Andrea Ferrigno Art

Untitled Pastel on paper, 1922 Signed with the artist's initials in pencil Provenance: Estate of the artist Francis M. Nauman (label) Private collection, NY A very early abstract/cubist work by Kelly. Created while the artist was studying with Arthur Carles in Philadelphia. Leon Kelly (October 21, 1901 – June 28, 1982) was an American artist born in Philadelphia, PA. He is most well known for his contributions to American Surrealism, but his work also encompassed styles such as Cubism, Social Realism, and Abstraction. Reclusive by nature, a character trait that became more exaggerated in the 1940s and later, Kelly's work reflects his determination not to be limited by the trends of his time. His large output of paintings is complemented by a prolific number of drawings that span his career of 50 years. Some of the collections where his work is represented are: The Metropolitan Museum in New York, The Whitney Museum of American Art, the Museum of Modern Art, the Philadelphia Museum of Art, and Boston Public Library. Biography Kelly was born in 1901 at home at 1533 Newkirk Street, Philadelphia, PA. He was the only child of Elizabeth (née Stevenson) and Pantaleon L. Kelly. The family resided in Philadelphia where Pantaleon and two of his cousins owned Kelly Brothers, a successful tailoring business. The prosperity of the firm enabled his father to purchase a 144-acre farm in Bucks County PA in 1902, which he named "Rural Retreat" It was here that Pantaleon took Leon to spend every weekend away from the pressures of business and from the disappointments in his failing marriage. Idyllic and peaceful memories of the farm stayed with Leon and embued his work with a love of nature that emerged later in the Lunar Series, in Return and Departure, and in the insect imagery of his Surrealist work. "If anything," he once said,"I am a Pantheist and see a spirit in everything, the grass, the rocks, everything." At thirteen, Leon left school and began private painting lessons with Albert Jean Adolphe, a teacher at the School of Industrial Art (now the University of the Arts) in Philadelphia. He learned technique by copying the works of the old masters and visiting the Philadelphia Zoo, where he would draw animals. Drawings done in 1916 and 1917 of elephants, snakes and antelope, as well as copies of old master paintings by Holbein and Michelangelo, heralded an impressive emerging talent. In 1917, he studied sculpture with Alexander Portnoff but his studies came to an abrupt halt with the start of World War I. Being too young to enlist, he joined the Quartermaster Corp at the Army Depot in Philadelphia, where he served for more than a year loading ships with supplies and, along with other artists, working on drawings for camouflage. By 1920, the family's fortunes drastically changed. His father's business had failed due to the introduction of ready made clothing and his marriage, unhappy from the beginning, dissolved. Broken by circumstance Pantaleon left Philadelphia to begin a wandering existence looking for work leaving Leon to support his mother and grandmother. He found a job in 1920 at the Freihofer Baking Company where he worked nights for the next four years. Under these circumstances Leon continued to develop his skills in drawing and painting and learned of the revolutionary developments in art that were taking place in Paris. During the day he was granted permission to study anatomy at the Philadelphia School of Osteopathy where he dissected a cadaver and perfected his knowledge of the human figure. He also met and studied etching with Earl Horter, a well known illustrator, who had amassed a significant collection of modern art which included work by Brancusi, Matisse, and Cubist works by Picasso and Braque. Among the artists around Horter was Arthur Carles, a charismatic and controversial painter who taught at the Pennsylvania Academy of Fine Arts. Leon enrolled in the Academy in 1922, becoming what Carles described as, "his best student". In the next three years Leon work ranged from academic studies of plaster casts, to pointillism, to landscapes of Fairmount Park in Philadelphia, as well as a series of pastels showing influences from Matisse to Picasso. Clearly influenced by Earl Horter's collection and Arthur Carles he mastered analytical cubism in works such as The Three Pears, 1923 and 1925 experimented with Purism in Moon Behind the Italian House. In 1925 Kelly was awarded a Cresson Scholarship and on June 14 he left for Europe. Paris The first trip to Europe lasted for approximately three and a half months and introduced Kelly to a culture and place where he felt he belonged. Though he returned to the Academy in the Fall, he left for Europe again a few months later to begin a four-year stay in Paris. He moved into an apartment at 19 rue Daguerre in Paris and began an existence intellectually rich but in creature comforts, very poor. "I kept a cinderblock over the drain in the kitchen sink to keep the rats out of the apartment" he once explained. He frequented the cafes making acquaintances with Henry Miller, James Joyce and the critic Félix Fénéon as well as others. His days were split between copying old master paintings in the Louvre and pursuing modernist ideas that were swirling through the work of all the artists around him. The Lake, 1926 and Interior of the Studio, 1927, now in the Newark Museum. Patrons during this time were the police official Leon Zamaran, a collector of Courbets, Lautrecs and others, who began collecting Kelly's work. Another was Alfred Barnes of the Barnes Collection in Philadelphia. In 1929 Kelly married a young French woman, Henriette D'Erfurth. She appears frequently in paintings and drawings done between 1928 and the early 1930s. Philadelphia The stock market crash of 1929 made it impossible to continue living in Paris and Kelly and Henriette returned to Philadelphia in 1930. He rented a studio on Thompson Street and began working and participating in shows in the city's galleries. Work from 1930 to 1940 showed continuing influences and experimentation with the themes and techniques acquired in Paris as well as a brief foray into Social Realism. The Little Gallery of Contemporary Art purchased the Absinthe Drinker...

