Pierre Marie Brisson Art

Seiko Kawachi (Japanese, 1948) KATSURA (The Pillar) • Woodblock print, ca. 98 x 69 cm • Signed, dated 1979 • Limited 19/30 Seiko Kawachi was born in 1948 Yamanashi, Japan and grad...

THE GUN by Rocky Dobey is an intaglio print from an acid-etched copper plate, chine-collé with Japanese paper on archival Hahnemuhle paper, moun...

"Follow me / Like me" Oil painting 79" x 59" inch by Patricio Gonzalez oil and silver leaves on canvas From "Looking for Happiness" series LOOKING FOR HAPPINESS Like "el dorado", a cultural construction, a myth, the Looking for happiness series talks about the illusion of happiness. Using coordinates between different geographical points and world views, seeking to generate a dialogue between stories. In this way, places speak to tell us about degraded utopias, religious crusades, martyrs and oppressors, wars, victories, and defeats. All searches for what cannot be found. The infinite existing possibilities, in this continuous present and its accumulation, to be history. The utopian idea of achieving completeness or completeness. The transformation of the fabric into jewelry, the transmutation that moves from the sacred to the economic. The "object of desire" is the engine of life and its different permutations. Curriculum vitae Born on February 14, 1974, Santiago, Chile. Study at the School of Fine Arts of t he University of Chile and the University Complutense Hotels guest, Spain. He also attended workshops in painting, drawing and engraving the Circulo de Bellas Artes in Madrid. Work in the study of Guillermo Muñoz Vera, Madrid. SOLO EXHIBITIONS 2018 Kadoshiro Art Gallery “Looking for Happiness” Eduardo Lira Art Gallery “IT ́s not here” 2017 Off the wall / serie Golden Bitches/Beaches>(march 9) Galeria Artium-Miami,Usa 2016 ”Razones para la venganza” Galeria Artium-Miami,Usa. 2015 "Out Doors", Gallery Latam Santiago-Chile. 2013 "Coming down like flies" Latam Gallery Santiago, Chile. 2012 "Coto de Caza" Artium Gallery, Santiago, Chile. 2010 "Reasons for permanecia" Praxis Gallery, Santiago, Chile. 2009 "Fissure postcard" fifhy one Dot Gallery, Miami USA. 2008 "Connotations Sinister Galeria Trece, Santiago-Chile. 2007 "From the periphery to the center" Gallery 000 ", Santiago-Chile. 2005 "Lost Time" Gallery Forest, Consepcion- Chile. 2006 "Permanent Revolution" Artium Gallery, Santiago-Chile. 2005 Providencia Santiago Chile-Cultural Center, “Carrera” 2004 "personal mythologies", Praxis Gallery, Santiago-Chile GROUP EXHIBITIONS 2019 West palm Beach Art...

An original relief print (letterpress), exhibition poster on light wove paper after German-American artist Josef Albers (1888-1976) titled "Staatliche Werkkunstschule Kassel (Prefati...

"Untitled" Painting 39" x 30" inch by Patricio Gonzalez Patricio Gonzalez Bezanilla (1974), studied at the School of Visual Arts at the Universit...

Alan Davie (1920-2014) Improvisations on a Chagall Theme no. 1 December 1966 oil on canvas 213 x 172.5 cm signed, dated and titled (on the verso) Price: £95,000 GBP Provenance: Mor...

Alan Davie (1920-2014) Queen Emma June 1968 oil on canvas (triptych) 213.5 x 404 cm signed, dated and titled (on the verso) Price: £300,000 GBP (inc. 20% UK VAT) Provenance: Estate...

"Collaboration 02" Painting 39" x 59" inch by Patricio Gonzalez From "Looking for Happiness" series LOOKING FOR HAPPINESS Like "el dorado", a c...

An original lithograph on wove paper by Chinese-American artist Walasse Ting (1929-2010) titled "Untitled (Fresh Air School)", 1972. With centerfol...

