Nathan Oliveira Art

Hungarian/American artist/illustrator depicts a charming scene of sledding in the snow in Central Park. The work is abstract in its design as it's functional in its narrative - Unpublished New Yorker...

Signed, lower right: Fantin Provenance: Gustave Tempelaere (1840–1904), Paris; possibly by descent to his son: Julien Tempelaere (1876–1961) and with F. & J. Tempelaere, Paris, prob...

Artist about his erotic painting series “Narcissus”: With Internet era and its widespread availability, young people have unlimited access to pornography. It is possible for them to...

This work is framed. Unframed size: 90x120 cm, framed 95x125 cm Bartosz Kolata was born in Torun, Poland in 1979. In 2006 he graduated in Art Conservation and Restoration from Nicol...

This work is framed. Unframed size: 70x80 cm, framed 75x85 cm Bartosz Kolata was born in Torun, Poland in 1979. In 2006 he graduated in Art Conservation and Restoration from Nicolas...

Signed to the verso Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heav...

Bartosz Kolata was born in Torun, Poland in 1979. In 2006 he graduated in Art Conservation and Restoration from Nicolas Copernicus University UMK, secur...

Bartosz Kolata was born in Torun, Poland in 1979. In 2006 he graduated in Art Conservation and Restoration from Nicolas Copernicus University UMK, securing a Master of Art degree. He...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Oil on canvas Signed lower right Unique work 1 / Hélène DUCLOS, 2016 – Artist Statement “Questioning the human condition and the position of being alive – What is it to be a living being? Who / what can we believe? Who / what can we trust? How real is our view of the world? And how is that perspective angled, and ultimately limited? These are the issues at the heart of my work as an artist. Painting, drawing, engraving and embroidery give me the freedom to approach my subjects from an ambivalent and flexible standpoint. I am building up a dynamic body of work, like pieces that you can put together in one way or another to shape different structures, pierced with numerous openings. And the title that I give each piece acts as a possible clue as to how to enter inside that system. I can portray both softness and monstrosities. I focus on the links and barriers lying between living beings and their surroundings, and evoke how permeable these connections are. My aim is not to create a visual documentary reporting fact, but rather immerse myself in observing everyday life, and in a host of images depicting real events (pictures, photos and videos). Instilled with these images, I can give a more personalized, unique and allegorical vision of the world around me. I am also interested in the key transition periods of human existence, those turning points that forge our identity within a family, a group, and society as a whole at the heart of a specific environment. I centre on what makes up and creates cohesion (rituals, myths and tales….), and indeed the opposite - what leads to life becoming shattered, hindered and frustrated (moving populations, exile and migration…) Amidst a landscape roaming with wild beasts and hybrid creatures, between love and separation, metaphors for our own desires and fears lie in hiding, or reveal themselves in the painted or embroidered spaces. Sometimes they are etched with lines, symbols and tiny architectural designs. These works might depict our inner landscapes, as if harking back to a primordial and cosmic point of origin. My most recent collections recreate the images of bodies or landscapes using abstract zones and figurative details that have no direct link with either anatomy or geography. Intimacy and the unspeakable are themes that run throughout my work, and I make sure to incorporate areas of both visual tension and relief, so as to give the viewer the space to project him or herself into the work. And here, such paradoxes can only be reached through the interplay between abstraction and figuration.” 2 / Thierry Delcourt Psychiatrist, psychoanalyst and author of works on the process of artistic creation, and the conditions of existential and social creativity : "Entering into the world of Hélène Duclos in her drawings, paintings, embroidery and words means letting yourself be carried away by a torrent towards strange shores of creation where only a few artists have ever dared to venture. As if perched on a watchtower on the threshold of different worlds, Hélène Duclos throws us out of our depth, plunging us into spaces filled with destitute mankind, and guiding us through her stem-like maze of a scheme, bristling with roots and clues. But the mystery here, like a poetic, human rebus that never ends, only compels us to take a closer look.” 3 / Hélène Duclos ‘s biography : After graduating from the Duperré School of Applied Arts in Paris with a degree in textile design, I set off on a six-month sea voyage from Vannes in Brittany, to Dakar. On returning to France, I set up my atelier...

