Hiroshi Murata Art

Gottfried Honegger Concrete Geometric Abstract Composition with Blue 3D-construction, Screenprint on Hahnemuhle Velvet 2015 Size: 20.9 × 21.1 on 24.2 × 23.8 inches Edition: E.A. of 5...

Artist: Josef Albers (German-American, 1888-1976) Title: "Variant I" Portfolio: Ten Variants *Unsigned edition Year: 1967 Medium: Original Screenprint on Rives BFK paper Limited edit...

Screenprint by Max Bill. From the portfolio "Kinderstern". No Title, 1989 76 x 58 cm Copy 61/100 Edition of 100 (approx.)

Secret Admirer (Pink), 2013 Signed, numbered, with thumb printed (in verso_by the artist 4-color screenprint on hand-torn archival art paper 22.5 x 22.5 inches Edition 15 of 70

Josef Albers Homage to the Square (from "Son oeuvre et sa contribution à la figuration visuelle au cours du XXe siècle") 1972 Silkscreen Print in brilliant colors on wove paper Image Size: 8.75 × 8.75 inches(22.23 × 22.23 cm) Sheet Size (approx.): 10.5 × 12 inches (26.67 × 30.48 cm) Framed Size: 13 × 13 × 0.5 inches (33.02 × 33.02 × 1.27 cm) Unsigned; as published Edition: ~1,500; not individually numbered Published by Dessain et Tolra – 1972 Printed with an additional image verso as issued Serigraphs by Herbert Geier, Ingolstadt, Germany & Ives-Sillman, Inc., New Haven, Connecticut, USA Gallery-issued COA available upon request The Homage to the Square series is Josef Albers’s most celebrated and influential body of work, produced between 1950 and his death in 1976. Consisting of hundreds of paintings, the series explores the interaction of color through a deceptively simple compositional structure: nested squares arranged concentrically on a flat surface. Despite its geometric restraint, the work is fundamentally about perception—how colors shift, advance, recede, and transform in relation to one another. Albers applied paint directly from the tube using a palette knife, avoiding visible brushwork to eliminate gesture and emphasize color relationships as the primary subject. Each composition is carefully calibrated, demonstrating how identical colors can appear dramatically different depending on their surrounding context. The result is a dynamic visual experience in which depth, vibration, and spatial illusion emerge purely through chromatic interaction. The series reflects Albers’s theoretical contributions, particularly his seminal book Interaction of Color (1963), in which he articulated his belief that color is relative rather than absolute. Rather than expressing emotion through imagery, Albers invites the viewer into an active perceptual process, making the act of seeing itself the central theme. Homage to the Square remains a cornerstone of modernist abstraction and color theory, influencing generations of artists, designers, and architects. Works from the series are held in major museum collections worldwide and continue to be studied for their rigorous investigation of visual perception. Homage to the Square, Josef Albers square...

untitled lithograph drawn in 2022 and published in an edition of 43. Measuring 36 by 25 inches, the work is designated number 9 of 43 lower left and signed in pencil "R Hunt...

"The Sun Shines All Over", a bold minimalist vintage abstract landscape print by the renowned printmaker Shiou-ping Liao (Taiwanese, b.1936). A perfectly circular, high voltage rainb...

Artist: Pierre Clerk, American (1928 - ) Title: Red Year: 1981 Medium: Silkscreen on BFK Rives, signed and numbered in pencil Edition: PP 4/4 Image Size: ...

untitled 2023 lithograph by Richard Hunt. Published by Procuniar Workshop, this stone lithograph is signed (lower right recto) and numbered (lower l...

This is a signature color-field composition with multiple thin colored stripes created by Gene Davis. Gene Davis (American, 1920-1985) Screenprint Black Watch I, II and III, 1974 ...

"Superficie 324" is a 1988 screen print (serigraph) of a 1959 painting by Capogrossi. This is one of his famous "comb" or "fork" works that he perfected in the 1950s and continued to create for the remainder of his life. The blocks of primary red and yellow colors give a bright, joyful feel and contrast to the strong bold black that was Capogrossi's consistent color for the "combs". With no allegorical, psychological, or symbolic meanings, these structural elements could be assembled and connected in countless variations. Intricate and insistent, Capogrossi's signs determined the construction of the pictorial surface. This piece is identified along one side: Giuseppe Capogrossi By SIAE 1988 Silvio Zamorani Editor Via Saccarelli, 9 10144 Torino Italy Tel. (39)(11) 4730554 Progetto Grafico (Graphic Project): Studio Walter Benjamin. Serigrafia (Screen Print): BISI Torino. Capogrossi was born in Rome. After obtaining a degree in law in 1923–1924, he decided to study painting with Felice Carena at Accademia di Belle Arti di Roma. In 1927 Capogrossi embarked on a formative trip to Paris together with fellow artists and acquaintances Fausto Pirandello, Corrado Cagli and Emanuele Cavalli...

Richard Hunt untitled lithograph 1978. Number 20 from an edition of 50, measuring 15 by 22.5 inches. This print has been professionally matted.