Skip to main content

Hyman Bloom Art

to
2
1
Overall Width
to
Overall Height
to
3
1
2
1
2
1
2
1
1
1
3
7,790
4,999
2,504
1,374
1
3
Artist: Hyman Bloom
Boston Expressionist Conte Pencil Drawing "Still Life with Flies" Hyman Bloom
By Hyman Bloom
Located in Surfside, FL
Hyman Bloom "Still Life with Flies" Frame: 18" X 16" Image: 9.25" X 8.25" Hand signed with his monogram initials Provenance: bears exhibition label from Fuller Museum of Art Hyman B...
Category

1990s Abstract Hyman Bloom Art

Materials

Color Pencil

Boston Abstract Expressionist Hyman Bloom Original Pencil Drawing Martin Sumers
By Hyman Bloom
Located in Surfside, FL
This is a unique artwork. This is an original Hyman Bloom drawing of fellow artist and his very good friend Martin Sumers.I believe this was drawn at the “variations of a theme” at S...
Category

20th Century Modern Hyman Bloom Art

Materials

Paper, Pencil

Abstract Expressionist Hyman Bloom Judaica Hand Signed Poster Rabbi with Torah
By Hyman Bloom
Located in Surfside, FL
This is not editioned. According to his wife this was done privately for his 80th birthday and just given to friends and family. they were not sold. This is from a group of very few ...
Category

20th Century Modern Hyman Bloom Art

Materials

Offset

Related Items
French Modern Drawing by Jean Hélion - Veil Homme
By Jean Hélion
Located in Paris, IDF
Veil Homme 1947 drawing 26,9 x 21 x 0,1 cm Registered on the catalogue raisonné with inventory number : N°0252 cat. B sold without frame about Jean Hélion (April 21, 1904 – October ...
Category

1960s Modern Hyman Bloom Art

Materials

Paper, Pencil

Cappiello's Contratto Canelli Vermouth - later printing
By Leonetto Cappiello
Located in Spokane, WA
Original Contratto Canelli Vermouth vintage Italian liquor poster. Archival linen backed and ready to frame. Very good condition. This is the later c.1950 lithograph printing of the poster. Beautiful advertising vintage affiche printed in offset lithography (second edition). There is no second printing date besides the original date inside the poster by Cappiello's signature. (Note that the earlier printing sells for about $9500.) Most standard size original Italian posters are 39" x 55" in size; or 27.5" x 39 half sheets. This is currently the lowest and best price for this Cappiello Contratto poster on 1st Dibs. The woman in this Cappiello poster rests on a large green maple leaf while holding a bottle of Vermouth Victor and a bottle of Vermouth Bianco...
Category

Late 20th Century American Modern Hyman Bloom Art

Materials

Offset

1940s Charcoal and Pencil Portrait of a Man
Located in Arp, TX
Artist Unknown "Tie and Glasses" c. 1940s Charcoal and pencil on paper 13.5"x17" site 19"x23" rustic wood frame Unsigned
Category

1940s Modern Hyman Bloom Art

Materials

Charcoal, Paper, Carbon Pencil

"The Volunteer - Civil War" Historical Portrait, 742/1500
Located in Soquel, CA
Limited edition offset print of the original photorealistic painting, a portrait that portrays a historical reenactment of a civil war volunteer by James Bama...
Category

1980s American Realist Hyman Bloom Art

Materials

Ink, Offset, Paper

Abstract Geometric Terracotta Jugs, Mid Century Modern Abstracted Still Life
Located in Soquel, CA
Bold mid century modern abstracted pastel on paper still life of several terra cotta jugs and vessels distilled down to their most basic shapes and ar...
Category

1960s Abstract Geometric Hyman Bloom Art

Materials

Paper, Pastel

Original Los Angeles United Air Lines, Charlie Chaplin, vintage travel poster
Located in Spokane, WA
Original Los Angeles, United Air Lines vintage travel poster. Archival linen backed in A- condition, ready to frame. Images shown are of the exact poster you will receive. Step ...
Category

1960s American Modern Hyman Bloom Art

Materials

Offset

Topol in Fiddler on the Roof (Hand signed by Chaim Topol and the original cast)
Located in New York, NY
Chaim Topol in Fiddler on the Roof (Hand signed by Chaim Topol and the original cast members), 1990 Offset lithograph poster (ink signed) Hand signed in ink by Chaim Topol, Marcia Le...
Category

