Arik Brauer Art

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Leonor Fini (Argentine-French, 1907 - 1996) was an independent and visionary artist whose work defied categorization within Surrealism, despite her association with its key figures i...

Los Angeles-based artist, Laura Owens' horse prints often incorporate her characteristic style, which challenges traditional assumptions about figuration and abstraction . Her work f...

"Not True, Good Accounts Make Good Friends" Satirical French Illustration Comical illustration by Gaston Hoffmann (French, 1883-1977) titled "Ce n'est pas vrai, les bons comptes fon...

Léopold Survage, 'Le Cheval' (The Horse), color etching, edition 60, 1953. Signed and numbered '46/60' in pencil. Initialed in the plate, lower right. A superb, richly-inked impressi...

Chuck Sperry Sappho Panel Edition out of 30 7 color screen print on oak panel 20 x 30 inches Signed and numbered by the artist

Fata Morgana sullo Stretto is an original Contemporary artwork realized in 1975 by the italian Contemporary artist Leo Guida (1992 - 2017). Original Etching and Aquatint. Numbered...

Bob Dylan Hand worked, Unframed Editioned series Original pop art by contemporary artist Zane Fix addressing modern subjects that are executed in the traditional Japanese woodblock ...

Salvador Dali (1904-1989) - Femme au perroquet Etching from 1967. Th edition of 122/145 on Japan paper. Enhanced with watercolor. Dimensions of work: 38 x 28.5 cm Publisher: Grap...

Salvador Dali (1904-1989) - Femme à genoux Etching from 1969. Edition: 66/145 on Japan paper. Dimensions of work: 38 x 28 cm. Hand signed. Publisher: Graphik Europa Anstalt. Re...

Lawrence Kupferman, 'Fantasia Americana – 1880', drypoint etching with sandground, 1943. Signed, titled, and annotated 'Series A, 1971 2/6' in pencil. A superb, richly-inked impression, on heavy, cream wove paper, with full margins (2 1/2 to 3 1/2 inches); the paper slightly lightened within the original mat opening, otherwise in excellent condition. One of only 6 impressions printed in 1971, with the added sandground grey background tint. Archivally matted to museum standards, unframed. Image size 11 13/16 x 14 3/4 inches; sheet size 18 x 20 1/4 inches. Collections: National Gallery of Art, Zimmerli Art Museum (Rutgers University). ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

Hans Bellmer, Les Marionettes I, etching with hand coloring, 1969, edition 150. Signed and annotated 'HC' in pencil. A fine impression on brown Roma hand-made laid paper; the full sheet with margins (1 to 2 5/8 inches), in excellent condition. Archivally sleeved, unmatted. Image size 11 13/16 x 11 1/8 inches; sheet size 15 5/8 x 13 1/4 inches. A 'Hors Commerce' impression. From a suite of 11 etchings created by Bellmer to illustrate 'On the Marionette Theatre...