Karl Pilato Art

Exhibited in "Benji Stiles: A Human Day" at Reeves Art + Design. In “A Human Day,” a solo show dedicated to the work of contemporary multidisciplinary artist Benji Stiles, we explor...

Neutral toned gestural abstract painting by contemporary artist Ian Francis. The work features a variety of gestural marks accented by black and white triangular shapes set against a...

"Approaching the Wave" Original Contemporary Abstract Oil Painting, Signed Vibrant oil painting by Jocelyn Auld (American, b. 1999.) A yellow curling shape stretches into the center...

Provenance: Barry Friedman Gallery, Modernism Fine Arts, New York. Estate Stamped. Thilo Maatsch (1900-1983) Thilo Maatsch has an epiphany at age 16 when, having been taken to Berlin’s prestigious Avant Garde art gallery Der Sturm, he’s mesmerized by the work of Franz Marc, and determines to be an artist. Eleven years later, he’ll one day recall with pride, his work exhibits there. Born and raised in 1900 Braunschweig, Germany, Maatsch by age 18 forms "Gesellschaft der Freunde junger Kunst" (Society of Friends of New Art) with Rudolf Jahns and Johannes Molzahn. Its members include soon-to-be-famous Lyonel Feininger, Paul Klee and Wassily Kandinsky, who promotes Maatsch and becomes something of a father figure. Introductions to collector Otto Ralfs in Braunschweig and the esteemed painter Heinrich Vogeler in Worpswede over the next two years influence his expanding body of work. By 1922 Maatsch has a growing family to support, and as his art fails to provide this he begins training to be a teacher, a vocation he’ll fall back on repeatedly throughout his life. His first assignment is that of primary school teaching in Holzminden. 1924 sees Ralfs purchasing a Maatsch work and hanging it alongside the now well-known names of Mondrian, Kandinsky and Klee. The following year Ralfs launches an entire exhibition of the Society of Friends of New Art. Because of his day job, Maatsch is unable to realize his wish to study at the Bauhaus, the avant garde epicenter in Weimar and later, Dessau. But thanks to Kandinsky, Klee and Laszlo Moholy-Nagy, he’s allowed to occupy their studios and study with them during school holidays. His befriending of Kurt Schwitters during this time explains why Maatsch is often included in the so-called Schwitters Group. In 1925 he joins the Novembergruppe (November Group) and exhibits annually in the renowned Große Berliner Kunstausstellung (Great Berlin Art Exhibition...

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...

oil on canvas

"Surprise" (2018) is a charming mixed media work on canvas by Inés Silvalde, measuring 22.4 x 32.3 x 5 cm, and presented in a complementary wooden frame. Part of her Influencers de T...

Brunette Muse - Original Abstract Expressionist on Canvas Abstract expressionist figurative composition of a woman by California artist Harald "Harry" Dry Schmidt (American, 1933-19...

"Route 66" (2018) is a mixed media piece on canvas by Inés Silvalde, measuring 22.4 x 32.3 x 5 cm, and presented in a wooden frame. This work, part of the Influencers de Taberna seri...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

acrylic & oil on canvas

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...