Edda Renouf Magnet Drawing #4, 1980 Pastel, chalk on paper 34 x 28 inches (sheet) 36 5/8 x 30 1/2 inches (frame) Signed and dated recto

Untitled (Taos Landscape) is an oil on canvas painting by Louis Leon Ribak (1902-1979) circa 1950. Signed by the artist in the lower left corner. Painted in colors of yellow, orange, red, green, black, and white. Presented in a custom frame, outer dimensions measure 17 ¼ x 21 ¼ x 1 inches. Image size is 12 x 16 inches. Expedited and International shipping is available - please contact us for a quote About the artist: Born Russian Poland, 1902 Died New Mexico, 1979 Louis Ribak emigrated with his family from Russian Poland to New York City in 1912. He studied at the Art Students League during the early 1920’s under John Sloan. Sloan was an editor for the radical periodical, New Masses, and prompted the young artist to illustrate for the publication. In 1929, Ribak’s involvement with New Masses led him to become a founding member of a closely associated group, the John Reed Club. Over the next few years he exhibited with the club and, in 1933, he received attention from critics including the New York Sun for his painting, Striking Farmers. Ribak joined the Silk Screen Group in the late 1930’s as he believed, along with a group of liberal artists, that the print medium was the “people’s art of the twentieth century.” Also during the 1930’s, Ribak worked for the Works Progress Administration (WPA) as a muralist. In 1942, he married fellow artist Beatrice Mandelman. In the mid 1940’s, the couple followed the advice of John Sloan and moved to New Mexico. The move was prompted in part by the desire for a healthier climate for Ribak but also because they felt a need to leave New York as they had become disillusioned by “dissention between Social Realists and Abstract Expressionists.” In 1947, the Ribaks’ opened and instructed at the Taos Valley Art School. The school closed in 1953 when the couple returned to New York City. However, the move back to New York was short-lived and they settled permanently in Taos in 1956. In 1959, the couple opened the Gallery Ribak in their home. The gallery showed their own work as well as that of other Taos artists...

"Autonomia Etorbidea 1" is a one-of-a-kind, modern, contemporary, large, minimalist, multicolored, red, blue and black accent , mixed media, abstract painting by Xavi Ceerre...

Work on paper without frame

"That Year Means" is a one-of-a-kind, modern, contemporary, Contemporary Abstract Expressionism Red Brown Black Accent Gestual Drawing multicolored, abstract painting by Xavi Ceerre. Xavi Ceerre is a talented multidisciplinary artist, mainly focused on abstract, graphic style paintings connected with Street Urban art. Xavi has been educated in several Spanish and international Academies and Schools. The Spanish artist is among the eight contemporary artists who are going to be revalued in 2022 according to Forbes. One of the three most sought-after artists on the Saisho circuit by all kinds of audiences. He does not make gestural art, but takes patterns from those artistic samples that he considers to be alien to cultural influences (e.g. prehistoric mural art -Altamira-, photographic work by Martha Cooper...

