Allan D'Arcangelo Art

New Year's Eve 1988 is a silkscreen print on paper, mounted on board, by Keith Haring with an image size of 10.25 x 8.25". The signature lower right is a plate signature. The art is...

Allan D'Arcangelo (American/New York, 1930-1998), "Aspen Center of Contemporary Art", 1967 silkscreen, hand signed in pencil, dated, numbered "45/200" and blind stamped "Chiron Press, New York, NY" 32 in. x 24 in. Allan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. D'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy. D'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. "Marilyn" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be "fitted" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In "Madonna and Child," (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear. Select Exhibitions: Fischbach Gallery, New York, Ileana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery...

Artist: Josef Albers (German-American, 1888-1976) Title: "Variant I" Portfolio: Ten Variants *Unsigned edition Year: 1967 Medium: Original Screenprint on Rives BFK paper Limited edit...

This vibrant red, blue, orange and yellow lithograph is based on the 1961 Rosenquist oil painting Brighter than the Sun (private collection), with fragmented images from advertising,...

Artist: Anni Albers (German-American, 1899-1994) Title: "Orange Meander" Portfolio: Meander *Signed and dated by Albers in pencil lower right Year: 1970 Medium: Original Screenprint ...

Serigraph in colors on paper. Hand signed and numbered by the artist. Edition of 295. Artwork is in excellent condition. Certificate of Authenticity included. All reasonable offer...

Screenprint by Max Bill. From the portfolio "Kinderstern". No Title, 1989 76 x 58 cm Copy 61/100 Edition of 100 (approx.)

Hand signed and numbered. Blind stamped in lower left corner. Don't hesitate to ask any questions. Certificate of Authenticity included. Published by AMX Art Ltd., NY and printed by ...

Rio de Janeiro is a colorful, bold, graphic, and visually compelling offset-lithograph by blue chip, pop artist Robert Rauschenberg. ​​​​​​​​​​​​​​​​In 1991, he was involved with th...

Artist: Anni Albers (German-American, 1899-1994) Title: "Red Meander I" Portfolio: Meander *Signed and dated by Albers in pencil lower right Year: 1969-1970 Medium: Original Screenpr...

Artist: Josef Albers (German-American, 1888-1976) Title: "Arrived" Portfolio: Soft Edge - Hard Edge *Unsigned edition Year: 1965 Medium: Original Screenprint on Mohawk Superfine Bris...

Artist: Anni Albers (German-American, 1899-1994) Title: "F" Portfolio: (First) Triadic Series *Signed and dated by Albers in pencil lower right Year: 1969 Medium: Original Screenprin...