John Lennon Art

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 ...

Screenprint on Lanaquarelle watercolor paper. Hand signed, numbered from the edition of 50 and dated in pencil. Published and printed by Gemini G.E.L., Los Angeles, with their blind...

1976 hand pencil signed limited edition (AP XVII) on BFK Rives paper. Allan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. D'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy. D'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. "Marilyn" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be "fitted" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In "Madonna and Child," (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear. Select Exhibitions: Fischbach Gallery, New York, Ileana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery, Los Angeles Galerie Ricke, Kassel, Germany, Obelisk Gallery, Boston, Minami Gallery, Tokyo, Württembergischer Kunstverein, Stuttgart, Germany Lambert Gallery, Paris Albright-Knox Art Gallery, Buffalo, Museum of Contemporary Art, Chicago, Marlborough GalleryPatricia Moore Gallery, Aspen, Colorado Hokin Gallery, Chicago Grace Borgenicht Gallery, Retrospettiva, Palazzina dei Giardini, Modena, Italy Mitchell Innes & Nash, Beyond Pop: Allan D'Arcangelo, Hollis Taggart Galleries, Garth Greenan Gallery, New York, Pi in the Sky, Waddington Custot, London, UK, Select Group Exhibitions Allan D'Arcangelo: Bilder und John Chamberlain: Plastiken, Galerie Rudolf Zwirner, Arakawa, Allan D'Arcangelo, Mark di Suervo, Robert Grosvenor, Anthony Magar, Neil Williams, Dwan Gallery, Los Angeles, American Painting Now, ACA Gallery, Boston Contemporary Drawings, New York University Pop Art Americana: D'Arcangelo, Jim Dine, Kelly, Lichtenstein, Claes Oldenburg, Phillips, Mel Ramos, James Rosenquist, George Segal, Warhol, John Wesley, Tom Wesselman, Galleria De' Foscherari, Bologna, Italy Frank O'Hara / In Memory of My Feelings, Museum of Modern Art, New York, Annual Exhibition of Contemporary American Painting Whitney Museum of American Art Beyond Literalism: An Exhibition of Painting and Sculpture by Allan D'Arcangelo, Charles Fahlen, Jack Krueger, Naoto Nakagawa...

Silkscreen Edition of 100 Signed and numbered on the front Mint

In this series entitled 'Freshly Wrapped', Alice explores the relationship between fresh produce and plastic. For the city-dweller, plastic wrapping has become as much a part of the way we eat fruit and vegetables as the skin of the thing itself. Instead of pulling from the soil or plucking from a tree; we squeeze our produce from mesh bags...

Offset print 4C process with cold stamp Edition of 300 Signed and numbered on the front Mint Our mission is to connect art collectors to opportunity. Whether it be figurative, abstr...

Charles Hinman On the Bowery, 1969 - 1971 silkscreen on Schoeller's Parole Paper, edition of 100 + 20 A.P. 25.5 x 25.5 inches, signed, numbered 21/100 Screenprint in color on wove paper Hand signed, published by Edition Domberger, Bonlanden, West Germany (with their blindstamp) Provenance: Collection of Tom Levine On the Bowery, 1971. The portfolio consists of nine screenprints in colors (one with mylar collage), on wove paper, by representative artists of the Pop Art period. Cy Twombly, Robert Ryman, Will Insley, Robert Indiana, Les Levine, John Willenbecher...

Silkscreen screenprint or Lithograph Hand signed and numbered. An esoteric, mystical, Kabbala inspired print with Hebrew as well as other languages. Joseph Charles Tilson RA (born 2...

Red Grooms’ “Ruckus Manhattan” in the mid-1970s humorously transformed Grand Central Terminal into a 3-D caricature of New York City. “I wanted to do a novelistic portrait of Manhattan from Battery Park to Grant’s tomb,” Grooms explained. The comic-book inspired interactive installation included iconic landmarks—the subway, Central Park, the Apollo Theater...

Will Insley On the Bowery, 1969 - 1971 silkscreen on Schoeller's Parole Paper, edition of 100 + 20 A.P. 25.5 x 25.5 inches, signed, numbered 21/100 Screenprint in color on wove paper Hand signed, published by Edition Domberger, Bonlanden, West Germany (with their blindstamp) Provenance: Collection of Tom Levine On the Bowery, 1971. The portfolio consists of nine screenprints in colors (one with mylar collage), on wove paper, by representative artists of the Pop Art period. Cy Twombly, Robert Ryman, Will Insley, Robert Indiana, Les Levine, John Willenbecher...

Artist: Peter Klasen, German (1935 - ) Title: Bouche Chaine Year: 2002 Medium: Lithograph, signed and numbered in pencil Edition: 150 Image Size: 24.75 x 19 inches Size: 32.25 x 23.2...

Offset print, cold stamp and high gloss varnishing Edition of 300 Signed and numbered on the front Mint