Édouard Morerod Art

An Intimate, 1940s Modern Portrait Drawing of a Young Woman by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A finely drawn, introspective portrait in pastel and charcoal o...

This striking 1946 oil on canvas painting, titled Deserted Street, was created by Colorado/Woodstock modernist artist Jenne Magafan (1916-1952). The artwork features a solitary figu...

"The Dance of Salome" is a striking 1960s Triptych painting by Edward Marecak, capturing the iconic Dance of the Seven Veils in a semi-abstract, cubist style. The three oil-on-board ...

Rabbi in the synagogue at prayer wearing tallit and tefillin. Hugó Scheiber (born 29 September 1873 in Budapest – died there 7 March 1950) was a Hungarian modernist painter. Hugo Scheiber was brought from Budapest to Vienna at the age of eight where his father worked as a sign painter for the Prater Theater. At fifteen, he returned with his family to Budapest and began working during the day to help support them and attending painting classes at the School of Design in the evening, where Henrik Papp was one of his teachers. He completed his studies in 1900. His work was at first in a post-Impressionistic style but from 1910 onward showed his increasing interest in German Expressionism and Futurism. This made it of little interest to the conservative Hungarian art establishment. However, in 1915 he met the great Italian avant-gardist Filippo Tommaso Marinetti and the two painters became close friends. Marinetti invited him to join the Futurist Movement. The uniquely modernist style that he developed was, however, closer to German Expressionism than to Futurism and eventually drifted toward an international art deco manner similar to Erté's. In 1919, he and his friend Béla Kádar held an exhibition at the Hevesy Salon in Vienna. It was a great success and at last caused the Budapest Art Museum to acquire some of Scheiber's drawings. Encouraged, Scheiber came back to live in Vienna in 1920. A turning point in Scheiber's career came a year later, when Herwarth Walden, founder of Germany's leading avant-garde periodical, Der Sturm, and of the Sturm Gallery in Berlin, became interested in Scheiber's work. Scheiber moved to Berlin in 1922, and his paintings soon appeared regularly in Walden's magazine and elsewhere. Exhibitions of his work followed in London, Rome, La Paz, and New York. Scheiber's move to Germany coincided with a significant exodus of Hungarian artists to Berlin, including Laszlo Moholy-Nagy and Sandor Bortnyik. There had been a major split in ideology among the Hungarian avant-garde. The Constructivist and leader of the Hungarian avantgarde, Lajos Kassák (painted by Hugó Scheiber in 1930) believed that art should relate to all the needs of contemporary humankind. Thus he refused to compromise the purity of his style to reflect the demands of either the ruling class or socialists and communists. The other camp believed that an artist should be a figurehead for social and political change. The fall out and factions that resulted from this politicisation resulted in most of the Hungarian avant gardists leaving Vienna for Berlin. Hungarian émigrés made up one of the largest minority groups in the German capital and the influx of their painters had a significant effect on Hungarian and international art. Another turning point of Scheiber's career came in 1926, with the New York exhibition of the Société Anonyme, organized by Katherine Dreier. Scheiber and other important avant garde artists from more than twenty-three countries were represented. In 1933, Scheiber was invited by Marinetti to participate in the great meeting of the Futurists held in Rome in late April 1933, Mostra Nazionale d’Arte Futurista where he was received with great enthusiasm. Gradually, the Hungarian artists began to return home, particularly with the rise of Nazism in Germany. Kádar went back from Berlin in about 1932 and Scheiber followed in 1934. He was then at the peak of his powers and had a special flair in depicting café and cabaret life in vivid colors, sturdily abstracted forms and spontaneous brush strokes. Scheiber depicted cosmopolitan modern life using stylized shapes and expressive colors. His preferred subjects were cabaret and street scenes, jazz musicians, flappers, and a series of self-portraits (usually with a cigar). his principal media being gouache and oil. He was a member of the prestigious New Society of Artists (KUT—Képzőművészek Új Társasága)and seems to have weathered Hungary's post–World War II transition to state-communism without difficulty. He continued to be well regarded, eventually even receiving the posthumous honor of having one of his images used for a Russian Soviet postage stamp (see image above). Hugó Scheiber died in Budapest in 1950. Paintings by Hugó Scheiber form part of permanent museum collections in Budapest (Hungarian National Museum), Pecs (Jannus Pannonius Museum), Vienna, New York, Bern and elsewhere. His work has also been shown in many important exhibitions, including: "The Nell Walden Collection," Kunsthaus Zürich (1945) "Collection of the Société Anonyme," Yale University Art Gallery, New Haven, Connecticut (1950) "Hugó Scheiber: A Commemorative Exhibition," Hungarian National Museum, Budapest (1964) "Ungarische Avantgarde," Galleria del Levante, Munich (1971) "Paris-Berlin 1900-1930," Centre Georges Pompidou, Paris (1978) "L’Art en Hongrie, 1905-1920," Musée d’Art et l’Industrie, Saint-Etienne (1980) "Ungarische Avantgarde in der Weimarer Republik," Marburg (1986) "Modernizmus," Eresz & Maklary Gallery, Budapest (2006) "Hugó Scheiber & Béla Kádár," Galerie le Minotaure, Paris and Tel Aviv (2007) Hugó Scheiber's paintings continue to be regularly sold at Sotheby's, Christie's, Gillen's Arts (London), Papillon Gallery (Los Angeles) and other auction houses. He was included in the exhibition The Art Of Modern Hungary 1931 and other exhibitions along with Vilmos Novak Aba, Count Julius Batthyany, Pal Bor, Bela Buky, Denes Csanky, Istvan Csok, Bela Czobel, Peter Di Gabor, Bela Ivanyi Grunwald, Baron Ferenc Hatvany, Lipot Herman, Odon Marffy, C. Pal Molnar...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Sterner, Albert (American. 1863-1946). PORTRAIT OF HAROLD STERNER. Charcoal and pastel on paper, not dated, but 1912, as the subject is stated to be aged 17. Signed, lower right. 16 1/2 x 11 1/4 inches, framed to 26 1/8 x 20 1/8 inches. In very good condition. Albert Sterner was born in England, and studied in Paris. He worked as a magazine illustrator, but is best known for his paintings and prints. Harold Sterner (American, 1895-1976). Architect, painter; New York, N.Y. Born 1895, died 1976...

