Markus Lüpertz Art

Covey of Grouse I is a celebration of game birds in flight. A moment after taking off the birds have scattered in an explosion of aerial speed and agility. The etching reveal the d...

Gabryela Wasowicz is a Polish painter born in 1947. She studied at the Academy of Fine Arts of Warsaw and then at the Gerrit Rietveld Akademie in Amsterdam. Once she graduated in 197...

"Fall to Grace" is an original ink and watercolor painting on paper mounted to wood by artist Robert Kraiza measuring 19in height x 9in width. Artist Statement // In my work I invoke a whimsical world inspired by Victorian and Edwardian eras. To me they represent a romantic time period that has roots that extend directly into the modern world, both good and bad. The customs and aesthetics of the period are both fascinating and breathtaking but a vast portion of the population was victim to subjugation. It has since been eradicated on paper but still permeates to this day. I am exploring an imagined supernatural world hidden just out of sight where these woman could escape. This is an evolution from my earlier work set in the same time period with a continuous thread of humans and their animal companions. Through witchcraft these women find strength in their abilities and each other to leave the oppressive world they inhabit behind and escape to the woods to their Covendom, the boundary that defines the territory of their coven. They shed their customs, their corsets, and their concerns at the edge of the forest and gather among the trees to explore their magical potential with their familiars at the side. This body of work is exploring multiple media with a consistent theme and setting; combining watercolor painting, pen and ink illustrations, and graphite drawings. All pieces are created in monochrome on hot press watercolor paper mounted on wood with a gold painted border reminiscent of daguerreotype frames. Watercolor allows me to achieve results ranging from soft ethereal layered washes similar to oil glazes to precise minute details I include in all of my works. Bio // ROBERT KRAIZA (pronounced: cry-zuh) is an illustrator and fine artist who lives and works in Philadelphia, Pennsylvania. He studied Media Arts and Animation at the Art Institute of Philadelphia. Interested in many media, he often paints in monochrome watercolor on a small scale, inspired by the Victorian era and whimsical dreams in both his art and personal aesthetic. Depicting fantasy worlds from the hidden life of nineteenth century witches to miniature children...

Duchándome en cuerpo Ajeno May 30th, by Celso Castro-Daza From the Duchándome Series Watercolor and ink on paper Image size: 19.5 in. H x 13.75 in. W Unframed ____________ Undefined by medium, Celso Castro’s works each carry the presence of the artist’s hand through the transparency of their process. Castro’s oeuvre is strongly divided between his photomontage assemblies and watercolor paintings: the prior is marked by the labor-intensive deconstruction of portrait photographs and the latter, by the seemingly frenzied recreation of a past encounter rendered in the drips and scribbles of paint and ink. Both discriminating in what they reveal of the subject, his photomontage and watercolor portraits exude raw sexuality through the combination of Castro’s mark-making and gaze. Celso Castro’s work is a bare-bulb erotic photo foray into the underbelly of Colombia’s drug world. Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride their erect penises...

"Pensando & recordando a Luis Caballero" by Celso Castro-Daza From the Duchándome Series Watercolor, pastel, and ink on archival paper Sheet size: 19.5 ...

Alice In Wonderland:White Rabbit is an original hand made etching by the American abstract painter Knox Martin. Printed in black ink on archival printmaking paper, 100% acid free. Erotic fantastical interpretation of “Alice’s Adventures in Wonderland”, when Alice grows and gets stuck in the Rabbit's house. Print size- 18" x 15", Image size - 8.25" x 6.75" Edition size - 50 About the artist- Knox Martin (1923-2022) was an esteemed New York School painter. Knox Martin was born in 1923 in Barranquilla, Colombia. He was the son of the aviator, painter, and poet William Knox Martin, the first man to fly over the Andes mountains. After serving in World War II, Knox Martin attended the Art Students League of New York on the G.I. Bill from 1946-1950, where he studied with Harry Sternberg, Vaclav Vytlacil, Will Barnet, and Morris Kantor. In 1954, Knox Martin's friend Franz Kline placed a painting of his in the Stable Gallery Annual. Charles Egan of the renowned Charles Egan Gallery saw Knox Martin's painting at the Stable Gallery and asked Martin to show his work in a one-man show for the tenth anniversary of the Egan Gallery. Since then, Knox Martin was a celebrated painter, sculptor and muralist. Knox Martin had an extensive exhibition record and his work is in museum, corporate and private collections worldwide. His two best-known murals in NYC are Venus and Woman with Bicycle...

Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed. ABOUT THIS WORK “The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018 ABOUT THE ARTIST Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.” Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history. Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center. Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement." From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art. Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University. Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine art...

Duchándome en Cuerpo Ajeno, May 29th, 2018 by Celso Castro-Daza From the Duchándome Series Watercolor and ink on an archival paper Image size: 19.5 in. H x 13.75 in. W Unframed ____________ Undefined by medium, Celso Castro’s works each carry the presence of the artist’s hand through the transparency of their process. Castro’s oeuvre is strongly divided between his photomontage assemblies and watercolor paintings: the prior is marked by the labor-intensive deconstruction of portrait photographs and the latter, by the seemingly frenzied recreation of a past encounter rendered in the drips and scribbles of paint and ink. Both discriminating in what they reveal of the subject, his photomontage and watercolor portraits exude raw sexuality through the combination of Castro’s mark-making and gaze. Celso Castro’s work is a bare-bulb erotic photo...

Sea Dragon is an original etching artwork by Marcel Chirnoaga (Romanian, 1930–2008) one of the most important artists of fantasy painting and mythology subj...

BAC (Ferdinand Bach), 'Yvette Guilbert, Tous les Soirs SCALA', vintage color lithograph, 1893. Signed, dated, and titled in the stone. A superb, richl...

Duchándome, by Celso Castro From the Duchándome Series Watercolor, ink, and pastel archival paper. NUDES 2D Individual size: 19.5 in. H x 13.75 in. W 2018 Drawing on paper is his basic work tool, some are sketches of his surviving works, and others are sketches of moments he documents. ____________ Undefined by medium, Celso Castro’s works each carry the presence of the artist’s hand through the transparency of their process. Castro’s oeuvre is strongly divided between his photomontage assemblies and watercolor paintings: the prior is marked by the labor-intensive deconstruction of portrait photographs and the latter, by the seemingly frenzied recreation of a past encounter rendered in the drips and scribbles of paint and ink. Both discriminating in what they reveal of the subject, his photomontage and watercolor portraits exude raw sexuality through the combination of Castro’s mark-making and gaze. Celso Castro’s work is a bare-bulb erotic photo...

Tony Fitzpatrick is an American artist born in 1958 and based in Chicago. He graduated from Montini Catholic High School in Lombard, Illinois in 1977. In the early 1980s, Fitzpatr...