1990s Modern Hyman Bloom Art

Materials

Ink, Lithograph, Offset

Portrait of Reading Man - Original Vintage Poster (1975)
By (after) David Hockney
Located in Paris, IDF
David HOCKNEY Portrait of Reading Man Original Vintage Poster (offset-lithograph) Printed in France by Imprimerie Dermont in Paris 64 x 45 cm (c. 25.1 x 17.7 inch) This poster was created for the exhibition "David Hockney Dessins et Gravures" April 15th - May 24th at Galerie Claude Bernard in Paris. The poster represents Parisian dandy and Karl Lagerfeld's companion, Jacques de Bascher...
Category

1970s American Modern Hyman Bloom Art

Materials

Offset

Original "The Rocky Horror Picture Show' US 1 sheet vintage movie poster 1975
Located in Spokane, WA
Original "The Rocky Horror Picture Show" US 1-sheet vintage movie poster. Archvial linen backed. 1975, Style B. Original fold marks pr...
Category

1970s American Modern Hyman Bloom Art

Materials

Offset

Untitled Floral Still Life
Located in Wilton Manors, FL
Beautiful floral still life by American artist Jane Piper (1916-1991) . Pastel, oil crayon and pencil on tracing paper. Image measuring 13 x 15.5 inches in ...
Category

