Max Weber Abstract Prints
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Artist: Max Weber
Max Weber, Figure
By Max Weber
Located in New York, NY
One of America's great modernist innovators, Max Weber carved Figure, 1919-20, on the end piece of a wooden cigar box. This Cubist image is composed o...
Category
Early 20th Century Modern Max Weber Abstract Prints
Materials
Woodcut
American Modernist Cubist Lithograph Screenprint "Reclining Woman" Max Weber
By Max Weber
Located in Surfside, FL
Reclining Cubist Nude Woman
Max Weber (April 18, 1881 – October 4, 1961) was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to mo...
Category
Mid-20th Century Cubist Max Weber Abstract Prints
Materials
Screen
Invocation
By Max Weber
Located in New York, NY
M a x W e b e r – – 1 8 8 1 – 1 9 6 1
Invocation- – 1919-20, Color Woodcut.
Rubenstein 27. Proofs only. Signed in pencil.
Image size 3 3/4 x 2 1/8 inches (124 x 54 mm); sheet size ...
Category
1910s Cubist Max Weber Abstract Prints
Materials
Woodcut
$13,500
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Pablo Picasso, The Blue Rider, from Verve, Revue Artistique, 1951
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This exquisite lithograph by Pablo Picasso (1881–1973), titled Le cavalier bleu (The Blue Rider), from Verve, Revue Artistique et Litteraire, Vol. VII, No. 25–26, originates from the 1951 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Draeger freres, Maitres-Imprimeurs, Paris, October 25, 1951. This remarkable composition exemplifies Picasso’s dynamic postwar period in Vallauris, where he explored themes of mythology, vitality, and the human spirit through bold forms and radiant color. Le cavalier bleu reflects Picasso’s fascination with movement and symbolism, uniting painterly vigor and poetic freedom in a masterful vision of modernism.
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Artwork Details:
Artist: Pablo Picasso (1881–1973)
Title: Le cavalier bleu (The Blue Rider), from Verve, Revue Artistique et Litteraire, Vol. VII, No. 25–26, 1951
Medium: Lithograph on velin du Marais paper
Dimensions: 14 x 10.5 inches
Inscription: Unsigned and unnumbered as issued
Date: 1951
Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris
Printer: Draeger freres, Maitres-Imprimeurs, Paris
Condition: Well preserved, consistent with age and medium
Provenance: From Verve, Revue Artistique et Litteraire, Vol. VII, No. 25–26, published by Editions de la revue Verve, Paris, 1951
Notes:
Excerpted from the album (translated from French), This issue of Verve is entirely devoted to Picasso’s recent works (peintures, sculptures et ceramiques) made in Vallauris between 1949 and 1951. The cover and the frontispiece were specially composed by the artist for this work which was completed to print on the presses of the Maitres-Imprimeurs, Draeger freres on October 25, 1951.
About the Publication:
Verve, Revue Artistique et Litteraire was one of the most influential art periodicals of the 20th century, founded in Paris in 1937 by the visionary Greek-born publisher Teriade (Stratis Eleftheriades). Conceived as a synthesis of art and literature, Verve brought together the greatest modern artists and writers of its time—Henri Matisse, Pablo Picasso, Marc Chagall, Georges Braque, Joan Miro, Fernand Leger, and others—alongside poets and philosophers such as Paul Eluard, Albert Camus, and Jean-Paul Sartre. Each issue was a work of art in itself, luxuriously printed by master lithographers such as Mourlot Freres and produced in collaboration with leading typographers and designers. Verve became a platform for avant-garde creativity, publishing original lithographs and essays that reflected the evolving spirit of modernism. Matisse collaborated closely with Teriade from the magazine’s inception, producing some of its most iconic issues, including those devoted to his paper cut-outs. The final Verve issue of 1958, which featured La Tristesse du Roi and the Nu Bleu series, stands as a testament to Matisse’s enduring genius and to the publication’s legacy as the definitive meeting of art, poetry, and printing craftsmanship in 20th-century France.
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American Modernist Cubist Lithograph Screenprint "Reclining Woman" Max Weber
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Max Weber (April 18, 1881 – October 4, 1961) was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to more figurative Jewish themes in his art. He is best known today for Chinese Restaurant (1915), in the collection of the Whitney Museum of American Art, "the finest canvas of his Cubist phase," in the words of art historian Avis Berman.
