Fabia Kleinpeter Paintings

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

Diego Barboza - 1945-2003 Hand signed and dated 1988 Oil on Canvas Diego Barboza was born the Carabobo street of Maracaibo, Venezuela on February 4, 1945. He was a Venezuelan Neo Figurative Painter who is among the most famous and influential figures in Venezuelan art history. Diego Barboza opened a new chapter in Latin America, beyond the surreal or the magical realism of the Modern Latin American Masters. He created a new language of dislocation and transgression. Personages became distorted to the point that was very exaggerated forms His figures twisted and contorted without losing their presence or their pull. Extremities muscles, and bones burst into an explosive compound of divergent and convergent lines. Through eruptive brushstrokes and fractured outlines. Barboza created a world of illusions. Barboza was born into a upper-middle-class family. He stopped going to school at 12 years old, and he registered himself at the School of Visual Art in the City of Maracaibo Venezuela. Barboza studied at the School of Visual Arts in Caracas, Venezuela. Barboza began his training as an artist at age 12 in his native Maracaibo when he left formal education to enroll in the then School of Plastic Arts of Zulia, then Julio Arraga School of Plastic Arts, where he was a student in the modeling, collage and Drawing of Angelina Curiel. His first collages, in the sixties, show the influence of American Pop Art. In 1967 he exhibited at the Ateneo de Caracas his series 'Los Ratones', a proposal then 'criticized by critics as unprecedented in Venezuela'. In his tribute to the film "Nosferatu" Friedrich Murnau included 32 drawings as well as two-dimensional objects. In 1968 he moved to London where he studied at the London College of Printing. From that time is his '30 Girls with Nets', an action in which 30 students of the London College of Printing, dressed in black and covered by white nets, toured London public places, behaving naturally. His 'street expressions', which he later called 'poetic actions', symbolized a breakdown of social restraints through unusual behaviors that sought to provoke public reactions. Upon his return to Venezuela in 1973, Barboza continues with this line of work, being recognized as one of the initiators of Venezuelan conceptual art. In the 1980's Diego Barboza turned to painting, the New Venezuelan Figuration. Here belongings and the feminine figure fill the work of that time, in which he embodied his intimacy and daily life through scenes of furnishings and flowers that included objects from his workshop and home. His nudes were made from live model, then to follow the path of distortion resulting in their unmistakable females: a figure that represented their personal way of appreciating beauty. Barboza presented his first individual exhibition at the Centro de Bellas Artes of Maracaibo Venezuela. In 1963, he traveled to London when the Conceptual Art movement started, he had the support of the London New Art Lab Gallery. On March 7, 1970 Barboza displayed his first work on Conceptual Art, which he called Art of Action. In London with the performance of 30 Girls with nets (30 Muchachas con redes). His second work was Nets and Hats in markets and restaurants (Con sombreros y redes en mercados y restaurantes). In London UK. His third The Centerpiece (El Ciempies) and the fourth Expression on a laundry-mat (Expresiones en una lavandería) In 1974. Baboza returned to Venezuela. Where he presented two very important Conceptual Art works: The Armadillo Box (La Caja del Cachicamo) and from the School of Athens to the New School of Caracas (De la Escuela de Atenas a la Nueva Escuela de Caracas). Closing his cycle of Conceptual Art creation. IN Venezuela a sort of impromptu academy started up at Claudio Perna’s house. Eugenio Espinoza, Roberto Obregón, Antonieta Sosa, Alfred Wenemoser, Yeni and Nan, Sigfredo Chacón, Diego Barboza, Luis Villamizar, Margherita D’Amico, Pedro Terán, Alfredo del Mónaco, as well as international figures who happened to be visiting Venezuela such as Antoni Muntadas, Charlotte Moorman, and Roman Polanski would gather there. Venezuela, especially Caracas, was a rich field of action for modernism in South America. Venezuelan Geometric Abstraction, Op art and Kinetic Art dominated through crucial figures like Jesús Rafael Soto, Gego, Alejandro Otero, and Carlos Cruz Diez, the country’s kinetic art made a fundamental contribution internationally. The Greater London Arts Association and the Arts Council of Great Britain did several exhibitions of (North, Central, South, London, Wales, Scotland and Ulster) to show the actual Visual Arts in all of the United Kingdom and Diego Barboza was invited for this event with a solo exhibition, expressions around a cylinder (Expresiones alrededor de un cilindro). Diego has made numerous solo and group exhibitions, obtaining rewards since 1963. He is represented in the most important museums of Venezuela, as well as in England, Brazil, Colombia and Cuba. In 1986 he was awarded the Municipal Visual Arts Award of the Municipal Council of the Federal District and in 1997 he received the National Prize for Plastic Arts granted by the National Council of Culture, CONAC. Select Group Exhibitions 1964 Ateneo de Caracas, Caracas, Venezuela 1965 Salón Arturo Michelena, Valencia, Venezuela 1968 Salón Oficial Museo de Bellas Artes, Caracas, Venezuela 1971 Art Spectrum London, London, Great Britain 1972 Serpentine Gallery, London, Great Britain 1973 Midland Group Gallery, London, Great Britain 1974 Galería BANAP, Caracas, Venezuela 1975 Casa de Las Américas, La Habana, Cuba Museo de Bellas Artes, Caracas Galería de Arte Nuevo, Buenos Aires, Argentina 1976 Museo de Arte Moderno, Bogotá, Colombia Museo de Arte Contemporáneo, Sao Paulo, Brazil Museo de la Tertulia, Cali, Colombia Bienal de Venecia, Venecia, Italy 1979 Centro de Artes y Comunicación, Buenos Aires, Argentina 1980 Galería NBC, Memphis, Tennessee, USA 1981 Galería de Arte Nacional, Caracas, Venezuela Museo de Arte Contemporáneo, Medellín, Colombia Museo de Bellas Artes, Caracas, Venezuela 1986 Museo de Arte La Rinconada, Caracas, Venezuela 1989 Galería Venzor, Chicago, Illinois, USA 1990 Museo Bellas Artes, Santiago de Chile, Chile 1992 Ambrosino Gallery, Coral Gables, Florida, USA 1993 Museo de Arte de Petare, Caracas, Venezuela Centro de Arte Lia Bermúdez...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