1980s Abstract Hyman Bloom Art

Materials

Parchment Paper, Crayon, Pastel, Pencil

Black Panther Trials - Civil Rights Movement Police Violence African American
Located in Miami, FL
The Black Panther Trials - In this historically significant work, African American Artist Vicent D. Smith functions as an Art Journalist/ Court Reporter as much as a Artist. Here, he depicts, in complete unity, 21 Black Panther Protestors raising their fist of defiance at the White Judge. Smith's composition is about utter simplicity, where the Black Panther Protestors are symmetrically lined up in a confrontation with a Judge whose size is exaggerated in scale. Set against a stylized American Flag, the supercilious Judge gazes down as the protesters as their fists thrust up. Signed Vincent lower right. Titled Panter 21. Original metal frame. Tape on upper left edge of frame. 255 . Panther 21. Framed under plexi. _____________________________ From Wikipedia In 1969-1971 there was a series of criminal prosecutions in New Haven, Connecticut, against various members and associates of the Black Panther Party.[1] The charges ranged from criminal conspiracy to first-degree murder. All charges stemmed from the murder of 19-year-old Alex Rackley in the early hours of May 21, 1969. The trials became a rallying-point for the American Left, and marked a decline in public support, even among the black community, for the Black Panther Party On May 17, 1969, members of the Black Panther Party kidnapped fellow Panther Alex Rackley, who had fallen under suspicion of informing for the FBI. He was held captive at the New Haven Panther headquarters on Orchard Street, where he was tortured and interrogated until he confessed. His interrogation was tape recorded by the Panthers.[2] During that time, national party chairman Bobby Seale visited New Haven and spoke on the campus of Yale University for the Yale Black Ensemble Theater Company.[3] The prosecution alleged, but Seale denied, that after his speech, Seale briefly stopped by the headquarters where Rackley was being held captive and ordered that Rackley be executed. Early in the morning of May 21, three Panthers – Warren Kimbro, Lonnie McLucas, and George Sams, one of the Panthers who had come East from California to investigate the police infiltration of the New York Panther chapter, drove Rackley to the nearby town of Middlefield, Connecticut. Kimbro shot Rackley once in the head and McLucas shot him once in the chest. They dumped his corpse in a swamp, where it was discovered the next day. New Haven police immediately arrested eight New Haven area Black Panthers. Sams and two other Panthers from California were captured later. Sams and Kimbro confessed to the murder, and agreed to testify against McLucas in exchange for a reduction in sentence. Sams also implicated Seale in the killing, telling his interrogators that while visiting the Panther headquarters on the night of his speech, Seale had directly ordered him to murder Rackley. In all, nine defendants were indicted on charges related to the case. In the heated political rhetoric of the day, these defendants were referred to as the "New Haven Nine", a deliberate allusion to other cause-celebre defendants like the "Chicago Seven". The first trial was that of Lonnie McLucas, the only person who physically took part in the killing who refused to plead guilty. In fact, McLucas had confessed to shooting Rackley, but nonetheless chose to go to trial. Jury selection began in May 1970. The case and trial were already a national cause célèbre among critics of the Nixon administration, and especially among those hostile to the actions of the FBI. Under the Bureau's then-secret "Counter-Intelligence Program" (COINTELPRO), FBI director J. Edgar Hoover had ordered his agents to disrupt, discredit, or otherwise neutralize radical groups like the Panthers. Hostility between groups organizing political dissent and the Bureau was, by the time of the trials, at a fever pitch. Hostility from the left was also directed at the two Panthers cooperating with the prosecutors. Sams in particular was accused of being an informant, and lying to implicate Seale for personal benefit. In the days leading up to a rally on May Day 1970, thousands of supporters of the Panthers arrived in New Haven individually and in organized groups. They were housed and fed by community organizations and by sympathetic Yale students in their dormitory rooms. The Yale college dining halls provided basic meals for everyone. Protesters met daily en masse on the New Haven Green across the street from the Courthouse (and one hundred yards from Yale's main gate). On May Day there was a rally on the Green, featuring speakers including Jean Genet, Abbie Hoffman, Jerry Rubin, and John Froines (an assistant professor of chemistry at the University of Oregon). Teach-ins and other events were also held in the colleges themselves. Towards midnight on May 1, two bombs exploded in Yale's Ingalls Rink, where a concert was being held in conjunction with the protests.[4] Although the rink was damaged, no one was injured, and no culprit was identified.[4] Yale chaplain William Sloane Coffin stated, "All of us conspired to bring on this tragedy by law enforcement agencies by their illegal acts against the Panthers, and the rest of us by our immoral silence in front of these acts," while Yale President Kingman Brewster Jr. issued the statement, "I personally want to say that I'm appalled and ashamed that things should have come to such a pass that I am skeptical of the ability of a Black revolutionary to receive a fair trial anywhere in the U.S." Brewster's generally sympathetic tone enraged many of the university's older, more conservative alumni, heightening tensions within the school community. As tensions mounted, Yale officials sought to avoid deeper unrest and to deflect the real possibility of riots or violent student demonstrations. Sam Chauncey has been credited with winning tactical management on behalf of the administration to quell anxiety among law enforcement and New Haven's citizens, while Kurt Schmoke, a future Rhodes Scholar, mayor of Baltimore, MD and Dean of Howard University School of Law, has received kudos as undergraduate spokesman to the faculty during some of the protest's tensest moments. Ralph Dawson, a classmate of Schmoke's, figured prominently as moderator of the Black Student Alliance at Yale (BSAY). In the end, compromises between the administration and the students - and, primarily, urgent calls for nonviolence from Bobby Seale and the Black Panthers themselves - quashed the possibility of violence. While Yale (and many other colleges) went "on strike" from May Day until the end of the term, like most schools it was not actually "shut down". Classes were made "voluntarily optional" for the time and students were graded "Pass/Fail" for the work done up to then. Trial of McLucas Black Panther trial sketch...
Category

1970s American Modern Hyman Bloom Art

Materials

Watercolor, Pen, Pencil, Paper

Morandi Bottle (Abstract, Cubist Still Life Graphite Drawing with Antique Frame)
By David Dew Bruner
Located in Hudson, NY
Abstract modernist style still life graphite and acrylic painting inspired by Giorgio Morandi's bottle still life paintings "Morandi II” by Hudson Valley artist, David Dew Bruner, m...
Category

