Richard Kalina Art

This vibrant red, blue, orange and yellow lithograph is based on the 1961 Rosenquist oil painting Brighter than the Sun (private collection), with fragmented images from advertising,...

Beginnings I, 2014 Fine Art vinyl paint on primed canvas gallery wrap. Frank Monaco American artist born in 1944. Studied and worked with Marilyn Stiles of The Art Institute of Chicago/ Art History Painting, Museum Restoration and Preservation, 1972 – 1976 New York University Fine Arts Studies, 1977 – 1978 Licensed Art School, Hollywood, FL, St Augustine, FL Faculty member of South Florida Institute Co-Founder “Artist Foundation”, Hollywood, Florida Exhibition: Boca Raton Museum Guild, FL Museum of Art and History, Palm Beach County, FL Solo Exhibition: 2012 “Pieces” 233 West King Gallery, St. Augustine, Florida 2005 “Caught Up in Colors”, Opening Reception, Frank Monaco Studio, Flagler Healthcare Foundation Benefit, St. Augustine, Florida 2004 Sanmar Gallery, St. Augustine, Florida 2001 Art & Culture Center, Hollywood, Florida 1997 Art & Cullture Center, Hollywood, Florida 1992 Artist Foundation of Broward, Fifteen Years, 1977 – 1992 1991 Lane Gallery, Key West, Florida 1991 Gallery Des Artistes, West Palm Beach, FL 1991 Philip Janes, Art Exclusive Gallery, Connecticut, One Artist, Two Shows 1990 Philip Matheson Janes Museum Exhibition, Fisher Gallery, Avon, CT 1990 Ballet Passions of Light, Collaboration with Karen Whitley Three Women in Dance, Torrington, Connecticut 1989 Boca Raton Museum, Florida Artist Series #9 1987 Steiner Gallery, Bal Harbour, Florida 1987 Matthew Scott Gallery, Miami 1986 Broward Community College Gallery, Davie Campus, Florida 1985 Walker Gallery Chicago, Illinois 1982 Hollywood Art and Culture Centr, Hollywood, Florida 1981 Medici – Berenson Gallery, Bay Harbour Island, Florida 1980 Carol Hooberman Gallery, Michigan 1976 Kottler Gallery, New Your, New York Group Exhibits 1992 Boca Raton Museum – All Florida Exhibition 1990 Making Waves Exhibition, Hollywood Art & Culture Center, Florida 1989 Hartford Council for the Arts Award – Excellence in Painting Purchase Simsbury Library 1987 World Bank Award for Watercolor – New York City Exhibition 1986 Visual Arts Center, InterAmerican Relations New York City 1985 21st Century Gallery...

Collage has always been a part of the artist's work. The idea of reusing, recontextualizing, and even resurrecting parts of the painting. From an economic standpoint the materials ar...

SALE ONE WEEK ONLY Title: Figures Portfolio: 1978 Surrealist Medium: Lithograph on Arches 88 paper Edition: 38 Sheet Size: 31 7/16" x 23 1/2" Image Size: 23 1/2" x 15 1/4" Signature: Hand signed in pencil Reference: Corlett 156 Printed by Gemini G.E.L. printers out of Los Angeles. Roy Fox Lichtenstein was an American pop artist. During the 1960s through the 90’s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City. Wham!, and Drowning Girl Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece which was sold for $165 million in January 2017. Lichtenstein received both his Bachelors and Masters at Ohio State University, Columbus, Ohio where he taught for ten years. In 1967, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionist style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into is abstract works. In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961), National Gallery of Art, Washington, D. C.) This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics’ Secret Hearts No. 83, drawn by Tony Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock’s or Kline’s. Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art.” When Lichtenstein's work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?" Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.” In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at John Glenn Columbus International Airport; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York and El Cap de Barcelona (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting. In 1996 the The National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum fur Modern Kunst with We Rose Up slowly (1964), and Yellow and Green Brushstrokes...

Poster Size: 23.5 x 16.5 in. Vintage Gold Leaf Frame Size: 23.5 x 16.5 in. Signed and inscribed in gold marker, bottom right A poster for "The Winter Ball 1988" in Houston, Texas, p...

Colorful vintage poster for the 1980 Democratic National Convention, held in Madison Square Garden in New York.Concentric lines of orange and bright green interweave with strokes of pink, yellow, red, turquoise, silver, and gold. Printed with metallic ink that catches light differently from each angle, complementing the poster’s lime green and red text. The top of the poster reads “Let us move forward with a strong and active faith.” It was at this 1980 convention that Jimmy Carter was nominated for reelection. This large poster was printed by Petersburg Press in 1980, and features Frank Stella’s Polar...

Colorful vintage poster for the 1980 Democratic National Convention, held in Madison Square Garden in New York.Concentric lines of orange and bright green interweave with strokes of ...

'Abstract in Ivory and Blue' by Robert Inman, 1979. Chouinard, Osaka, Butler Institute of Art, Los Angeles County Museum of Art ---- Signed lower left, '...

DETAILS: 27 x 17 inches 2020 Offset lithograph 80# Classic Linen Solar White Cover

Lesley Anne Spowart (American, born 1957) "Friendship Garden" 2021 Acrylic Paint, Paper, Mixed Media, Canvas The artist signed the back of the painting. Friendship Garden by Lesley ...

Study for Sculpture in the Form of an Inverted Q: Above and Below Ground, 1975 Lithograph, soft-ground etching, and aquatint in six colors on cream, thick, slightly textured Rive BFK paper 14 × 11 in. / 35.2 × 28 cm Signed and dated in pencil, lower right, numbered in pencil, lower left. Edition of 100 with 20 AP. Printed by Bill Law, Winston Roeth and Allan Uglow at Petersburg Press...

A very good impression of this lithograph on Rives BFK. Signed, inscribed "state I" and numbered 111/150 in pencil. Printed and published by Gemini G.E.L., Los Angeles, with the blin...