Ben Art

Cut Paper Collage, Signed Lower Right. Hilla Rebay was an avant-garde artist who believed deeply in the power of intuition while creating art. She was the progenitor of The Museu...

Cut Paper Collage, Signed Lower Right. Hilla Rebay was an avant-garde artist who believed deeply in the power of intuition while creating art. She was the progenitor of The Museu...

This is a collage of proofs of etchings that I had saved for years then one day I decided to construct new images from them. They are dry point, aqua tint with the addition of paint ...

Cut Paper Collage, Signed Lower Left. Hilla Rebay was an avant-garde artist who believed deeply in the power of intuition while creating art. She was the progenitor of The Museum...

Cut Paper Collage, Signed Lower Right. Hilla Rebay was an avant-garde artist who believed deeply in the power of intuition while creating art. She was the progenitor of The Museu...

Erich Hermès (1881-1971) La basilique Santa Maria della Salute vue depuis les quais de la Giudecca, Venise Gouache et traits de crayons sur papier Signé en bas vers la droite 29 x 41...

Cut Paper Collage, Signed Lower Right Hilla Rebay was an avant-garde artist who believed deeply in the power of intuition while creating art. She was the progenitor of The Museum...

These collages were created first in the presence of a model, working quickly, in charcoal and pastel, and again, later, alone, furiously tearing and pasting images from magazines, v...

This artwork depicts a view of a shed labelled "Dierking Lumber Co". This piece was created with a mixed technique of acrylic painting on photograms on rice paper mounted on a wood ...

Abstract modern collage of long geometric shapes in blue, brown, and beige, by artist Spe, 2000's . Signed. Displayed in a white mat with a gold border and fits a standard-size frame...

Abstract modern collage of geometric shapes in blues, greens, and yellows, by artist Spe, 2000's. Signed. Displayed in a white mat with a gold border and fits a standard-size frame. ...

MODERNIST DRAWING New Hope Mid-Century WPA Abstract Non-Objective Jazz Modern. Signed with a "Ramstonev" stamp lower right. RAMSTONEV Cooperative Art Project (1937-1939). In the late 1930s, Charles Ramsey became close friends with Charles Evans and Louis Stone. He persuaded them to join him teaching his New Hope summer classes in non-objective painting. Soon, a history-making collaboration began. In 1937, meeting in Evans' studio at the rear of Cryer's Hardware store on Main Street in New Hope, a decision was made to establish the Co-Operative Painting Project. They were intrigued by the cooperative ad-lib process by which jazz musicians created their music. Believing this to be the quintessential American contribution to music, they theorized that a similar result might be obtainable with art, a "visual jam session." This particlarly fascinated Ramsey, who was a jazz buff and had a large collection of jazz records. The objective was to jointly collaborate in the creation of a painting as well as applying collective criticism during its creation. By creating forward movement by general consent, they believed they could produce a higher level of beauty. By consensus it was decided that subject matter would be non-objective. Up to eight people would participate and stop when the painting "felt" finished by common agreement. These co-operative works were done in several different mediums- the majority in pastel, but some in watercolor, gouache, graphite or cut paper collage. On occasion, the group would create a series, as opposed to a single work, created in steps by three or four artists. One of the occasional participants was famed New Hope poet, Stanley Kunitz. These series could range in number from four to sixteen paintings in each. The first of a series would be very basic and the last a fully finished work. In the scope of importance among the New Hope Modernist...