Abel Pann Paintings

Arturo Souto Feijoo (1901-1964) City Walls w/ Figures Original Mixed Media c.1950 Original pastel, watercolor and charcoal on paper. Housed in a simple f...

Albert Besnard entered the École des Beaux-Arts in 1866, studying with Alexandre Cabanel before making his debut at the Salon in 1868. Six years later he won the Prix de Rome with a ...

Albert Besnard entered the École des Beaux-Arts in 1866, studying with Alexandre Cabanel before making his debut at the Salon in 1868. Six years later he won the Prix de Rome with a ...

landscape, fishing, England, 1910,pastel,green,blue Edouard CHAPPEL (Anversa, 1859 – Cagnes-sur-Mer, 1946) MUSEI BELGIO Anversa Musée Royal des Beaux-Arts FRANCIA Paris Musée d...

Provenance Acquired by the gallery directly from the artist Description Created en plein air using the pastel medium, Solliday's fresh and immediate approach exemplifies a sense of spontaneous joy. The location is Abalone Cove in Palos Verdes, a favorite spot along Southern California's Highway 1 scenic drive famous for its magnificent views of the Pacific Coast. Exhibited Painting California: Seascapes and Beach Towns, USC Pacific Asia Museum, Pasadena, California, June 28 - July, 2018 Theodore N. Lukits (1897-1992): An Aesthetic Realist and Peter Adams and Tim Solliday: Continuing the Lukits Legacy, Palos Verdes Art...

Rabbi in the synagogue at prayer wearing tallit and tefillin. Hugó Scheiber (born 29 September 1873 in Budapest – died there 7 March 1950) was a Hungarian modernist painter. Hugo Scheiber was brought from Budapest to Vienna at the age of eight where his father worked as a sign painter for the Prater Theater. At fifteen, he returned with his family to Budapest and began working during the day to help support them and attending painting classes at the School of Design in the evening, where Henrik Papp was one of his teachers. He completed his studies in 1900. His work was at first in a post-Impressionistic style but from 1910 onward showed his increasing interest in German Expressionism and Futurism. This made it of little interest to the conservative Hungarian art establishment. However, in 1915 he met the great Italian avant-gardist Filippo Tommaso Marinetti and the two painters became close friends. Marinetti invited him to join the Futurist Movement. The uniquely modernist style that he developed was, however, closer to German Expressionism than to Futurism and eventually drifted toward an international art deco manner similar to Erté's. In 1919, he and his friend Béla Kádar held an exhibition at the Hevesy Salon in Vienna. It was a great success and at last caused the Budapest Art Museum to acquire some of Scheiber's drawings. Encouraged, Scheiber came back to live in Vienna in 1920. A turning point in Scheiber's career came a year later, when Herwarth Walden, founder of Germany's leading avant-garde periodical, Der Sturm, and of the Sturm Gallery in Berlin, became interested in Scheiber's work. Scheiber moved to Berlin in 1922, and his paintings soon appeared regularly in Walden's magazine and elsewhere. Exhibitions of his work followed in London, Rome, La Paz, and New York. Scheiber's move to Germany coincided with a significant exodus of Hungarian artists to Berlin, including Laszlo Moholy-Nagy and Sandor Bortnyik. There had been a major split in ideology among the Hungarian avant-garde. The Constructivist and leader of the Hungarian avantgarde, Lajos Kassák (painted by Hugó Scheiber in 1930) believed that art should relate to all the needs of contemporary humankind. Thus he refused to compromise the purity of his style to reflect the demands of either the ruling class or socialists and communists. The other camp believed that an artist should be a figurehead for social and political change. The fall out and factions that resulted from this politicisation resulted in most of the Hungarian avant gardists leaving Vienna for Berlin. Hungarian émigrés made up one of the largest minority groups in the German capital and the influx of their painters had a significant effect on Hungarian and international art. Another turning point of Scheiber's career came in 1926, with the New York exhibition of the Société Anonyme, organized by Katherine Dreier. Scheiber and other important avant garde artists from more than twenty-three countries were represented. In 1933, Scheiber was invited by Marinetti to participate in the great meeting of the Futurists held in Rome in late April 1933, Mostra Nazionale d’Arte Futurista where he was received with great enthusiasm. Gradually, the Hungarian artists began to return home, particularly with the rise of Nazism in Germany. Kádar went back from Berlin in about 1932 and Scheiber followed in 1934. He was then at the peak of his powers and had a special flair in depicting café and cabaret life in vivid colors, sturdily abstracted forms and spontaneous brush strokes. Scheiber depicted cosmopolitan modern life using stylized shapes and expressive colors. His preferred subjects were cabaret and street scenes, jazz musicians, flappers, and a series of self-portraits (usually with a cigar). his principal media being gouache and oil. He was a member of the prestigious New Society of Artists (KUT—Képzőművészek Új Társasága)and seems to have weathered Hungary's post–World War II transition to state-communism without difficulty. He continued to be well regarded, eventually even receiving the posthumous honor of having one of his images used for a Russian Soviet postage stamp (see image above). Hugó Scheiber died in Budapest in 1950. Paintings by Hugó Scheiber form part of permanent museum collections in Budapest (Hungarian National Museum), Pecs (Jannus Pannonius Museum), Vienna, New York, Bern and elsewhere. His work has also been shown in many important exhibitions, including: "The Nell Walden Collection," Kunsthaus Zürich (1945) "Collection of the Société Anonyme," Yale University Art Gallery, New Haven, Connecticut (1950) "Hugó Scheiber: A Commemorative Exhibition," Hungarian National Museum, Budapest (1964) "Ungarische Avantgarde," Galleria del Levante, Munich (1971) "Paris-Berlin 1900-1930," Centre Georges Pompidou, Paris (1978) "L’Art en Hongrie, 1905-1920," Musée d’Art et l’Industrie, Saint-Etienne (1980) "Ungarische Avantgarde in der Weimarer Republik," Marburg (1986) "Modernizmus," Eresz & Maklary Gallery, Budapest (2006) "Hugó Scheiber & Béla Kádár," Galerie le Minotaure, Paris and Tel Aviv (2007) Hugó Scheiber's paintings continue to be regularly sold at Sotheby's, Christie's, Gillen's Arts (London), Papillon Gallery (Los Angeles) and other auction houses. He was included in the exhibition The Art Of Modern Hungary 1931 and other exhibitions along with Vilmos Novak Aba, Count Julius Batthyany, Pal Bor, Bela Buky, Denes Csanky, Istvan Csok, Bela Czobel, Peter Di Gabor, Bela Ivanyi Grunwald, Baron Ferenc Hatvany, Lipot Herman, Odon Marffy, C. Pal Molnar...

