Rico Lebrun Art

Color lithograph after the watercolor illustrations by Antoine de Saint-Exupéry from his beloved masterpiece "The Little Prince". This lithograph was printed and published in 2009 ...

This black and white original lithograph by Mexican artist Juan Carlos Breceda depicts a checkerboard of abstracted woman's face from a variety of ...

Starry Night is a lithograph based on a watercolour by Charlie Mackesy. The edition is limited to 150 and each piece has been signed by Charlie Mackesy...

Rodeo Queen, 1981 Edition 36/50 Signed lower left, Inscribed: for the "Rose" 82. Provenance: Print was a gift to Rozanne Charington, companion and model for "Rodeo Queen", "Rose Tattoo" and "Jimenez at Adeliza's Candy Store". Lithograph on paper 42 ½ × 29 in. (107.3 × 73.7 cm) Luis Alfonso Jimenez Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico. Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States. His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history. Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimenez, pp. 1, 3, 6Biography: Luis Jimenez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimenez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career. Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autonoma de Mexico in Mexico City. In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimenez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs. Drawing on his early experiences, Jimenez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes. Inspired by authors who write in an autobiographical style, Jimenez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works Many of Jimenez's works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimenez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons. Exhibitions: In addition to his personal work, Jimenez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton. The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969). The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973). Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977), Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982). Committed to Print (Museum of Modern Art, New York, 1989) Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX. Laguna Gloria Art Museum, Austin, 1990. The Whitney Biennial (Whitney Museum of American Art, New York, 1991) Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95). 47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995). Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000). Jiménez Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Phoenix to accommodate and showcase our large inventory including: • Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists. • The Fine Art Estate of Lon Megargee • Vintage rodeo...

Here we have an Original Pencil Signed and Numbered Lithograph by Rufino Tamayo, famous Mexican American Artist…. known for abstract Figurative Expressionist images There was only a...

Artist: Henri Matisse (after) Title: Danseuse Creole Portfolio: The Last Works of Henri Matisse Medium: Lithograph Date: 1958 Edition: 2000 Frame Size: 21 1/4" x 17" Sheet Size: 14" ...

Title: The Conversation Medium: Lithograph in colors Year: 1977 Edition: AP (artist's proof, aside from the edition of 175) Signature: Stamped signature Image Size: 18" x 25" Sheet S...

This stunning lithograph, was realized by the celebrated Italian artist Marino Marini in 1969. Part of the series “From Color to Form” by Marino Marini (Italian, 1901-1980), this wor...

Drawing on paper is his basic work tool, some are sketches of his surviving works, and others are sketches of moments he documents. Throughout his artistic career, Castro has exalted the figure and genitality of the Latin American man, putting into tension the limits imposed by the sex/gender system that are part of an unquestionable patriarchal and phallocentric order. The majority of those portrayed are inhabitants of the Colombian coast, also constructing alternative ways of conceiving Latin American identity. By breaking taboos about corporality and male sexuality, his work has been censored on numerous occasions due to public accusations of immorality and pornography. Celso Castro’s work is a bare-bulb erotic photo...

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 ...

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...

LA GRANDE FAMILLE, 1963 (THE LARGE FAMILY) Date of creation: 2010 Medium: Lithograph on BFK Rives Paper Edition: 275 Size: 60 x 45 cm Observations: Lithograph on BFK Rives paper plat...