Esteban Amaro Art

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Portfolio Garden 1, 6 photos From Germany to Portugal, from Portugal to Italy, the artist continues his research on light and its games, this time taking nature and trees as the the...

"One Heart" Photography 24" x 24" in Edition 4/15 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. Available ...

This is a unique original collage, decoupage style of Jiri Kolar, This is an exceptional artwork which was part of a collaboration between Hyman Bloom and fellow artist and his very ...

Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. A gorgeous black and white fibre print. Please contact the gallery for more in...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Layback, 2016 by Juan Lamarca Fine art archival cotton paper Image size: 30 x 45 inches Edition 1 of 16 plus 2 AP Unframed Layback, Surf Photography...

José Yalenti, (1895-1967) Brazilian Photographer "Beiras" (Sides) Photo, numbered 5/15, circa 1950, (printed later) on premium luster photo paper with ultrachrome ink. Art: 15" H x 11" W; Frame: 20 1/4" H x 14 1/4" W. Provenance: Dickinson Roundell Gallery José Yalenti’s Architecture photos seem at first disorienting, abstract black & white and grey surfaces, cut through by startlingly straight lines and a variety of surface textures. Much of his work is of mid-century Latin American architecture, by the likes of Oscar Niemeyer and Roberto Burle Marx. José Yalenti was born in São Paulo, Brazil in 1895. On April 28, 1939, a group of photography aficionados, including Yalenti, formed the Foto Clube Bandeirante, later changed to Foto Cine Clube Bandeirante, or FCCB. Starting in the late 1940s, a contingent of FCCB photographers began creating photographs of abstracted architectural motifs (as in Architecture or Twilight), and eventually became known as the Escola Paulista, or “Paulista School.” Yalenti was among the members of the unofficial Paulista School. Between 1945 and 1960, the Paulista School photographers explored the rapidly changing formal qualities of São Paulo. By photographing skyscrapers and stairways at steep angles, creating closely cropped compositions from found geometric motifs, and capturing the flattening effects of shadows, Paulista School photographers investigated the new physical perspectives emerging in the urban environment. They created a distinctively Modern aesthetic that used strong contrasts of light and dark, geometric forms, linear compositions, and collapsed space to assert photography’s status as an artistic medium. As part of their pursuit of photographic Modernism, Yalenti and his fellow Brazilians adapted the stylistic innovations of U.S. and European photographers such as f.64, New Objectivity, Dada, Surrealism, and the Bauhaus, to the Brazilian context. Along with his FCCB compatriots—Thomaz Farkas, Geraldo de Barros, and German Lorca, among others—Yalenti explored the formal properties of black-and-white image-making. Yalenti and the Paulista’s School’s abstract photographs responded to the new trends in Brazilian Modernist architecture being developed by young architects in São Paulo and Rio de Janeiro. In 1939, Lúcio Costa, Oscar Niemeyer, and Affonso Reidy broke ground on the Ministry of Education and Health Building (MES), the building that would define Brazilian architectural modernism. The Rio-based team combined elements of Le Corbusier’s undecorated structural purity with Brazilian regional design to produce a more organic and “tropical” Modernism that responded to the local culture and climate. The sinuous and sensuous curves of Yalenti’s photograph are directly influenced by stylistic developments in architecture at the MES, including the building’s covered entry and its organically abstract contours. By 1957, when Yalenti created Architecture or Twilight, Brazil was globally recognized as an architectural leader. MoMA in New York City organized a popular exhibition of Brazilian architecture in 1943 (“Brazil Builds”), and highlighted the country again in its survey show "Latin American Architecture since 1945," that ran from 1955–56. Brazilian photography...

Marc Vaux, a figure of Montparnasse, pro­duced a trove of pho­tographs which are cur­rently held in the col­lec­tion of the Centre Pompidou in Paris, France. Marc Vaux was com­mitted equally to sup­porting artists, notably by cre­ating the Foyer des Artistes (1946-70) and, in 1951, the first Musée du Montparnasse at 10, rue de l’Arrivée. Marc Vaux was born on February 19, 1895 in Crulai, Normandy Thanks to the color mer­chant from whom he bought his plates and his pho­to­graphic equip­ment, he met the sculptor Charles Desvergnes winner of Prix the Rome and author of var­ious memo­rials who was looking for someone to pho­tographs his works. Two of Marc Vaux’s first clients were his neigh­bors of 21 Avenue du Maine- Marie Vassilieff and Maria Blanchard...

Artwork sold in perfect condition Zoological Park Portfolio, 8 photos Still not a single human being in this portfolio, only representatives of the animal kingdom, confined, sad, em...

Artwork sold in perfect condition - Portfolio Au Chic Parisien - 5 photos In a text devoted to him, evoking these seemingly silent photos of Krichbaum, one critic used the term "din" to define the flow of thoughts and feelings that escaped from it. In this too quick glimpse of Paris, the artist creates a dialogue between the white glass balls of a hotel chandelier with two ostrich eggs in the window of a fashionable decorator, while the fashion models, scattered at will shops and seasons, endless stories are exchanged. From left to right and top to bottom: 1981, 1977, 1976, 1981, 1981, 1983. 5 baryta prints 24 cm x 30 cm mounted under a mat in 40 cm x 50 cm format, 2mm thick with the artist's stamp and signature on the back. This constitutes a very exceptional offer. German photographer Jörg Krichbaum...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...