Sidney Harry Riesenberg Paintings

Ganymede was a Trojan prince in Greek mythology, known for his compelling beauty. Because of his alluring good looks, Ganymede was abducted by Zeus to serve as cup-bearer in Olympus....

This original Hudson River School realist interpretation of the Chapel of the Madonna di Vitela, still standing in exceedingly picturesque Tuscany invites you into the heart of one ...

René Romero Schuler’s expressionistic paintings depict delicate female figures that she paints using a dry-brushed, minimalist hand, leaving her subjects mostly featureless but nonetheless imbued with emotional interiority. While some of her subjects appear lost and isolated, other works depict couples holding hands in private moments of bliss. Her powerful images speak to the complexities of the human condition and the spirit that connects all human beings. Schuler’s paintings and sculptures are purposely semi-abstract and textured, rendering them open to interpretation by the viewer. Their power lies in the layers of applied materials scraped, carved and incised by hand and the elusive quality of the figures – wholistically beautiful but symbolic of the scars and flaws that shape individuals. Schuler has exhibited in Paris, Rome, Miami, and Chicago, and her works are in the collections of the Union League Club of Chicago, the Loyola University Museum of Art, Grand Valley State University in Michigan, the Coral...

Contemporary landscape painting of Monserrate in South America, neutral palette with light white mist over a dark green mountain 36 x 60 inches oil on canvas, unframed (thin wood stripping only) Painting is wired on the back for installation Magnificent contemporary landscape painting of "Monserrate", a mountain near Bogota in Columbia that rises 3.152 meters above sea level. All downtown Bogotá, south Bogotá and some sections of the north of the city are visible facing west, making it a popular destination for watching the sun set over the city. Bill Sullivan expertly paints wispy clouds that settle down around the mountain's peak. About the work by John Ashbery: With only a tinge of irony, Bill Sullivan makes new the vast spaces and swooning optimism of nineteeth-century Luminist painting. Reaffirming the contemplation of nature as its own reward, he also sets new tasks for painting and undertakes them with compelling eagerness. While there has been a tendency among some contemporary artists to present a revisionist view of the "great outdoors" of nineteenth-century landscape painters, Sullivan has no satirical agenda. After spending several years in South America amid the landscapes that attracted Frederic Edwin Church and Martin Heade, among others, he refined and strengthened this awesome imagery after returning to New York. A certain surreality floats though these vaporous visions of Columbia, though this may just be the result of Sullivan's careful documentation of scenes that looked unreal to begin with. About the Artist: Sullivan attended Silvermine College and earned an M.F.A. from The University of Pennsylvania, where he studied with Fairfield Porter, Neil Welliver, Jane Freilicher, John Button and Rudy Burckhardt. He also studied privately with Josef and Annie Albers. In the late 1960s, Sullivan joined Bowery Gallery, an artist-run gallery that was dedicatedto figurative art. Later, when the Alliance of Figurative Artists was starting, Sullivan organized weekly panels and discussions at The Educational Alliance. Sullivan's first solo show at Bowery Gallery in 1970 included paintings depicting people, New York cityscapes and still lifes. After this show, Sullivan developed an interest in landscape painting. New York City, the Hudson River and Manhattan's West Side highway became his main subjects. He had several shows of these paintings at Bowery Gallery and continued to paint the Hudson River until the end of his life. At one of these shows he met art collector G. W. Einstein, who became his friend and represented him for many years. Sullivan had his first solo show at G. W. Einstein Company in 1978. In 1977, Sullivan met Colombian writer Jaime Manrique; they traveled to Colombia, where Bill painted the places that Frederick Edwin Church and Martin Johnson Heade had painted in the 1850s. In Colombia he had a solo show in the Bogotá Museum of Modern Art in 1978. The years following his return from South America was the period when Sullivan's work was most in display in New York City. Sullivan remained in New York City until 2001 where he had several solo shows. In 2002, he settled in Hudson, New York, where his two nineteenth-century heroes, Frederick Church and Sanford Robinson Gifford, had lived. He painted many of the sites Church and Gifford rendered on canvas. Resume: 