Ivars Muizulis Art

Murray Hantman (1904-1999). Untitled, ca. 1950-55. Oil on canvas measures 20 x 26 inches, 26 x 32 inches in silver leaf vintage frame.. Signed lower right. Excellent condition with ...

Black and white abstract figurative painting by Polish-Australian artist, Stacha Halpern. This painting depicts large, thick, and bold black and white strokes accentuated by reds, bl...

This contemporary, expressive figurative oil painting titled "No Limits" was created by French artist Natalya Mougenot and marks a significant shift in her artistic journey. Part of ...

Antique American modernist abstract painting. Oil on canvas, circa 1940. Housed in a vintage frame. Image size, 18L x 24H.

Untitle -Oil on canvas cm.170x122 - Massimo Caiafa Italy 2009. Abstract painting on canvas inspired by Maestro Mimmo Paladino.Lacquered wooden frame.

Large-scale abstract of brains by Bay Area artist Michael Pauker (American, b.1957). Unsigned, but was acquired with a collection of his work. Unframed. Image size: 60"H x 70"W. No...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

A Geometric Play of Masks, Eyes and Lines. Post war Expressionism. 1970’s. Patrick Boudon. Art Informel. Ecole de Paris. Technique: oil on canvas, very textural and colorful. Patr...

Jean Maurice Lasnier (French, 1922 – 2006) Tempete Industrielle Signed ‘LASNIER’ (lower left) Oil on canvas 25.3/4 x 32 in. (65.4 x 81cm.) Provena...

Edward Zutrau Toucan, 7/29/1949 Dated on verso Oil on linen 30 x 23 inches Edward Zutrau (1922–1993) was an American painter whose career spanned from the 1940s through the early 1...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Ralph Rosenborg (American, 1913-1992) Mountain Weed with Two Clouds, oil on jute canvas, canvas is hand signed recto and verso, artists label and Snyder Fine Art gallery label, The p...