Pietro Consagra Abstract Paintings

Roland Bierge (1922–1991) was a French artist best known for his expressive abstract paintings and work across multiple media, including sculpture, ceramics, and tapestry. Born in Hé...

Shulman, Morris (American, 1912-1978). UNTITLED. Casein on paper, circa 1951. Signed, lower left. 14 1/2 x 21 3/4 inches, framed to 23 x 30 inches. In excellent condition. Shulman st...

Abstract Cubist Construction Collage Mid 20th Century American Modernism Cubism Vaclav Vytacil (1892 - 1984) Abstract Construction #2 Caesin on board collage 11 x 13 1/2 th inches S...

Touch 1974, photo screen printing, 53x49 cm Atis Ievins (1946) The exhibition by artist Atis Ieviņš reminds the very origins of serigraphy technique in Latvian art in the time of t...

Mid-century abstract in oil and tempera by French artist Hervet in cool tones of blues and purples, signed lower right. Original artwork on paper dis...

Modern acrylic and tempera abstract landscape of a mesa land formation under a darkening sky by artist Lilian Coket, 2000. Original artwork on paper displayed on a white mat with a ...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Signed and dated "Vytlacil 38" lower left, and signed and dated verso. Provenance: Estate of the artist #1602; Martin Diamond Fine Art About this artist: Born in 1892 to Czechoslov...

The Three Emperors is a triptych, which Papamichalopoulos has created a Byōbu-ē folding screen. Each panel measures 150x40 cm / 59 x 16 inches. The piece is created using ink, egg-te...

In the garden. 1970s Cardboard, tempera, 59x59 cm Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, graphic artist, poet, translator. Born i...

Jacqueline Pavlowsky was born in 1921 in Vincennes to Russian and Polish Jewish parents who had immigrated to France. After the war, she started her studies of chemistry, while at th...

Minimal abstract style mixed media work by contemporary artist Toby Topek. The work is signed, titled, and dated on the back. It is framed in a white frame with a white matte. Dimensions Without Frame: H 8 in x W 10 in. Artist Biography: Born in Brooklyn, New York, Topek grew up in Houston. She has studied archaeology, art, architecture, the environment, culture and history in Mexico, the Mediterranean, North Africa, Near East, Adriatic, Brazil and Canada. She lived and worked in Greece and Turkey part–time, 1984– 1988. Her work has been exhibited at the Whitney Bank Museum Branch–Houston, Contemporary Arts Museum Houston, Fort Worth Modern Art Museum, Art Museum of South Texas, Corpus Christi, Galveston Art Center, the International Sculpture Conference Houston, College of the Mainland, Lawndale Art Center, Diverseworks, Women and Their Work-Austin, Transco Gallery and Project Row Houses. In 2000, she completed eleven 10 foot marble mosaic medallion...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

MARK TOBEY 1890-1976 Centerville 1890 - 1976 Basel (American) Title: Composition, 1968 Technique: Original Tempera Painting on Paper Paper size: 15.5 x 11.5 cm. / 6.1 x 4.5 in. ...

"The Long Road" realist painting by John Whalley. Egg tempera on masonite. Signed lower right. Unframed. Late 20th century. Biography from the Archives ...