2010s Abstract Hyman Bloom Art

Materials

Paper, Graphite

Previously Available Items
Boston Abstract Expressionist Hyman Bloom Original Pencil Drawing Martin Sumers
By Hyman Bloom
Located in Surfside, FL
This is a unique artwork. This is an original Hyman Bloom drawing of fellow artist and his very good friend Martin Sumers.I believe this was drawn at the “variations of a theme” at Sumers gallery in NYC. The last two photos show a poster and a card from their shows. it is not included in this listing, it is just for provenance. Provenance: Acquired from the Sumers estate collection. Hyman Bloom (March 29, 1913 – August 26, 2009) was a Latvian-born American painter. His work was influenced by his Jewish heritage and Eastern religions as well as by artists including Altdorfer, Grünewald, Caravaggio, Rembrandt, Blake, Bresdin, James Ensor and Chaim Soutine. He first came to prominence when his work was included in the 1942 Museum of Modern Art exhibition "Americans 1942 -- 18 Artists from 9 States". MoMA purchased 2 paintings from the exhibition and Time magazine singled him out as a "striking discovery" in their exhibition review. His work was selected for both the 1948 and 1950 Venice Biennale exhibitions and his 1954 retrospective traveled from Boston's Institute of Contemporary Art to the Albright Gallery and the de Young Museum before closing out at The Whitney Museum of American Art in 1955. In a 1954 interview with Yale art professor Bernard Chaet, Willem de Kooning indicated that he and Jackson Pollock both considered Bloom to be “America’s first abstract expressionist”, a label that Bloom would disavow. Starting in the mid 1950s his work began to shift more towards works on paper and he exclusively focused on drawing throughout the 1960s, returning to painting in 1971. He continued both drawing and painting until his death in 2009 at the age of 9 Hyman Bloom (né Melamed) was born into an orthodox Jewish family in the tiny Jewish village of Brunavišķi in what is now Latvia, then part of the Russian Empire At a young age Bloom planned to become a rabbi, but his family could not find a suitable teacher. In the eighth grade he received a scholarship to a program for gifted high school students at the Museum of Fine Arts. He attended the Boston High School of Commerce, which was near the museum. He also took art classes at the West End Community Center, a settlement house. The classes were taught by Harold Zimmerman, a student at the School of the Museum of Fine Arts, who also taught the young Jack Levine at another settlement house in Roxbury. When Bloom was fifteen, he and Levine began studying with a well-known Harvard art professor, Denman Ross, who rented a studio for the purpose and paid the boys a weekly stipend to enable them to continue their studies rather than take jobs to support their families. He took Bloom and Levine on a field trip to the Museum of Modern Art in New York, where Bloom was impressed by the work of Rouault and Soutine and began experimenting with their expressive painting styles. In the 1930s Bloom worked sporadically for the Public Works of Art Project and the Federal Art Project (WPA), He shared a studio in the South End with Levine and another artist, Betty Chase. It was during this period that he developed a lifelong interest in Eastern philosophy and music, and in Theosophy. He first received national attention in 1942 when thirteen of his paintings were included in the Museum of Modern Art (MoMA) exhibition Americans 1942: 18 Artists from 9 States, curated by Dorothy Miller. MoMA purchased two of his paintings from that exhibition, and he was featured in Time magazine. The titles of his paintings in the exhibition reflect some of his recurring themes. Two were titled The Synagogue, another, Jew with the Torah; Bloom was actually criticized by one reviewer for including "stereotypical" Jewish images. He also had two paintings titled The Christmas Tree, and another titled The Chandelier, both subjects he returned to repeatedly. Another, Skeleton (c. 1936), was followed by a series of cadaver paintings in the forties, and The Fish (c. 1936) was one of many paintings and drawings of fish he created over the course of his career. Bloom was associated at first with the growing Abstract Expressionist movement. Willem de Kooning and Jackson Pollock, who first saw Bloom's work at the MoMA exhibition, considered Bloom "the first Abstract Expressionist artist in America." In 1950 he was chosen, along with the likes of de Kooning, Pollock, and Arshile Gorky, to represent the United States at the Venice Biennale. That same year Elaine de Kooning wrote about Bloom in ARTnews, noting that in paintings such as The Harpies, his work approached total abstraction: "the whole impact is carried in the boiling action of the pigment". In 1951 Thomas B. Hess reproduced Bloom's Archaeological Treasure in his first book, Abstract Painting: Background and American Phase, along with works by Picasso, Pollock, and others. Both de Kooning and Hess remarked on Bloom's expressive paint handling, a key characteristic of Abstract Expressionist painting. As abstract expressionism dominated the American art world, Bloom became disenchanted with it, calling it "emotional catharsis, with no intellectual basis." In addition, instead of moving to New York to pursue his career, he opted to stay in Boston. As a result he fell out of favor with critics and never achieved the kind of fame that Pollock and others did. He disliked self-promotion and never placed much value on critical acclaim. Many of Bloom's paintings feature rabbis, usually holding the Torah. According to Bloom, his intentions were more artistic than religious. He began questioning his Jewish faith early in life, and painted rabbis, he claimed, because that was what he knew. Over the course of his career he produced dozens of paintings of rabbis...
Category

