Richard Meier Abstract Prints

80 x 94 cms (31.5 x 37 ins) Edition of 100

RECITALS is mixed media limited edition print by the renowned African American artist Sam Gilliam, created using Archival Inkjet, Relief, and Stencil techniques. This vertical, rainb...

Tracey Emin I Could Feel You, 2015 Archival quality giclée print on Purcell Ultrasmooth Fine Art Paper 300 GSM 9 1/2 × 12 inches Plate signed Unframed Rare archival quality, giclée reproduction of Tracey Emin's original gouache I Could Feel You, which is in the permanent modern art collection of the Tate. This was printed back in 2015 in an undisclosed limited edition, and is now long sold out. More details about the original 2014 work are on the Tate Gallery's website as follows: Emin, whose work is often candidly autobiographical, scrutinises her relationship with her own body, using drawing...

Reclining Cubist Nude Woman Max Weber (April 18, 1881 – October 4, 1961) was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to more figurative Jewish themes in his art. He is best known today for Chinese Restaurant (1915), in the collection of the Whitney Museum of American Art, "the finest canvas of his Cubist phase," in the words of art historian Avis Berman. Born in the Polish city of Białystok, then part of the Russian Empire, Weber emigrated to the United States and settled in Brooklyn with his Orthodox Jewish parents at the age of ten. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow. Dow was a fortunate early influence on Weber as he was an "enlightened and vital teacher" in a time of conservative art instruction, a man who was interested in new approaches to creating art. Dow had met Paul Gauguin in Pont-Aven, was a devoted student of Japanese art, and defended the advanced modernist painting and sculpture he saw at the Armory Show in New York in 1913. In 1905, after teaching in Virginia and Minnesota, Weber had saved enough money to travel to Europe, where he studied at the Académie Julian in Paris and acquainted himself with the work of such modernists as Henri Rousseau (who became a good friend), Henri Matisse, Pablo Picasso, and other members of the School of Paris. His friends among fellow Americans included some equally adventurous young painters, such as Abraham Walkowitz, H. Lyman Sayen, and Patrick Henry Bruce. Avant-garde France in the years immediately before World War I was fertile and welcoming territory for Weber, then in his early twenties. He arrived in Paris in time to see a major Cézanne exhibition, meet the poet Guillaume Apollinaire, frequent Gertrude Stein's salon, and enroll in classes in Matisse's private "Academie." Rousseau gave him some of his works; others, Weber purchased. He was responsible for Rousseau's first exhibition in the United States. In 1909 he returned to New York and helped to introduce Cubism to America. He is now considered one of the most significant early American Cubists, but the reception his work received in New York at the time was profoundly discouraging. Critical response to his paintings in a 1911 show at the 291 gallery, run by Alfred Stieglitz, was an occasion for "one of the most merciless critical whippings that any artist has received in America." The reviews were "of an almost hysterical violence." He was attacked for his "brutal, vulgar, and unnecessary art license." Even a critic who usually tried to be sympathetic to new art, James Gibbons Huneker, protested that the artist's clever technique had left viewers with no real picture and made use of the adage, "The operation was successful, but the patient died."[8] As art historian Sam Hunter wrote, "Weber's wistful, tentative Cubism provided the philistine press with their first solid target prior to the Armory Show." The Cellist...

A simple side view of a Flower head in full bloom. A combination of solid, sweeping brushstrokes with subtle botanical elements in six layers including Silver and Metallic Gold. The ...

Very last of the "Falcon" edition available! Emerson has pioneered a technique of printing with delicate charcoal powders, which give the image a softne...

Medium: Print Condition Print in good condition and has been stored flat since purchase. Signature Hand-signed by artist, Hand Signed and Numbered by the Artist in Pencil, CB HOYO. ...

Artist: Gene Davis Title: Sweet Carburetor Portfolio: Series II Medium: Screenprint on canvas laminated to board Year: 1969 Edition: 110/150 Frame Size: 36 1/2" x 26 1/2" Sheet Size:...

Screenprint on handmade Napalese paper. Edition of 3000. Printed by Universität für angewandte Kunst, Vienna. Published by MAK Galerie, Österreichisches Museum für angewandte Kunst, ...

Tom Wesselmann Shiny Nude (Stealingworth, 33), 1977 Silkscreen on glossy cast-coated Kromekote paper 8 × 8 inches Edition of 1000 Pencil numbered from the l...

One of the most acclaimed artists to emerge from post-war Asia, Takashi Murakami is known for his signature “Superflat” aesthetic: a colorful, two-dimensional style that straddles th...

"Mardi Gras 1980, New Orleans", shows playful forms cavorting in the carnival celebration. It is signed in the lower left, and stamped/numbered "671/850" in the lower right corner. ...