Rafael Soriano Art

Sam Francis, noted for his lyrical, colorful abstract works, was one of the first American artists to experiment with "empty-center" painting. Born in 1923 in San Mateo, California, ...

This print is part of my private collection. They were published in a numbered unsigned edition of 1000, and a signed edition of 200, printed by Serifraphie Fernand Leger, Paris and ...

Rufino Tamayo was born in Oaxaca, Mexico. He studied at the Academia de Bellas Artes in Mexico City and worked there until 1936 when he moved to New York, where he taught at the Dalt...

This color lithograph is part of my private collection since the 1970's. Marie Raymond was a pioneer post WWII painter of her generation. She was a lyrical abstractionist of her time...

An offset lithograph in colors by Robert Rauschenberg (1925–2008), titled *Dream of William Burroughs*, created in 1972. This impression is hand signed, dated, and numbered 146 from ...

Vintage exhibition poster of Sam Francis' Exhibition at Fondation Maeght in Saint Paul de Vence. Offset and lithopgraph realized in 1983. Very good condition.

Lithograph, 1976 Edition : 27/100 Publisher : Maeght (Paris) Printer : Pierre Badey (Paris) Catalog : [Mason - Putman II n°247, p. 62] 47.50 cm. x 60.00 cm. 18.7 in. x 23.62 in. (pa...

Artist: Jay Milder, American (1934 - ) Title: Space Scope Medium: Lithograph, signed and numbered in pencil Edition: 275 Size: 27.5 x 39.5 in. (69.85 x 100.33 cm)

Colour lithograph on Arches paper, edited in 1979. Limited edition in 75 copies, numbered as 6/75 in lower left corner. Hand-signed by artist in pencil in lower right corner. Paper ...

John von Wicht, American (1888 - 1970) - Improvisation, Blue-Brown, Year: circa 1965, Medium: Lithograph, signed, titled and numbered in pencil, Edition: 2/15, Image Size: 17 x 8...

Brice Marden's Studio Offset lithograph poster on wove paper (hand signed by Brice Marden in 2015) This print was published on the occasion of Brice Marden's 1996 exhibition at the Matthew Marks Gallery in Chelsea, New York City. The image is based on Nan Goldin's 1995 photograph of Marden working in his studio. The print was signed by Brice Marden for the present owner. A collectors item when hand signed! About Brice Marden: Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation. —Brice Marden Brice Marden (1938–2023) continuously refined and extended the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brought together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color. Born in Bronxville, New York, Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s paintings from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966. A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings (1973–74)—five permutations of the primary trio—which were united for the first time since their making at Gagosian, 980 Madison Avenue, New York, in 2013. In the 1980s Marden began to incorporate organic, intersecting lines, creating rhythmic patterns over fields of color. Exploring these winding lines, he experimented with blank space, erasure, and references to the natural world. He sought to create a mystical experience through the creation of elusive abstract spaces. As his many themes and techniques have overlapped, Marden brought them together in cohesive, often multipart works, which he has described as his “summation paintings.” Among them is The Propitious Garden of Plane Image, Third Version (2000–06), held in the collection of the Museum of Modern Art in New York, where he had his first comprehensive retrospective in 2006. In his later years Marden continued his exploration of the qualities of monochrome. This engagement with muted colors informed his calligraphic drawings and works on canvas, such as the Nevis Stele paintings (2007–15), inspired by Chinese stone carvings from the late eighth century. In 2017 he turned his gaze to the expansive possibilities of terre verte (green earth), an iron silicate clay pigment, which he first used in the Grove Group. These paintings incorporate many different brands of terre verte, each a variation on the indefinable hue. Marden thinned his slow-drying paint and applied it gradually to the canvas in many successive layers, leaving a visible residue of the painting process at the lower edge of each canvas. Courtesy of Gagosian Gallery About Nan Goldin: The camera is as much a part of my everyday life as talking or eating or sex. —Nan Goldin Emerging from the artist’s own life and relationships, and including herself as a subject, Nan Goldin’s work has transformed the role of photography in contemporary art. Her photographs and moving-image works address essential themes of identity, love, sexuality, addiction, and mortality. Uniting art and activism, Goldin has confronted the HIV/AIDS epidemic since the 1980s and today brings international attention to the overdose crisis. Born in Washington, DC, in 1953, Goldin grew up outside of Boston. She left home at age fourteen, and at sixteen enrolled in the Satya Community School in Lincoln, Massachusetts, where she acquired her first camera. Goldin’s early black-and-white photographs, which convey the beauty, vulnerability, and joy of her friends in Boston’s transgender community, were initially shown in her first solo exhibition in 1973 at Project, Inc., Cambridge, Massachusetts. Attending Boston’s School of the Museum of Fine Arts beginning in 1974, she would start working principally with Cibachrome prints and 35mm slides, taking photographs in saturated color. Relocating to New York in 1978, Goldin began documenting members of her chosen family in a milieu of New Wave clubs, No Wave cinema, and post-Stonewall gay culture. Capturing moments of revelry and friendship, intimacy and loss, she titled this body of work The Ballad of Sexual Dependency after a song from The Threepenny Opera (1928) by Kurt Weill and Bertolt Brecht. Constantly evolving, it grew into a multimedia presentation of almost seven hundred slides accompanied by an eclectic soundtrack. Initially projected in nightclubs, it was included in The Times Square Show in 1980, the Whitney Biennial in 1985, and countless other museum exhibitions around the world. It was published by Aperture in 1986 as the first of Goldin’s many books and was recently reprinted for the twenty-first time. Goldin unflinchingly documents the struggles and courage that defined her community’s response to the devastating AIDS epidemic. In 1989, she organized Witnesses: Against Our Vanishing at New York’s Artists Space, the first exhibition featuring the work of artists who were living with or had died from AIDS, or whose art responded to the disease, including David Armstrong, Peter Hujar, Greer Lankton...

Artist: Jasha Green, American (1923 - 2006) Title: Untitled 11 Year: circa 1979 Medium: Lithograph, signed and numbered in pencil Edition: 250 (on Arches), L (on Japon) Size: 22 x 30...