Marion McClanahan Art

Allan D'Arcangelo (American/New York, 1930-1998), "Aspen Center of Contemporary Art", 1967 silkscreen, hand signed in pencil, dated, numbered "45/200" and blind stamped "Chiron Press, New York, NY" 32 in. x 24 in. 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...

This artwork titled "Shadows" 1987 in an original color serigraph by American artist Virgil Trasher b.1943. It is hand signed, dated, inscribed A.P and titled in pencil by the artist. The image size is 20 x 16 inches, sheet size is 28 x 20 inches. It is in excellent condition. About the artist: Virgil Thrasher...

Edition Details: Year: 2021 Class: Art Print Status: Official Numbered Run: 73/150 Technique: Screen Print Paper: Thick Cream Speckletone Size: 24 X 18 Markings: Numbered "Shepard F...

Keith Haring Painted Man: Original 1983 announcement card for Keith Haring’s well-documented exhibition, Keith Haring 'Into 84' at Tony Shafrazi Gallery, New York, 1983. For this series Haring borrowed Jones' body — from head to toe — as the canvas to his work. A bodily canvas defined by much of the bold pictograms characteristic of Haring's artistic signature. Photos by Haring's long-time friend and collaborator Tseng Kwong Chi. Off-set printed, 1983. Dimensions: 6 x 4 inches. Some minor fading to the reverse; otherwise very good overall condition with strong colors. Literature: Keith Haring: Posters (Prestel pub.) Further About In 1983 Keith Haring teamed up with award-winning choreographer and dancer Bill T. Jones, founder of the Bill T. Jones/Arnie Zane Dance Company. Keith and Bill met in London in 1983 at a time when the graffiti artist was opening a major show at the Robert Fraser Gallery, and together they produced a series of exceptional collaborations in both performance and drawing. Related Categories Keith Haring dancer. Ballet. Keith Haring Figurative Drawings. Keith Haring Into 84 poster. Keith Haring and Tony Shafrazi. Haring Shafrazi.

Etching on paper. Hand signed and numbered by Peter Max. From the edition of 99. Frame size approx 27 x 24 inches. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers will be considered. About the Artist: Peter Max (American, born 1937) is known for his unique brand of rainbow-hued prints and paintings, which he has created since the early 1960s. Employing painterly strokes, his illustrations incorporate a wide spectrum of colors and patterns as seen in his Umbrella Man series. “I'm just wowed by the universe. I'm just glad to do something I love to do. I love color, I love painting, I love shapes...

Keith Haring 1985: Keith Haring off-set illustrated announcement card, NY, 1985: "NY for NY, Help The Homeless" at The Roxy, West 18th St., NYC. Off-set printed, 1985 (folds open in...

Artist: John Kacere (1930-1999) Title: Illeana II Year: 1991 Edition: A.P.; 100, plus proofs. Medium: Lithograph on wove paper Size: 23.5 x 31.5 inches Inscription: Signed by the art...

Alex Katz was born in 1924 to a Jewish family in Brooklyn, New York, as the son of an émigré who had lost a factory he owned in Russia to the Soviet revolution. In 1928 the family moved to St. Albans, Queens, where Katz grew up. From 1946 to 1949 Katz studied at The Cooper Union in New York, and from 1949 to 1950 he studied at the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan's plein air painting gave him "a reason to devote my life to painting." Every year from early June to mid-September, Katz moves from his SoHo loft to a 19th-century clapboard farmhouse in Lincolnville, Maine. A summer resident of Lincolnville since 1954, he has developed a close relationship with local Colby College. From 1954 to 1960, he made a number of small collages of still lifes, Maine landscapes, and small figures. He met Ada Del...

Christo The Wrapped Reichstag at Night, 1993 Offset Lithograph Plate signed (printed signature) by Christo on lower right front 40 × 25 1/2 inches Unframed and affixed to matting (a...

Bill Schenck Waco Serigraph 7/58 1981 Hand signed, date and numbered by Schenck in pencil. 25.75 inches H. x 25 inches W. 'Waco' is classic early example...

Artist: Andy Warhol (1928-1987) Title: Jacqueline Kennedy (Jackie II) Year: 1966 Medium: Silkscreen in colors on wove paper Size: 24 x 30 inches Condition: Excellent Inscription: Sig...

Alexander Calder Lithograph c. 1973 from Derrière le miroir: Lithograph in colors; 15 x 22 inches. Very good overall vintage condition; contains center fold-line as originally issue...