John Paul Robinson Figurative Sculptures

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his travels. In his ongoing series of memory jugs, Thompson adorns stoneware vessels with a kaleidoscope of ceramic shards, found objects, and pocket-sized trinkets he collected over the course of his life. Also known as forget-me-not jugs or spirit jars, memory jugs are African American folk art objects that honor a loved one who has recently passed. Small tokens and mementos of the deceased are gathered and affixed to the exterior of a jug or vase, an abundance of memories that celebrates a life lived to the fullest. Michael Thompson applies this tradition to his own practice, creating tactile assemblages of this and that. Formed in the manner of collage, each jug honors the lost memories of generations past and his own memories of personally discovering each item. With varied sources for materials including Kyoto, Turkey, and Mexico, a great number of the found shards are 18th and 19th century ceramics...

This aqua resin and acrylic sculpture is an abstract female for created by Kevin Kelly. The dimensions are noted include a 4 inch high white base. The pedestal is separate. Kelly wor...

William King (1925-2015). Reclining figure, ca. 1965. Cast and welded bronze, 7 x 9.5 x 5 inches. Unsigned. William King, a sculptor in a variety of materials whose human figures traced social attitudes through the last half of the 20th century, often poking sly and poignant fun at human follies and foibles, died on March 4 at his home in East Hampton, N.Y. He was 90. His death was confirmed by Scott Chaskey, who is married to Mr. King's stepdaughter, Megan Chaskey. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses -- a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. But for all its variation, what unified his work was a wry observer's arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. Mr. King's work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. But the comic element of his work probably caused his reputation to suffer. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder. and Elie Nadelman. The critic Hilton Kramer, one of Mr. King's most ardent advocates, wrote in a 1970 essay accompanying a New York gallery exhibit that he was, "among other things, an amusing artist, and nowadays this can, at times, be almost as much a liability as an asset." A "preoccupation with gesture is the focus of King's sculptural imagination," Mr. Kramer wrote. "Everything that one admires in his work - the virtuoso carving, the deft handling of a wide variety of materials, the shrewd observation and resourceful invention - all this is secondary to the concentration on gesture. The physical stance of the human animal as it negotiates the social arena, the unconscious gait that the body assumes in making its way in the social medium, the emotion traced by the course of a limb, a torso, a head, the features of a face, a coiffure or a costume - from a keen observation of these materials King has garnered a large stock of sculptural images notable for their wit, empathy, simplicity and psychological precision." William Dickey King...

Bronze sculpture by Latin American sculptor Raúl Valdivieso (Chilean, 1931-1993). Valdivieso is known for his reinterpretation of the classic organic forms and human figures. Raúl Valdiveso was born September 9, 1931 in Santiago, Chile. In 1952 he began his studies at the School of Fine Arts at the University of Chile. There he took to sculpture and studied under professors like Marta Colvin...

FROM THE SPACE TO YOUR DESK!!!. . . BLUETOOTH AND RADIO SPEAKER INCLUDED!!!! A more traditional HUICHOL style sculpture. Looks great in any room!!! ALTERATION ART . . . is a colla...

Signed and dated 2025. OPEN FOR COMMISSIONS!!! ALTERTATION ART . . . is a collaboration process between Rick Wolfryd, fine artist and art dealer with over 40 years experience, and ...

Jackson Pollock 400% & 100% Bearbrick Vinyl Figure (set of 2): A rare highly collectible Bearbrick Jackson Pollock statue piece, splattered from head to toe in Pollock’s signature a...

This is a great sculpture with real gravitas and elegance. A great conception in terms of the forms and planes. Can be a star piece in a room - stone and surface are very attractive! Active primarily in the mid to late 20th century, Leo De Beer...

