Jean Carlu Art

This Blue Dog work consists of an American Flag background of red & white stripes and a corner background of blue with white stars. There is a single white dog outlined in black with red eyes. The piece is named "God Bless America...

Nelson Mandela, Hand of Africa, Signed Limited Edition Lithograph Many people are unaware that Nelson Mandela turned his hand to art in his 80's as a way of leaving a legacy for his ...

American Trotting Horses No.1 is from the series “The World Of Currier And Ives as interpreted by Salvador Dali” published by Phyllis...

A color, stone lithograph titled 'Edward' by Nura Woodson Ulreich (American, 1899–1950) with certification of authenticity stamped verso. A fresh ...

ALEXANDER CALDER (1898-1976) Credited with the invention of the mobile, Alexander Calder revolutionized twentieth-century art with his innovative use of subtle air currents to animat...

Artist: Alexander Calder (1898-1976) Title: Snakes Year: circa 1975 Medium: Color lithograph on wove paper Size: 22.75 x 30.63 inches Condition: Exce...

Overlooking Wadi, Asir Province, Kingdom Of Saudi Arabia by His Majesty King Charles III, (created when he was HRH The Prince of Wales) - ...

Windsor Castle by His Majesty King Charles III - Hand Signed Limited Edition Lithograph. Belgravia Gallery has been honoured to be asso...

Greek Island, Fishing Boats by His Majesty King Charles III (created when he was HRH Prince Charles, The Prince of Wales) - Hand Signed L...

“Thanks For Being With Us” A three color lithograph by American artist Ed Ruscha (b. 1937). Sheet: 30”H x 22.1”W Printed on Rives BFK paper in collaboration with printer Ben Q. A...

This artwork titled "Mujer Con Sombrero (Woman with Hat)" 1972 is a large original colors lithograph on Arches paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and numbered 81/100. in pencil by the artist. The artwork size 36.35 x 25.85 inches, sheet size is 37.25 x 26.25 inches, framed size is 52.25 x 40.5 inches. Published by Transworld Art, New York , Printed by Bank Street Atelier, New York. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #132 page 123. Custom framed in a wooden black and silver frame, with silver bevel and fabric matting. It is in excellent condition. Will provide the buyer with a certificate of authenticity from our gallery and photocopy of the pages related to this artwork from the artist's catalogue raisone. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...

Born in Greenwich, Connecticut, Jack Coughlin studied at the Rhode Island School of Design in Providence and the Art Students League of New York. He is b...