Bright Lashes / Head Study No. 93, drawing / painting featuring the head portrait of a young woman. in monochromatic grey, brown and white. The work is created with mixed media on ar...

Big Baloo / Head Study No. 86 , drawing / painting featuring the head portrait of a young woman. in blue, pink, gold and white. The work is created with mixed media on Bristol paper,...

Gustave Brisgand (1867-1944) began his artistic career by focusing on landscapes. However, he later specialized in portraits of notable personalities, women, and female nudes. One of...

"Brave" by János Huszti is an expressive oil painting measuring 36" x 50" on canvas, the artwork features the profile of a woman whose soft, blurred features evoke a sense of freedom and vulnerability. The gentle use of neutral tones, combined with a soft blue background, enhances the ethereal quality of the piece. A challenging portraitist and emerging creator with a conceptual thinking. Huszti elaborates his constantly changing topics with momentum and precision. He depicts historical times, special characters and places from the past, using all kinds of materials to express his interpretations. In addition he is also interested in contemporary street art. His art consists of attributing new origins to things thus establishing new relations. He had got his diploma at University of Pécs, as a painter in 2005. Hungary. He spent one term at University of Hertfordshire, Hatfield, England. It was an experimential learning particularly regarding the conceptual art. He has been working in a professional studio at PP Center in Budapest for more than four years. Meet there the Hungarian Contemporary art scene each day, especially Budapest based artists and curators. János Huszti Education: Studies: 1999-2000 Eszterházy Károly College, Eger, Faculty of Graphic and Visual Arts 2000-2005 University of Pécs, Faculty of Visual Arts and Music, Painter Branch 2004 Erasmus Exchange Programme,University of Hertfordshire, Hatfield, England Scholarships: 2014 Artist in residence program, Kunst AnDer Grenze, Art By The Border, Jennersdorf, Austria 2006 PRO ARTE – Scholarship of Komárom-Esztergom County 2005 Residence Programme at Bundanon, North Nowra, Australia 2004 Erasmus Exchange Programme, University of Hertfordshire, Hatfield, England Exhibitions: Common exhibitions: 2015 Apostrophe, The Whale, Budapest, Contemporary Arts Festival Subject matter, Ateliers Pro Arts (APA), Budapest 2014 Monument is falling into decay, PP Center, Budapest And You, Where Do You Live, Jennersdorf, Austria On The Production Line, Flash Art Magazine, PP Center 2013 Finishing Exhibition, PP CENTER 2012 Finishing Exhibition, Partizán PP CENTER, Budapest 2011 ERICSSON HUNGARY LTD. MUSEUM OF FINE ARTS, BUDAPEST, Esterházy Contemporary, "sponsored by UNIQA” 2007 ANOTHER PLACE, Young artists from Pécs, Inda Gallery, Budapest DIGITAL MESSAGE FROM EAST-EUROPE, Vaszary Gallery, Kaposvár CHRISTMAS EXHIBITION, K.A.S. Gallery, Budapest 2006 HOUSE of GENERAL EDUCATION, Tatabánya (with Áron Hidvégi and Kovács László Kammerlohr) 2006 BUDAPEST ART EXPO FRESH, Art Mill, Szentendre 2005 NEOFOTON photoprint exhibition, Art Mill, Szentendre STREET ART exhibition, Millenáris Park, Budapest PAINTER DEGREE 2004/2005, Swan House...

This portrait is truly mystic. A young, beautiful person—let's call her Angel—is playing an invisible violin. The surroundings are dark, yet a strong light illuminates only her face ...

Lola Carnaval Enrique Grau, Colombian (1920–2004) Date: 1992 Charcoal and Pastel, signed, titled and dated Size: 43.25 x 39.5 in. (109.86 x 100.33 cm) Fra...