Paul Brach Art

Untitled Double Page Illustration for DLM Color lithograph, 1968 Unsigned as issued in DLM Published in Derriere le Miroir (Behind the Mirror), calle...

Marcel Gromaire (1892-1971) - The Painter. 1943, paper, lithograph, 56x46 cm

Luke Jackson “Sunrise Cave”, 2023 Acrylic Ink, Charcoal, Oil, On Canvas About the Artist: Luke Jackson is a visual artist who has been based in Brooklyn, NY for the last 20 years....

Colored lithograph on archival paper by Joan Miro. Part of the “Lizard with the Golden Feathers series. Signed in pencil “Miro” lower right. “H.C.” lower left. (See details below) ...

Joan Miro - Abstract Composition - Original Lithograph 1964 Dimensions: 30 x 20 cm Edition of 200 (one of the 200 on Vélin de Rives) Mourlot Press, 1964 Biography Joan Miró i Fer...

Hyper Cube Series. 1978. Gouache on Acrylic on Canvas.

Joan Miro - L'Issue Dérobée - Original Aquatint 1974 Dimensions: 36 x 54 cm Edition: 220 Jacques Dupin, L'Issue Dérobée, Maeght Editeur, Paris, 1974 (C. books 187) Biography Joa...

Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró XIV Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 35,5 cm Condition: In ...

Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró XVIII Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 35,5 cm Observations...

One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from t...

Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró II Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 35,5 cm Condition: In v...

Paul Jenkins - Composition - Original Lithograph 1964 Dimensions: 30 x 20 cm Edition of 200 (one of the 200 on Vélin de Rives) Mourlot Press, 1964 Paul Jenkins, American (1923 - 2012) Paul Jenkins, an artist originally associated with abstract expressionism, exhibits in his mature works a redefining of color, light and space on the canvas surface. Born in Kansas City, Missouri in 1923, Jenkins worked as a teenager in a ceramics factory, where he was first exposed to color intensity and the creation of form. From age 14 to 18, he studied drawing and painting at the city's Art Institute. Initially interested in drama, Jenkins received a fellowship to the Cleveland Playhouse, then continued his dramatic studies in Pittsburgh at the Drama School of the Carnegie Institute of Technology. Deciding to become an artist, Jenkins moved to New York City in 1948 and studied at the Art Students League. During Jenkins's three years at the League, Yasuo Kuniyoshi and Morris Kantor were his influential instructors. While Jenkins continued to live and paint in New York City, his personal explorations took a metaphysical turn, which would ultimately become dominant in his work. P.D. Ouspensky's The Search of the Miracu/ous changed the artist's thoughts on human growth and limitations, while the Chinese I Ching, through its thematic emphasis on constant change, heightened his interest in flowing paint on canvas. Painting for Jenkins became an intuitive, almost mystical process. He commented, "I paint what God is to me." In 1953, Jenkins traveled to Paris, where, a year later, he had his first one-man show. While working at the American Artists Center, he continued to experiment with flowing paints, pouring pigment in streams of various thicknesses, with white thin spills as linear overlays. Jenkins's intent was to deny stasis and create a literal and metaphysical sense of dynamism, while maintaining a sense of unity. Beginning in 1958, Jenkins titled each canvas Phenomena, with additional identifying words. He believed the work to be descriptive of the discovery process inherent in each painting. Paralleling his beliefs, the artist's paintings have undergone subtle but definite changes. Beginning in the early 1 960s, a shift of color saturation and exposure of the white areas gave Jenkins's canvases an enhanced feeling of illumination. If Jenkins's technique is unorthodox, he is in many other ways a traditional artist. He works in an acrylic medium on traditional linen canvas or fine rag paper. Often he uses an ivory knife...