20th Century Modern Hyman Bloom Art

Materials

Pencil, Paper

Boston Abstract Expressionist Hyman Bloom Monoprint Monotype Print Martin Sumers
By Hyman Bloom
Located in Surfside, FL
This is a unique artwork. This is not editioned. This is an exceptional single print which was part of a collaboration between him and fellow artist and his very good friend Martin S...
Category

20th Century Modern Hyman Bloom Art

Materials

Monoprint, Monotype

Boston Abstract Expressionist Hyman Bloom Monoprint Monotype Print Martin Sumers
By Hyman Bloom
Located in Surfside, FL
This is a unique artwork. This is not editioned. This is an exceptional single print which was part of a collaboration between him and fellow artist and his very good friend Martin S...
Category

20th Century Modern Hyman Bloom Art

Materials

Monoprint, Monotype

Boston Abstract Expressionist Hyman Bloom Monoprint Monotype Print Martin Sumers
By Hyman Bloom
Located in Surfside, FL
This is a unique artwork. This is not editioned. This is an exceptional single print which was part of a collaboration between him and fellow artist and his very good friend Martin S...
Category

20th Century Modern Hyman Bloom Art

Materials

Monoprint, Monotype

Boston Abstract Expressionist Hyman Bloom Monoprint Monotype Print Martin Sumers
By Hyman Bloom
Located in Surfside, FL
This is a unique artwork. This is not editioned. This is an exceptional single print which was part of a collaboration between him and fellow artist and his very good friend Martin S...
Category

20th Century Modern Hyman Bloom Art

Materials

Monoprint, Monotype

Boston Abstract Expressionist Hyman Bloom Monoprint Monotype Print Martin Sumers
By Hyman Bloom
Located in Surfside, FL
This is a unique artwork. This is not editioned. This is an exceptional single print which was part of a collaboration between him and fellow artist and his very good friend Martin S...
Category

