is unframed. A Certificate of Authenticity will fol...

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 30" x 24" x 1.5". It is unframed. A Certificate of Authenticity will fol...

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 36" x 24" x 1.5". It is unframed. A Certificate of Authenticity will fol...

Golden brown – 24-08-20 New paper experiment The other day I bought new paper by Talens (Toned Colour Mix): a sturdy dark blue sheet perfect for colored pencil and pastel stick...

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 36" x 24" x 1.5". It is unframed. A Certificate of Authenticity will fol...

First Oil This oil painting ‘Nina - 13-10-23’ follows a prestudy I made last August. As stated before, she is a great model with a gorgeous body. I feel honored to draw and pa...

Trois Instants en Mai (Three Instants in May) 65 x 54 cm Acrylic on Canvas Trois Instants en Mai — Three Instants in May — is among the most explicit demonstrations of Diachronic Cu...

" Repose en été" est une œuvre qui dégage une atmosphère proche de " Luxe, calme et volupté" de Henri Matisse mais dans un style cubiste. Grégoire Mathias a réunit tous les élèvemen...

The often colorful, dense and wildly ambitious paintings of Michael Krasowitz are inspired by the exercises of the surrealists, deconstructing myth t...

Something Different This graphite pencil drawing ‘Louise Brooks – 12-07-23’ is something different. That is, compared to the previous one. Up to now I used only regular refe...

A Break-Out This graphite pencil drawing ‘Gent – 08-05-23’ shows a different scenery for a change. Usually you see me wandering about in the Haaglanden area, searching for a...

Returning to Cubist Styling This graphite pencil drawing ‘Berg en Dal – 02-05-23’ is a welcome change from 9 consecutive impressionist landscapes I made. Somehow I felt attr...

Return to Stardom This grapite pencil drawing ‘Sans Titre – 27-07-023’ is a return to stardom once more. Veronica Lake was the last one in the series. Lulus I consider a ser...

A Perfect Mixture This graphite pencil drawing ‘Berg en Dal – 02-11-23’ is a sort of mixture of cubism and impressionism. Less abstracted than the previous one but more cubi...

"Braque Graveur" is an original color lithograph poster. It depicts a moth or butterfly landed on a black abstract form. There are blue and reddish-brown abstract shapes as well, and...

Brightly colored abstract by Michael William Eggleston (American, 20th Century). Eggleston's use of various mediums and techniques show through...

A New Model This graphite pencil drawing ‘Nina – 09-08-23’ marks something new. Not the style though. That more or less is my newly found neo deco. It’s all about the model. About two weeks ago somebody on replied to my last oil ‘Neo Deco – 30-07-23’. That person happened to be a model under the name ‘NinaErotique’. You know by now I’m not into sleazy, unartistic nudes. I’m here on earth to celebrate nudity forged by higher beings as the pinnacle of beauty. Not my words but communis opinio amongst artists at the turn of the 20th century. Apparently she happens to think the same way. The result is a beautiful array of tasteful pictures. Some are nudes, other are about fashion and a bit of glamour on the side. I certainly would recommend you to click that link or visit her website. Clothed She has a lovely body and appearance. However, first I was touched by a photo of her sitting wearing a sheer negligee...

Back in 2014 This oil painting ‘Neo Deco – 05-03-24’ is an elaboration of my pastel drawing ‘Cubist Nude – 28-03-14’. One I was bound to elaborate at some point. I rem...

Jean-Emile Laboureur (1877-1943), Bar en Pennsylvanie, etching, 1914. Signed in pencil lower left and numbered 21/35 lower right [also signed and dated lower in the plate lower left]...

My cellists in a very large and deconstructed composition. A very deconstructed cubist composition, it's very large and dramatic. I love musical instruments, they are artworks themse...

Jean-Emile Laboureur (1877-1943), Sur la Marne, engraving, 1924, signed in pencil lower right [with the initial lower right in the plate]. Reference: S. Laboureur 277, third state (o...

Brightly colored abstract portrait by Michael William Eggleston (American, 20th Century). An abstracted figure is depicted as having a cat-like eye and sharp teeth, but the exact fea...

Still lifes of vases and simple fruits in the house that the artist knows how to breathe into the paintings are really beautiful, and give the viewer a feeling of lightness and purity. Hanging still life...

Vibrant and textured depiction of colorful buildings on the coast by an unknown artist (20th Century). The sky has heavy impasto, adding depth to the composition. The buildings are r...

All Things Round? This pastel drawing Golden Night – 08-02-21 is based on a previous graphite pencil drawing Roundism 10-08-20. What I do is to browse through my collection of dra...

Deplacement Acrylic on canvas 60 x 92 cm Déplacement unfolds horizontally — at 60 x 92 cm, it is one of Mathias's larger canvases, and the format is not incidental. The wide, friez...

Large-scale contemporary cubist abstract interior scene, composed of pink and multicolor geometric shapes by Bay Area artist Michael Pauker (American, b. 1957). The geometries are fr...