"Gloria" is a one-of-a-kind, modern, contemporary, multicolored, blue, orange, red and grey abstract drawing by Xavi Ceerre. Xavi Ceerre is a talented multidisciplinary artist, mainly focused on abstract, graphic style paintings connected with Street Urban art. Xavi has been educated in several Spanish and international Academies and Schools. The Spanish artist is among the eight contemporary artists who are going to be revalued in 2022 according to Forbes. One of the three most sought-after artists on the Saisho circuit by all kinds of audiences. He does not make gestural art, but takes patterns from those artistic samples that he considers to be alien to cultural influences (e.g. prehistoric mural art -Altamira-, photographic work by Martha Cooper...

pastel and micro pen on paper b. 1979, Poole, Dorset, UK Danielle Hacche was born in Poole, Dorset in the Southwest of the United Kingdom. After moving to the United States with he...

pastel and micro pen on paper b. 1979, Poole, Dorset, UK Danielle Hacche was born in Poole, Dorset in the Southwest of the United Kingdom. After moving to the United States with he...

pastel and micro pen on paper b. 1979, Poole, Dorset, UK Danielle Hacche was born in Poole, Dorset in the Southwest of the United Kingdom. After moving to the United States with he...

pastel and micro pen on paper b. 1979, Poole, Dorset, UK Danielle Hacche was born in Poole, Dorset in the Southwest of the United Kingdom. After moving to the United States with he...

Diana and the Three Fates, vintage 1970s semi abstract oil painting on board by 20th century Denver artist, Edward Marecak (1919-1993). Female nude figure of the the Roman virgin goddess, Diana, the protector of childbirth reclining with vases of flowers and the Three Fates looking on. Semi abstract, cubist style painting in bright colors of pink, fuchsia, green, yellow, orange, blue, brown, purple and red. Unframed, custom framing is available. In situ photos are frame mocks ups, the piece is currently unframed. Painting is clean and in very good vintage condition - please contact us for a detailed condition report. Provenance: Estate of Edward Marecak Expedited and international shipping is available - please contact us for a quote. About the Artist: Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of "Peter and the Wolf," awakening his interest in art. In his senior year in high school he did Cézanne-inspired watercolors of Ohio barns at seventy-five cents apiece for the National Youth Administration. They earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute. Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. A center of innovative work in architecture, art and design with an educational approach built on a mentorship model, it has been home to some of the world’s most renowned designers and artists, including Eero Saarinen, Charles Eames, Daniel Libeskind and Harry Bertoia. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy and sculptor Carl Milles were interrupted by U.S. army service in the Aleutian Islands during World War II. Following his military discharge, Marecak studied on the G.I. Bill at the Colorado Springs Fine Arts Center from 1946 to 1950, having previously met its director, Boardman Robinson, conducting a seminar in mural painting at the Cleveland Institute of Art. Although he did not work with Robinson at the Fine Arts Center, who had become quite ill - retiring in 1947 - he studied Robinson’s specialty of mural painting before leaving to briefly attend the Cranbrook Academy in 1947. That same year he returned to the Fine Arts Center, studying painting with Jean Charlot and Mary Chenoweth, and lithography with Lawrence Barrett with whom he produced some 132 images during 1948-49. At the Fine Arts Center he met his future wife, Donna Fortin, whom he married in 1947. Also a Midwesterner, she had taken night art courses at Hull House in Chicago, later studying at the Art Institute of Chicago with the encouragement of artist Edgar Britton. After World War II she studied with him from 1946 to 1949 at the Fine Arts Center. (He had moved to Colorado Springs to treat his tuberculosis.) Ed Marecak also became good friends with Britton, later collaborating with him on the design of large stained glass windows for a local church. In 1950-51 Marecak returned to the Cleveland Institute of Art to complete his Bachelor of Fine Arts degree. A year later he was invited to conduct a summer class at the University of Colorado in Boulder, confirming his interest in the teaching profession. In 1955 he received his teaching certificate from the University of Denver. Vance Kirkland, the head of its art department, helped him get a teaching job with the Denver Public Schools so that he and his family could remain in the Mile High City. For the next twenty-five years he taught art at Skinner, Grove, East, George Washington and Morey Junior High Schools. Prior to coming to Colorado, Marecak did watercolors resembling those of Winslow Homer, John Singer Sargent and Charles Burchfield. However, once in Colorado Springs he decided to destroy much of his earlier ouevre, embarking on a totally new direction unlike anything he had previously done. Initially, in the 1940s he was influenced by surrealist imagery and Paul Klee, and in the West by Indian petroglyphs and Kachinas. His first one-person show at the Garrett Gallery in Colorado Springs in 1949 featured paintings and lithographs rendered in the style of Magic Realism and referential abstraction. The pieces, including an oil Witch with Pink Dish...