2009 Carrie Haddad Gallery, Hudson, NY 2008 BCB Gallery, Hudson, NY 2007 BCB Gallery, Hudson, NY 2006 The Autobiography of Bill Sullivan: A Landscape Retrospective, The Albany Institute of History and Art, Albany, NY 2005 Roxbury Art Group, Roxbury, NY Hudson River Views, Bonnie Andretta Fine Arts, Hudson, NY 2004 Indelible, Gallery 2/20, New York, NY Workshop Exhibition, Dannette Koke Fine Art, New York, NY 2003 The Gallery at The St. Charles, Hudson, NY Paintings of South America, Hudson, NY Painted City, Carrie Haddad Gallery, Hudson, NY Juried Art Show, Columbian Council on the Arts, Hudson, NY Made In Hudson, Artwalk, Hudson, NY 2002 Musselman Gallery, Hudson, NY 2001 HHA Gallery, Riverdale, NY The Landscape That Changed America, The Albany Institute of History and Art, Albany, NY 1999 Silas-Kenyon Gallery, Provincetown, MA Greenwoods and Crystal Waters: The American Landscape Tradition, Philbrook Museum of Art, Tulsa, OK 1998 Suitcase Will Travel, Conductor’s Gallery, London, UK 1997 House/Scene, Kunsthaus, Hamburg, Germany Selected Prints, Atrium Gallery, Long Island City, NY Contemporary Selections, Albany Institute of History and Art, Albany, NY 1996 Uptown Gallery, New York, NY Eight Realists: Realism Then and Now, K & E Gallery, New York, NY Recent Acquisitions, Albany Institute of History and Art, Albany, NY Pencilvanians Drawn to New York, Pennsylvania Alumni Exhibition, Roger Smith Gallery, New York, NY New Acquisitions, Museum of the City of New York, New York, NY 1995 Five Aspects of American Landscape Painting, Creiger Dane Gallery, Boston, MA New York City Views, Owen Gallery, New York, NY Increased Visibility, Leslie-Lohman Gallery, New York, NY American Realism, Gallery Bijutsu Sekai, Tokyo, Japan Group Show, G.W. Einstein Co., New York, NY 1994 25th Anniversary Exhibition, Bowery Gallery, New York, NY Pride in Our Diversity, 24 Hours for Life Gallery, New York, NY Paint Props and Process, Castle Gallery, College of New Rochelle, New Rochelle, NY 1993 Celebration, G.W. Einstein Co, Inc., New York, NY Far Away Places Artists Who Travel, SSC&B Lintas Worldwide, New York, NY Group Show, John Szoke Gallery, New York, NY Art & Fantasy, Amos Eno Gallery and The Puck Building, New York, NY Organization of Independent Artists Benefit, Brook Alexander Gallery, New York, NY 19th & 20th Century Works of Art, Friends of OLANA Benefit, Hudson, NY 1992 New York Icons, Michael Ingbar Gallery, New York, NY Group Show, John Szoke Gallery, New York, NY Shanti Foundation Benefit Exhibition, Tatistcheff Gallery, Santa Monica, CA Contemporary American Landscape, World Art Collection in conjunction with Quatre Pieces Gallery, Yokohoma, Japan The Scarf, Bergdorf Goodman, New York, NY 1991 Urban Icons, Klarfeld Perry Gallery, New York, NY City Edge of Night, The Muckenthaler Cultural Center, Fullerton, CA Spirit of Place Dada Gallery, Fukuoka, Japan Group Show, Tatistchieff, Santa Monica, CA Group Show, John Szoke Gallery, New York, NY American Images, Crane Art Gallery, Tokyo, Japan; World Art Collection, Yokohama, Japan; Daimon Art Gallery, Sapparo, Japan; Beersheba Gallery, Osaka, Japan 1990 Susan Schreiber Gallery, New York, NY Tatistcheff Gallery, Santa Monica, CA Invitational Exhibition, American Academy of Arts and Letters, New York, NY Plein Air Painting: Capturing the Moment, Tatistcheff Gallery, Santa Monica, CA Land/Sea/Air, Steven Scott Gallery, Baltimore, MD Penn Prints: 30 Years of Printmaking at the University of Pennsylvania, Arthur Ross Gallery, University of Pennsylvania, Philadelphia, PA A Little Night Music...

Certificate of authenticity and artist catalogue are included. Bruno Paoli (1915-2005) Teaching the masters helped create this contemporary master. Bruno was a professor of art in F...

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...

Certificate of authenticity and artist catalogue are included. Bruno Paoli (1915-2005) Teaching the masters helped create this contemporary master. Bruno was a professor of art in F...

Giovanni Paolo Castelli known as Spadino (Rome, Italy, 1659 - 1730) Title: Still life Medium: Oil on canvas Dimensions: without frame 81 x 31 ...

Andrea Stella (1950-2019). The child of Greek immigrants raised in Italy, Andrea was destined to create. His first concentration in the art world was antique woodworking, which lead...

You Should Have seen the Other Gal By Jeanie Tomanek is an 8" x 8" oil painting on panel. It has on a custom frame. You Should Have seen the Other Gal was part of a boxing exhibiti...

Andrea Stella (1950-2019). The child of Greek immigrants raised in Italy, Andrea was destined to create. His first concentration in the art world was antique woodworking, which lead...

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...