Born in the Polish city of Białystok, then part of the Russian Empire, Weber emigrated to the United States and settled in Brooklyn with his Orthodox Jewish parents at the age of ten. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow. Dow was a fortunate early influence on Weber as he was an "enlightened and vital teacher" in a time of conservative art instruction, a man who was interested in new approaches to creating art. Dow had met Paul Gauguin in Pont-Aven, was a devoted student of Japanese art, and defended the advanced modernist painting and sculpture he saw at the Armory Show in New York in 1913.
In 1905, after teaching in Virginia and Minnesota, Weber had saved enough money to travel to Europe, where he studied at the Académie Julian in Paris and acquainted himself with the work of such modernists as Henri Rousseau (who became a good friend), Henri Matisse, Pablo Picasso, and other members of the School of Paris. His friends among fellow Americans included some equally adventurous young painters, such as Abraham Walkowitz, H. Lyman Sayen, and Patrick Henry Bruce. Avant-garde France in the years immediately before World War I was fertile and welcoming territory for Weber, then in his early twenties. He arrived in Paris in time to see a major Cézanne exhibition, meet the poet Guillaume Apollinaire, frequent Gertrude Stein's salon, and enroll in classes in Matisse's private "Academie." Rousseau gave him some of his works; others, Weber purchased. He was responsible for Rousseau's first exhibition in the United States.
In 1909 he returned to New York and helped to introduce Cubism to America. He is now considered one of the most significant early American Cubists, but the reception his work received in New York at the time was profoundly discouraging. Critical response to his paintings in a 1911 show at the 291 gallery, run by Alfred Stieglitz, was an occasion for "one of the most merciless critical whippings that any artist has received in America." The reviews were "of an almost hysterical violence." He was attacked for his "brutal, vulgar, and unnecessary art license." Even a critic who usually tried to be sympathetic to new art, James Gibbons Huneker, protested that the artist's clever technique had left viewers with no real picture and made use of the adage, "The operation was successful, but the patient died."[8] As art historian Sam Hunter wrote, "Weber's wistful, tentative Cubism provided the philistine press with their first solid target prior to the Armory Show."
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Born in the Polish city of Białystok, then part of the Russian Empire, Weber emigrated to the United States and settled in Brooklyn with his Orthodox Jewish parents at the age of ten. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow. Dow was a fortunate early influence on Weber as he was an "enlightened and vital teacher" in a time of conservative art instruction, a man who was interested in new approaches to creating art. Dow had met Paul Gauguin in Pont-Aven, was a devoted student of Japanese art, and defended the advanced modernist painting and sculpture he saw at the Armory Show in New York in 1913.
In 1905, after teaching in Virginia and Minnesota, Weber had saved enough money to travel to Europe, where he studied at the Académie Julian in Paris and acquainted himself with the work of such modernists as Henri Rousseau (who became a good friend), Henri Matisse, Pablo Picasso, and other members of the School of Paris. His friends among fellow Americans included some equally adventurous young painters, such as Abraham Walkowitz, H. Lyman Sayen, and Patrick Henry Bruce...
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H 18.13 in W 24.25 in
Dancing Nudes
By Max Weber
Located in Fairlawn, OH
From: Woodcuts and Linoleum Blocks by Max Weber (32 plates)
Unsigned individual print(s),
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Publishe...
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Figure
By Max Weber
Located in Fairlawn, OH
Unsigned (as usual for this edition)
From: Woodcuts and Linoleum Blocks by Max Weber (32 plates)
Unsigned individual print(s),
The book signed in ink on the limitation page (a photocopy included with purchase)
Publisher: Weyhe Gallery, New York, 1956
Printer: The Spiral Press
Edition: 225
Heavily inspired by Picasso, his friend and mentor
Note: Many of the images are influenced by Picasso, Matisse, Gauguin and other important European artists of the time. He was a friend and advocate of Henri Rousseau, along with Picasso. He exhibited at Stieglitz’s 291 Gallery. Weber’s work was admired and collected
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Max Weber abstract prints for sale on 1stDibs.
Find a wide variety of authentic Max Weber abstract prints available for sale on 1stDibs. You can also browse by medium to find art by Max Weber in woodcut print, screen print and more. Much of the original work by this artist or collective was created during the 20th century and is mostly associated with the modern style. Not every interior allows for large Max Weber abstract prints, so small editions measuring 2 inches across are available. Customers who are interested in this artist might also find the work of Alexandra Nechita, Léopold Survage, and Ynez Johnston. Max Weber abstract prints prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $1,500 and tops out at $13,500, while the average work can sell for $2,000.