Yayoi Kusama Red & Black Pumpkin 2019: An iconic, vibrantly colored pop art piece - this rare, sought-after red Kusama pumpkin sculpture features the universal polka dot patterns and...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his travels. In his ongoing series of memory jugs, Thompson adorns stoneware vessels with a kaleidoscope of ceramic shards, found objects, and pocket-sized trinkets he collected over the course of his life. Also known as forget-me-not jugs or spirit jars, memory jugs are African American folk art objects that honor a loved one who has recently passed. Small tokens and mementos of the deceased are gathered and affixed to the exterior of a jug or vase, an abundance of memories that celebrates a life lived to the fullest. Michael Thompson applies this tradition to his own practice, creating tactile assemblages of this and that. Formed in the manner of collage, each jug honors the lost memories of generations past and his own memories of personally discovering each item. With varied sources for materials including Kyoto, Turkey, and Mexico, a great number of the found shards are 18th and 19th century ceramics...

Roberto Estopinan, Cuban, 1920 - 2015 Dimensions: 24.5" wide x 13" high plus 6" high base. Roberto Estopiñán (1921–2015) was a Cuban American sculptor known for his sculptures of the human form, including political prisoners. Born in Camaguey, Cuba, he lived in the United States for over fifty years. His works are held by major institutions such as the Museum of Modern Art, the Whitney Museum and the Smithsonian Museum of American Art. Roberto Gabriel Estopinan, a sculptor, draftsman, and printmaker, was born in Havana, Cuba on March 18, 1921. Estopiñán enrolled at the San Alejandro Academy when he was just 14 years old and became the protegé and studio assistant of the sculptor Juan José Sicre. After graduation he traveled first to Mexico, where he met and befriended Francisco Zuniga, and studied Pre-Columbian sculpture. In 1949 he traveled to Europe, visiting England, France and Italy. In these trips he encountered the sculpture of Henry Moore and Marino Marini, and their humanistic yet formal visions would be influential on Estopinan's work. Estopiñán was a pioneer of direct carvings using wood and of welding techniques in Latin America. Throughout the 1950s, Estopiñán received important prizes at various national exhibitions in Havana. In 1953 he was the only semi-finalist from Latin America at the Tate Gallery's international sculpture competition for a Monument to the Unknown Political Prisoner. In 1961, the artist moved to New York, where he resided until 2002. Roberto Gabriel Estopiñán a Cuban emigre sculptor who emigrated to exile in the United States not long after Fidel Castro’s revolution in 1959, is considered one of Latin America’s most important 20th-century artists. His work, which includes drawings and prints as well as sculptures in wood and bronze, is in the collections of New York’s Museum of Modern Art, the Smithsonian’s American Art Museum, the Art Institute of Chicago, and the Detroit Institute of Art, among many locations. He is best known for his stark, disturbing renderings of political prisoners, the fruit of his own experiences as a dissident under both Castro and his predecessor, the dictator Fulgencio Batista, and for his representations of the female torso that can remind viewers of both classical statuary and the high-modern, abstractly elongated work of Henry Moore.mHe was born in Havana to a father from Asturias in northwest Spain and a mother of African descent. Estopiñán was something of a prodigy. At the age of fourteen, he won the first prize in drawing at the Centro Asturiano, a regional association for Cubans of Asturian descent. Shortly afterward he received special permission to enter the San Alejandro Academy of Fine Arts in Havana. At the school he was mentored first by its director, the painter Armando Menocal (1863-1941), then by the landscape artist Antonio Rodríguez Morey (1872-1967), and finally by Juan José Sicre (1898-1974), regarded as one of Cuba’s greatest sculptors. Sicre, a professor of sculpture at the Academy, had helped introduce European modernist art to Cuba, and from the 1930s through the 1950s had sculpted monumental figures in Havana of José Martí and other Cuban national heroes that stand to this day. Estopiñán was first Sicre’s student, then his assistant, and, finally, his colleague for the next fifty years. After graduating from San Alejandro in 1942, Estopiñán began simultaneously teaching art at the Ceiba del Agua School for young men, assisting Sicre in public art projects and developing his own artistic vision. He also traveled widely, to Mexico, New York, France, and Italy. From the late 1940s through the 1950s his sculpture evolved from an early neoclassical phase under the influence of Maillol to what he defined as “formalist humanism”: emphasizing the abstract beauty of the shapes he sculpted while not abandoning the human figure as the basis of his work. As the 1950s progressed he chose to carve in native Cuban woods...