20th Century Modern Hyman Bloom Art

Materials

Monoprint, Monotype

Abstract Expressionist Hyman Bloom Judaica Hand Signed Poster Rabbi with Torah
By Hyman Bloom
Located in Surfside, FL
This is not editioned. According to his wife this was done privately for his 80th birthday and just given to friends and family. they were not sold. This is from a group of very few that were hand signed by Hyman Bloom for his close friend the artist Martin Sumers. It depicts a 1955 charcoal drawing Rabbi with Torah. Provenance: Acquired from the Martin Sumers estate collection. Hyman Bloom (March 29, 1913 – August 26, 2009) was a Latvian-born American painter. His work was influenced by his Jewish heritage and Eastern religions as well as by artists including Altdorfer, Grünewald, Caravaggio, Rembrandt, Blake, Bresdin, James Ensor and Chaim Soutine. He first came to prominence when his work was included in the 1942 Museum of Modern Art exhibition "Americans 1942 -- 18 Artists from 9 States". MoMA purchased 2 paintings from the exhibition and Time magazine singled him out as a "striking discovery" in their exhibition review. His work was selected for both the 1948 and 1950 Venice Biennale exhibitions and his 1954 retrospective traveled from Boston's Institute of Contemporary Art to the Albright Gallery and the de Young Museum before closing out at The Whitney Museum of American Art in 1955. In a 1954 interview with Yale art professor Bernard Chaet, Willem de Kooning indicated that he and Jackson Pollock both considered Bloom to be “America’s first abstract expressionist”, a label that Bloom would disavow. Starting in the mid 1950s his work began to shift more towards works on paper and he exclusively focused on drawing throughout the 1960s, returning to painting in 1971. He continued both drawing and painting until his death in 2009 at the age of 9 Hyman Bloom (né Melamed) was born into an orthodox Jewish family in the tiny Jewish village of Brunavišķi in what is now Latvia, then part of the Russian Empire At a young age Bloom planned to become a rabbi, but his family could not find a suitable teacher. In the eighth grade he received a scholarship to a program for gifted high school students at the Museum of Fine Arts. He attended the Boston High School of Commerce, which was near the museum. He also took art classes at the West End Community Center, a settlement house. The classes were taught by Harold Zimmerman, a student at the School of the Museum of Fine Arts, who also taught the young Jack Levine at another settlement house in Roxbury. When Bloom was fifteen, he and Levine began studying with a well-known Harvard art professor, Denman Ross, who rented a studio for the purpose and paid the boys a weekly stipend to enable them to continue their studies rather than take jobs to support their families. He took Bloom and Levine on a field trip to the Museum of Modern Art in New York, where Bloom was impressed by the work of Rouault and Soutine and began experimenting with their expressive painting styles. In the 1930s Bloom worked sporadically for the Public Works of Art Project and the Federal Art Project (WPA), He shared a studio in the South End with Levine and another artist, Betty Chase. It was during this period that he developed a lifelong interest in Eastern philosophy and music, and in Theosophy. He first received national attention in 1942 when thirteen of his paintings were included in the Museum of Modern Art (MoMA) exhibition Americans 1942: 18 Artists from 9 States, curated by Dorothy Miller. MoMA purchased two of his paintings from that exhibition, and he was featured in Time magazine. The titles of his paintings in the exhibition reflect some of his recurring themes. Two were titled The Synagogue, another, Jew with the Torah; Bloom was actually criticized by one reviewer for including "stereotypical" Jewish images. He also had two paintings titled The Christmas Tree, and another titled The Chandelier, both subjects he returned to repeatedly. Another, Skeleton (c. 1936), was followed by a series of cadaver paintings in the forties, and The Fish (c. 1936) was one of many paintings and drawings of fish he created over the course of his career. Bloom was associated at first with the growing Abstract Expressionist movement. Willem de Kooning and Jackson Pollock, who first saw Bloom's work at the MoMA exhibition, considered Bloom "the first Abstract Expressionist artist in America." In 1950 he was chosen, along with the likes of de Kooning, Pollock, and Arshile Gorky, to represent the United States at the Venice Biennale. That same year Elaine de Kooning wrote about Bloom in ARTnews, noting that in paintings such as The Harpies, his work approached total abstraction: "the whole impact is carried in the boiling action of the pigment". In 1951 Thomas B. Hess reproduced Bloom's Archaeological Treasure in his first book, Abstract Painting: Background and American Phase, along with works by Picasso, Pollock, and others. Both de Kooning and Hess remarked on Bloom's expressive paint handling, a key characteristic of Abstract Expressionist painting. As abstract expressionism dominated the American art world, Bloom became disenchanted with it, calling it "emotional catharsis, with no intellectual basis." In addition, instead of moving to New York to pursue his career, he opted to stay in Boston. As a result he fell out of favor with critics and never achieved the kind of fame that Pollock and others did. He disliked self-promotion and never placed much value on critical acclaim. Many of Bloom's paintings feature rabbis, usually holding the Torah. According to Bloom, his intentions were more artistic than religious. He began questioning his Jewish faith early in life, and painted rabbis, he claimed, because that was what he knew. Over the course of his career he produced dozens of paintings of rabbis...
Category

20th Century Modern Hyman Bloom Art

Materials

Offset

Boston Abstract Expressionist Hyman Bloom Monoprint Monotype Print Martin Sumers
By Hyman Bloom
Located in Surfside, FL
This is a unique artwork. This is not editioned. This is an exceptional single print which was part of a collaboration between him and fellow artist and his very good friend Martin S...
Category

20th Century Modern Hyman Bloom Art

Materials

Monoprint, Monotype

Hyman Bloom art for sale on 1stDibs.

Find a wide variety of authentic Hyman Bloom art available for sale on 1stDibs. You can also browse by medium to find art by Hyman Bloom in offset print, paper, pencil and more. Much of the original work by this artist or collective was created during the 20th century and is mostly associated with the modern style. Not every interior allows for large Hyman Bloom art, so small editions measuring 14 inches across are available. Customers who are interested in this artist might also find the work of Alfred Bendiner, Frank Kleinholz, and Knox Martin. Hyman Bloom art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $850 and tops out at $1,200, while the average work can sell for $1,025.

Artists Similar to Hyman Bloom

Recently Viewed

View All