Lakeside Cabin - Pastel and Watercolor on Paper Watercolor and pastel painting depicting two wood cabins along the lakeside. Vibrant green trees surround t...

Description im Solliday's pastel painting, "Moonlit Arroyo Pathway," invites the viewer to a moonlight hike along a meandering trail that gently vanishes into the undulating landscape of hills. The rolling clouds above accentuate the fullness of the landscape while a radiant moon bathes the scene in a celestial glow, casting its luminous enchantment upon the scene. Solliday's meticulous attention to delineated edges skillfully captures the rich textures and authentic essence of the natural world, transporting the observer into a mesmerizing nocturnal dreamscape. Provenance Acquired by the gallery directly from the artist Exhibitions 20th Anniversary Exhibition: Celebrating a Legacy of Excellence, American Legacy Fine Arts, Pasadena, California, November 10 – December 16, 2023 Theodore N. Lukits (1897-1992): An Aesthetic Realist and Peter Adams and Tim Solliday: Continuing the Lukits Legacy at Palos Verdes Art...

"Couple on Bench at the Beach" is an original pastel drawing on paperboard by Francesco Spicuzza. The artist signed the piece in the lower left. This drawing depicts two figures sitting on a bench in front of a body of water. The artist used mostly pastel colors for this piece. 6 7/8" x 9 7/8" art 18 1/2" x 21 3/8" frame Francesco J. Spicuzza, born in Sicily on July 23, 1883, came to America at the age of 8. He supported himself as a fruit peddler until a newspaperman gave him $4 a week to go to school. He attended classes at the Milwaukee Art Students League, where he studied under Alexander Mueller. There he learned to paint in the then-fashionable "Munich School" technique, with detailed realism in heavy browns and grayed-out hues. Spicuzza completed eight grades in four years, and then in 1911, three businessmen advanced him enough money to allow him to study in New York under artist and teacher John Carlson. It was during this time that Spicuzza changed his style of painting, developing an impressionistic use of color, form and atmospheric renditions. After a period of grinding poverty, one of Spicuzza's pictures won a major New York competition. It was the first of 60 wins, both in the U.S. and Paris. He became a fashionable painter, and many of the leading collections have his work. Spicuzza's typical works were beach scenes, still life, landscapes and portraits done in pastels, oils, ink, charcoal and watercolors. Much of his work traced the history of Milwaukee in the early 1900s. He was probably best known for his scenes of women and children splashing in the waves...

French Landscape signed by Josine Vignon (French 1922-2022) ...

Beautiful pastel print master of California mountains and valley by Michael Swinnie (American, 20th Century). Signed and dated bottom right corner "MP Swinnie '96". Label on verso st...

A wonderful nocturnal pastel landscape of Gstaad, Switzerland in partial moonlight by American artist William Samuel Horton (1865-1936). Horton was born in Grand Rapids, Michigan, an...