A stunning oil painting depicting a beautiful woman's lips. It is done in a photo realistic style which is executed effortlessly by the artist. The deep pink and contrast of darkness...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

An artistic allure of "Red Shoes," an exquisite oil painting, captures the essence of feminine beauty and grace. This original artwork features a semi-abstract representation of the ...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

The artwork of Felix Campean presents a scene of a human body emerging with astonishing anatomical precision, capturing every detail of the musculature and skin with hyperrealistic f...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

This is a large monochromatic oil painting on canvas by Alexis Portilla. Color, lines and shapes that resemble pictographs and vessels convey symbolism. Vessels are a recurring theme in Portilla's work as symbolic of the potential for the ability to hold and receive. Influenced by the emotion of artistic expression in music, poetry and literature, the artist finds bold expression in color, lines and shapes that resemble pictographs, and texture. For Helen 48x60" Oil on Canvas Signed on verso Alexis Portilla was born in Mexico City in 1965, and has lived in New York since 1970. He holds an MFA from Columbia University and a BFA from Pratt Institute. His work can be found in public and corporate collections throughout the United States and abroad, including The New York Public Library, Penn State University, Harvard University, Warner Brothers Music Group, Pepsi Co., PricewaterhouseCoopers, Norwest Venture Partners, and Mikasa Corporation. In addition, his work is in hundreds of private collections in the United States, England, France, and Germany. For more than 20 years, Portilla’s work has been regularly exhibited at prominent venues throughout the United States. His work has been the subject of 10 solo exhibitions at established galleries in New York, New Jersey, Atlanta, and Hong Kong. His work has been exhibited in museum group exhibitions at the Grand Rapids Art Museum in Michigan, Hofstra University Museum in New York, and Monmouth Museum in New Jersey, as well as numerous gallery group exhibitions in New York, Miami, Chicago, Atlanta, and Philadelphia. Portilla’s work has received international press attention and has been reviewed in several publications, including Artnews. He has been a faculty instructor at Columbia University, where he taught printmaking to graduate and postgraduate students. “New York painter Alexis Portilla[’s] layered compositions deserve serious attention.” –Art Market Report, Summer 2017 “[Portilla] both builds and excavates his canvases with broad swaths of paint, textured imprints, and scrapes and scratches, layering lines over drifting expanses of rich color [...] recalling Basquiat and Twombly-lyrical paintings that hover between pure abstraction and the evocation of unknown atmospheric spaces.” –Karen Sundberg, Artsy, December 2014 “Using simple forms and creating swathes of rich texture, Alexis Portilla builds atmospheric abstract paintings that convey a sense of time having passed. Brushy areas of color suggest the indeterminacy of memory, while bold linear forms speak for the present.” Meredith Mendelsohn, Art News magazine review, Feb 2008 Alexis’s work is in public and private collections in the US and internationally. Education MFA, Columbia University (1990) BFA, Pratt Institute PUBLIC COLLECTIONS (select): Bryant University, Smithfield, RI Harvard University, Cambridge, MA The New York Public Library, New York, NY Penn State University, State College, PA (commissioned work) SELECTED PRIVATE AND CORPORATE COLLECTIONS Collection of Padma Lakshmi Mikasa Corporation, Tokyo, Japan Pepsi Co., Purchase, NY PricewaterhouseCoopers, Boston (commissioned work) Norwest Venture Partners, Palo Alto, CA Warner Brothers, New York, NY First Atlantic Capital, New York, NY Excel, Bermuda Edwards and Angell, Providence, RI Meredith and Grew, Boston, MA Farley White, Boston, MA Acadian Asset Management, Boston, MA Proskauer Rose, Boston, MA New Star Financial, Boston, MA Cross Harbor Capital, Boston, MA Weil Gotshal & Manges, Providence, RI Partner Reinsurance, Pembroke, Bermuda Hale & Dorr, Washington, DC Bingham Dana & Gould, Boston, MA Total System Services, Columbus, OH Biogen Inc., Cambridge, MA Millennia, Boston, MA Renaissance Worldwide, Waltham, MA Goodwin Proctor & Hoar, Boston, MA and New York, NY X.L. Pembroke, Bermuda Odyssey America RE, New York, NY Greystone Realty Corp., Westport, CT Limerock Partners, Westport, CT Michael Page...