Jorge Dumas Art

Human Faces Abstract Collection - HFC 9 - Limited Edition Textured Canvas Print Faces Abstract Collection by Irena Orlov Introducing "Abstract Cubist Portrait - Human Faces Abstrac...

"Thanks to this psychological analysis, my paintings show emotions that people never experience in the mirror or through We expect joy to be a smile, sparkling eyes, a laugh. Some...

'Women in Deckchairs', oil on canvas, by Camille Hilaire (circa 1960s). Folding wooden chairs with woven or cane seats and backs, of the type now...

Vintage poster after Pablo Picasso, authorized by the artist Title: A Poem in Each Book (Paul Eluard's portrait) Signed Dimensions: 50 x 32.5 cm Reference: Catalogue raisonné Czwi...

Peter Keil's textured painting on canvas. Signed and dated 1997. This one is stunning in person. Background paint is textured on the canvas. Amazing gilt frame with a textured fabric...

Selected from the personal collection inherited by Marina Picasso, Pablo Picasso's granddaughter. After Pablo Picasso's death, his granddaughter Marina authorized the printing of t...

Vintage pencil signed and numbered limited edition lithograph on deckle edged Arches paper. Shalom of Sefad (Shulem der Zeigermacher in Yiddish Shalom Moskowitz) Shalom of Tzfat lived for over seventeen years in his native town of Safed in the hills of the Galilee. There he worked as a watchmaker, stonemason and silversmith, during the 50's. Since then this self-taught artist has achieved an international reputation. Shalom is a naive painter, but not a primitive one, he expresses a very elaborate way of thinking in his own way. While belonging to Hasidism, Shalom of Safed uses his artistic talents positively. 'I don't paint', he explains, 'to tell the story of the Bible in color and lines. His works have been exhibited in prominent museums and galleries in Europe and the United States, and are included in the collections of the Museums of Modern Art in Paris and New York, the Israel Museum in Jerusalem, the Stedelijk Museum in Amsterdam, the Modern Museum in Stockholm and the Jewish Museum in New York He has exhibited alongside all of the Israeli great artists. Israel has had a Vibrant Folk Art, Naive art scene for a long time now artists like Yisrael Paldi, Nahum Guttman, Reuven Rubin and even Yefim Ladizhinsky had naive periods. The most well know if the strict naive artists are Shalom of Safed, Irene Awret...

Jane Wooster Scott (American, b. 1920) Autumn in New York, c. 20th Century Lithograph Sight: 15 x 12 in. Framed: 27 3/4 x 23 3/4 x 1 in. Signed and titled lower right in plate: Autum...

Vintage pencil signed and numbered limited edition lithograph on deckle edged Arches paper. Shalom of Sefad (Shulem der Zeigermacher in Yiddish Shalom Moskowitz) Shalom of Tzfat lived for over seventeen years in his native town of Safed in the hills of the Galilee. There he worked as a watchmaker, stonemason and silversmith, during the 50's. Since then this self-taught artist has achieved an international reputation. Shalom is a naive painter, but not a primitive one, he expresses a very elaborate way of thinking in his own way. While belonging to Hasidism, Shalom of Safed...

An original abstract expressionist oil painting by American female artist Irene Zevon created and dated in 1955. Signed. Really amazing cubist portrait. Irene Zevon, born in Bro...

Bold color lithograph, hand signed in pencil and numbered AP IX/X (artist’s proof 9/10), Jerusalem Print Workshop blind stamp lower right. On French Arches paper. Gabriel Cohen, Sel...

This artwork titled "Singing in the Bath, Tenakee Springs" 1996 is a color offset lithograph on paper by noted American artist Rie Mounier Munoz, 1921-2015. It is hand signed and numbered 1077/1100 in pencil by the artist. The image size is 13.5 x 10 inches, sheet size is 16 x 12.35 inches. It is in excellent condition, has never been framed. About the artist: Alaska painter Rie Mounier Munoz was the child of Dutch parents who immigrated to California, where she was born and raised. She is known for her colorful scenes of everyday life in Alaska. Rie (from Marie) Munoz (moo nyos), studied art at Washington and Lee University in Virginia. In 1950, she traveled up the Inside Passage by steamship, fell in love with Juneau, and gave herself until the boat left the next day to find a job and a place to live. Since then Juneau has been home to Munoz. She began painting small vignettes of Alaska soon after arriving in Juneau, and also studied art at the University of Alaska-Juneau. Munoz painted in oils in what she describes as a "painstakingly realistic" style, which she found stiff and "somewhat boring." Her breakthrough came a few years later when an artist friend introduced her to a versatile, water-soluble paint called casein. The immediacy of this inexpensive medium prompted an entirely new style. Rie's paintings became colorful and carefree, mirroring her own optimistic attitude toward life. With her newfound technique she set about recording everyday scenes of Alaskans at work and at play. Of the many jobs she has held journalist, teacher, museum curator, artist, mother, Munoz recalls one of her most memorable was as a teacher on King Island in 1951, where she taught 25 Eskimo children. The island was a 13-hour umiak (a walrus skin boat) voyage from Nome, an experience she remembers vividly. After teaching in the Inupiat Eskimo village on the island with her husband during one school year, she felt a special affinity for Alaska's Native peoples and deliberately set about recording their traditional lifestyles that she knew to be changing very fast. For the next twenty years, Rie practiced her art as a "Sunday painter," in and around prospecting with her husband, raising a son, and working as a freelance commercial artist, illustrator, cartoonist, and curator of exhibits for the Alaska State Museum. During her years in Alaska, Munoz has lived in a variety of small Alaskan communities, including prospecting and mining camps. Her paintings reflect an interest in the day-to-day activities of village life such as fishing, berry picking, children at play, as well as her love of folklore and legends. Munoz says that what has appealed to her most were "images you might not think an artist would want to paint," such as people butchering crab, skinning a seal, or doing their laundry in a hand-cranked washing machine. In 1972, with her hand-cut stencil and serigraph prints selling well in four locations in Alaska, she felt confident enough to leave her job at the Alaska State Museum and devote herself full time to her art. Freed from the constraints of an office job, she began to produce close to a hundred paintings a year, in addition to stone lithograph and serigraph prints. From her earliest days as an artist, Rie had firm beliefs about selling her work. First, she insisted the edition size should be kept modest. When she decided in 1973 to reproduce Eskimo Story Teller as an offset lithography print and found the minimum print run to be 500, she destroyed 200 of the prints. She did the same with King Island, her second reproduction. Reluctantly, to meet market demand, she increased the edition size of the reproductions to 500 and then 750. The editions stayed at that level for almost ten years before climbing to 950 and 1250. Her work has been exhibited many solo watercolor exhibits in Alaska, Oregon and Washington State, including the Charles and Emma Frye Art Museum, Alaska State Museum in Juneau, Anchorage Historical and Fine Arts Museum, Tongass Historical Museum in Ketchikan, and Yukon Regional Library in Whitehorse; Yukon Territory, and included in exhibits at the Smithsonian Institute and Russell Senate Office Building in Washington, D.C. Munozs paintings have graced the covers of countless publications, from cookbooks to mail order catalogs, and been published in magazines, newspapers, posters, calendars, and two previous collections of her work: Rie Munoz...