Alkyd-oil on Masonite, signed and dated (middle left), 61cm (diam.), (83cm diam. framed). (This work was kept by the artist for his personal collection. It remained in his collection...

Mountainous Landscape, Mexico Monotype in colors on heavy paper, c. 1960's Signed in ink lower left "G Ceniceros" Condition: Excellent Image size: 6 x 14 1/2" (15.24 x 36.83cm) Sheet size: 12 7/8 x 19 11/16 inches Guillermo Ceniceros (born May 7, 1939) is a Mexican painter and muralist, best known for his mural work in Mexico City, as well as his figurative easel work. He began his mural painting career as an assistant to mural painters such as Federico Cantú, Luis Covarrubias and then David Alfaro Siqueiros who was a mentor and a key influence. Ceniceros is the most notable of Siqueiros' assistants. While he has experimented with abstract expression, his easel work mostly classifies as figurativism and is influenced by the geometrical construct of Mexican muralism. He has had over 300 individual and collective exhibitions in Mexico and the International stage. His work has been recognized by the Mexican Ministry of Culture and several of its institutions. He has painted over 20 large scale Mural Paintings with some of the most notable being the large scale work for the Legislative Palace of San Lazaro (Mexico's Legislative Building) as well as his murals in the Metro Subway System. He is a member of the Salón de la Plástica Mexicana. In 1995, the State of Durango, Ceniceros' native state, opened to the public the Guillermo Ceniceros Art Museum within the oversight of the Ministry of Culture. Ceniceros has been reviewed by notable critics such as Berta Taracena, Raquel Tibol, Alaide Foppa, Graciela Kartofel, José Angel Leyva and Eduardo Blackaller among others. There are several publications about his work including a vast review of his art life endeavors developed by the Ministries of Culture of Durango and Nuevo León. He is married to the artist Esther González and lives in his studio house in the Colonia Roma of Mexico City. Life Interview with the subject Ceniceros and Siqueiros Ceniceros was born in a small village called El Salto, located in the municipality of Pueblo Nuevo in the Mexican state of Durango. His father was a woodworker who made toys and furniture in his workshop. His father's shop would become an influence in Ceniceros' life long interest in developing his own innovative working tools. When he was twelve the family moved to Monterrey to seek better economic opportunities. There he attended school and when he was fourteen he entered the Fabricación de Máquinas, S.A. (FAMA), a school/business, where he studied industrial drawing. He considers this early training important as it taught him the importance of geometry, use of space and materials. While at FAMA he met painters Gerardo Cantú and Ignacio Ortiz, and collaborated with them on sketches for publications of Alfonso Reyes, Pedro Garfias and other notable writers. In 1955, he enrolled in the Taller de Artes Plásticas at the Universidad Autónoma de Nuevo León, graduating in 1958. At the Taller he met fellow Mexican artist Esther González, whom he married and with whom he has two children. In 1962 he moved to Mexico City with the goal of working in the Taller of the Maestro David Alfaro Siqueiros. He became Siqueiros' first assistant working on his last murals while at the same time working at night on his easel painting work. Siqueiros supported Ceniceros decision to leave his Taller and supported him in his career until his death in 1974. By then Ceniceros was already a break thru artist having had several individual exhibitions including the prestigious Palacio De Bellas Artes as well as other recognitions. Thru the 70's and 80s Ceniceros continued his work with an emphasis on exhibits and exchanges abroad and traveling to Eastern Europe, Cuba, China, Chile, Ecuador, Italy and the United States. His Mexico City contemporaries and circle would include names that today have become reference such as Sebastian, José Luis Cuevas, Gilberto Aceves Navarro, Benjamin Dominguez, Gustavo Arias Murueta, Byron Galvez, Leonel Maciel among others. In the 70's his Row-House neighbors in the colonia Roma were Francisco Toledo and Alejandro Jodorowski. His focus on mural painting is renewed in the mid 80's thru his large scale work in the Metro Subway System with him working on major commissions consistently and into the new century. While the Mexican school of Muralism had been challenged by the Ruptura members, the interest in Mural painting as a unique national form of expression continues. He lives in Mexico City at a studio/home in the Colonia Roma. His home is a frequent gathering place for writers, poets, painters, singers, actors and journalists. He has a strong interest in Spanish language literature. Juan Rulfo...