Amish Farmscape #3, 1984, oil on canvas, 40 x 30 inches, signed and dated lower right; signed, dated, and titled verso About the Painting Amish Farmscape #3 is part of a multi-painting series of barns completed in the early 1980s for an exhibition at New York’s prestigious Sid Deutsch Gallery. Lewandowski painted this work at an important point in his career. It was the first major project undertaken by Lewandowski after his retirement from serving as the Chairman of Winthrop University’s Art Department, the last academic position he held after teaching for nearly thirty years. Lewandowski had been inspired to work on the series by a visit to Lancaster County, Pennsylvania. Like his friend and mentor, Charles Sheeler, Lewandowski had always been fascinated by vernacular architecture and the Amish barns of Pennsylvania brought back memories of rural scenes Lewandowski had painted in the Midwest much earlier in his career. Amish Farmscape #3 is a strong example of Lewandowski’s late precisionist work. The complexity of the composition and Lewandowski’s technical acumen are on full display. Being relieved of the burdens of teaching and administering a university art department likely allowed Lewandowski greater freedom and most importantly more time to complete the Amish Farmscape series. Although Lewandowski’s brand of precisionism changed throughout the years, he never deviated from the core tenets of the Immaculate School artists. In this work, we see simplified and flattened forms, the use of ray-lines to define light and space, the elimination of extraneous details, a polished almost machine-like finish, and the complete lack of visible brushstrokes, all hallmarks of the precisionist painters. Lewandowski was the last of the 20th century precisionists and in Amish Farmscape #3, we see just how successfully he continued to work in this style until his death in 1998. About the Artist Edmund Lewandowski was among the best of the second-generation precisionist painters. He was born and raised in Milwaukee, Wisconsin and studied at the Layton School of Art with Garrett Sinclair. Lewandowski achieved early success when in 1936 two of his watercolors were shown at the Phillips Collection as part of a Federal Art Project exhibition. Then, in 1937, his work was first exhibited at Edith Halpert’s Downtown Gallery which represented Lewandowski into the 1950s. Under Halpert’s guidance, Lewandowski continued to explore watercolor as his main medium during the 1930s and 1940s, since the gallery already represented Charles Sheeler, who worked primarily in oils. Sheeler became Lewandowski’s major influence as the primary leader of the ill-defined, but very recognizable Immaculate School artists, which included other Downtown Gallery painters, Niles Spencer, George Ault, and Ralston Crawford, as well as Charles Demuth and Preston Dickinson, both of whom died at a young age and had been represented by the Charles Daniel Gallery. Sheeler is credited with giving Lewandowski technical advice on how to make his paintings more precise and tightly rendered and by all accounts, Sheeler was a fan of Lewandowski’s work. Through the Downtown Gallery, Lewandowski’s paintings were accepted into major national and international exhibitions and purchased by significant museums and collectors. Franklin and Eleanor Roosevelt and Nelson Rockefeller acquired works by Lewandowski. He was included in the Museum of Modern Art’s important 1943 exhibition, American Realists and Magic Realists as well as juried exhibitions at the Whitney Museum of American Art, the Pennsylvania Academy of Fine Arts, and the Art Institute of Chicago. Lewandowski also completed commissions for magazines during the 1940s and 1950s, including several covers for Fortune. Throughout his career, Lewandowski explored urban and rural architecture, industry, machinery, and nautical themes. Looking back on his career, Lewandowski wrote, “My overwhelming desire as an artist through the years has been to record the beauty of man-made objects and energy of American industry on canvas. For as far back as I can recall, the cityscapes, farms and depictions of industrial power and technological efficiency has had a great attraction for me. I try to treat these observations with personal honesty and distill these impressions to a visual order.” Lewandowski is credited with extending precisionism to the Midwest and successfully continuing the style into the 1990s, three decades after Sheeler’s death and six decades after Demuth’s passing. Late in his career, Lewandowski enjoyed a resurgence of popularity as he was represented during the 1980s by New York’s Sid Deutsch and Allison Galleries...

The Orchestra, 1950, oil on canvas, 21 ½ x 25 3/4 inches, signed and dated lower left, labeled verso “Brown University, Trustee, The Walter Feldman T...

Non Objective Design, c. 1940s, oil on canvas board, 16 x 12 inches, Exhibited at Greenfield’s solo memorial exhibition at the John Wanamaker Gallery in Philadelphia in October 4 to 14, 1949, #21 (listed in the brochure and labeled verso: “Title: Non Objective Design; Artist: Etelka J. Greenfield; Size: 12 x 16; Medium: Oil: Price: $350; Address: 10 South 18th Street, Philadelphia, Penn.”) About the Painting Reflecting on his pupil’s work, the prominent Philadelphia portrait painter, Lazar Raditz, commented, “Etelka Greenfield’s adaptability, her open-mindedness in style and technique w[ere] outstanding for any artist, but most especially for one of her years.” Much of Greenfield’s work reflected a form of precise academic realism akin to Luigi Lucioni, but in Non Objective Design we see a thoroughly modern painting which successfully combines elements of abstraction and surrealism with a bright palette reminiscent of the later works of fellow native Philadelphian Arthur Beecher Carles, Jr. Greenfield uses a variety of surface techniques to depict the abstract designs across the canvas, including thin layers of wash, sprinkled coarse sand in the pink area, and thick applications of impasto which are worked into vertical lines in the center white section, a grid structure in the yellow section in the lower left and a series of peaks and valleys in the upper right. The overall feeling of the canvas owes a debt to the artists of the Fifth Avenue Cubists and the American Abstract Artists Group who were working at the time Greenfield painted Non Objective Design. But, Greenfield isn’t a copyist. Her abstracted patterns have a dynamic movement from lower left to upper right, which break free from the formal staid structures of many pre-war abstractions. And, belying its title, Greenfield depicts recognizable figures and objects amid the abstract patterns. Greenfield’s art historical and pop culture “easter eggs” include a figure to the left whose face is obscured by a pipe (think - Magritte’s The Treachery of Images – Ceci n’est pas une pipe), a figure in the right middle playing a violin or cello (think – any number of cubist paintings by Picasso or Braque), and the horn of a gramophone (think – the famous tagline and logo “His Master’s Voice”). Combining these elements, we are left to wonder is Greenfield hearing the voices of the great French modernist masters? About the Artist Etelka Greenfield was a little-known, but critically acclaimed Philadelphia-based painter of the late 1930s and 1940s. Born in Cincinnati, Ohio, as Etelka Joseph, Greenfield moved to New York City and then studied in France and Switzerland. In 1937, she married Albert M...