Carlo Quattrucci Abstract Paintings

Modern French Abstract Paintig Still Life by Roland Bierge Beautiful, important painting by the great French artist Roland Bierge (1922-1991). Still life oil on canvas  ‘Pomme et Po...

"Shattered" WPA Mid 20th Century Modernism American Scene Surrealism Figurative Estate stamp on the stretcher, verso. Provenance: Estate of the artist. 20 x 24 inches. Look at the last two photos in the listing. A new book about Leon Bibel was just published and there's a photo of the artist taken in front of the painting. Amazingness. BIO Leon Bibel continued painting through 1941 and resumed work in both painting and especially wood sculpture by 1960. He worked until his very last day in 1995. His last series of large wood sculptures were modeled on spice boxes, which were miniature buildings...

An oil on canvas made by Sante Monachesi, measuring 50x70 cm, in the years between 1955 and 1965. Monachesi was an Italian painter and sculptor who founded the "Futurist Movement in ...

CHARLES LEVIER – UNTITLED [PONT AU-DESSUS DU CANAL] Oil on Canvas ⚜ Signed Lower Right ⚜ Custom Conservation Frame A STYLIZED MIDCENTURY CITYSCAPE WITH CUBIST RHYTHM AND MODERN ELEG...

"Backstage, Ambassador" Broadway Theatre NYC Mid-century Modern Modernist CubistSigned lower left, titled on the stretcher. Norkin was a Brooklyn, Ne...

Oil on paper. Signed and dated 'Walinska 57' (lower left). image size 20 x 13 1/2 in. framed size 28 1/3 x 22 1/2 inches Provenance Martha Jackson Gallery Anderson Gallery, Buffalo...

Figurative Cubist Surrealist Abstraction Mid 20th Century American Modern Large O. Louis Guglielmi (1906 - 1956) OBSESSIVE THEME 44 x 33 inches Oil on canvas Signed and dated '48 lo...

"Cellar with Horseshoe" WPA American Scene Modernism 20th Century NYC Industrial Joseph Solman (1909-2008) "Cellar with Horseshoe," 16 x 20 inches, oil on canvas circa 1938, initial...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Bibliography Art in America, April 1951, p.78 About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

"Sea of Needs 03" Abstract Painting 39" x 29.5" inch by Patricio Gonzalez Oil and gold leaves on paper From "Looking for Happiness" series LOOKIN...

Brooklyn Dusk is painted on panel. The glass-like finish can be achieved on few other surfaces. I was attracted to this style of painting early on, seduced by the deep delicate tones...

In 1981, Fort Greene Park was somewhat neglected and bared the same existential, graffitied, stamp mark that covered most of NYC in the 80's. Fort Greene Park became part of my hist...