Modernist Simon Samsonian, Two Sisters Mixed Media
By Simon Samsonian
Located in New York, NY
Simon Samsonian (1912-2003) Two Sisters, 1995 Poster color and mixed media on paper Sight size: 16 1/2 x 14 3/4 in. Framed: 26 x 23 1/2 x 1 in. Signed ...
Paper, Pastel, Mixed Media
Fauvist Pastel by Iranian American modernist Simon Samsonian
By Simon Samsonian
Located in New York, NY
Simon Samsonian (1912-2003) Untitled, 1991 Poster color and pastel on paper Sight size: 19 1/2 x 14 3/4 in. Framed: 28 1/4 x 22 1/4 in. Signed lower le...
Paper, Pastel
$700
H 7.49 in W 4.93 in D 0.04 in
Klimt Tattoo, disrupted realism charcoal acrylic on Strathmore paper red, tan
By Audrey Anastasi
Located in Brooklyn, NY
Charcoal, acrylic mixed media As a feminist artist, Audrey Anastasi's first commitment is to painting other women, the human face, and figure. Whether working with figurative descri...
Charcoal, Acrylic, Archival Paper
$636Sale Price|20% Off
H 17.75 in W 12 in
Argentinian Tango, Mixed Media Abstract Expressionist
By Ricardo de Silva
Located in Soquel, CA
Argentinian Tango, Mixed Media Abstract Expressionist An abstract portrait in cool pastels accented in vibrant yellow and pink and lined in ink, by California-based artist, Ricardo de Silva (American). Paper size: 17.75"H x 12"W From a collection of Ricardo de Silva's work and memorabilia. DeSilva was born in Brazil and grew up in Los Angeles. He was a gallery owner, first in Santa Barbara in the 1960's and 70's, then in San Jose in the 1980's. He was dedicated to promoting the work of talented upcoming artists, including Kogyo and Hasui Kiyochika, Robert Frame, Jim Stuckenberg, Alice Robertson Carr, Deborah Eve Alastra...
Paper, Gouache, Ink, Watercolor
$15,000
H 10 in W 15 in D 1 in
Wolf Kahn, Emily Mason & The Baby II (Grace Borgenicht Gallery) unique signed
By Wolf Kahn
Located in New York, NY
Wolf Kahn Emily & The Baby II (Grace Borgenicht Gallery), 1960 Pastel on Paper. Hand signed on the front. Grace Borgenicht gallery label on the back Vintage frame included Proven...
Pastel
$4,500
H 21.5 in W 20 in
"Study for TH" Diana Kurz, Mid-Century Push And Pull Abstract Expressionist Work
By Diana Kurz
Located in New York, NY
Diana Kurz Study for TH Pastel and gouache on paper 21 1/2 x 20 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first...
Paper, Pastel, Gouache
$4,900
H 16 in W 19 in
Abstract Landscape Mid 20th Century Work on Paper Hamptons, NY Drawing Pastel
By Robert Dash
Located in New York, NY
Abstract Landscape Mid 20th Century Work on Paper Hamptons, NY Drawing Pastel. Signed and dated '62 lower right. 9 x 12 inches (sight) and 15. 1/2 x 18 1/2 inches framed. BIO Robert Dash is known for his Hamptons paintings...
Paper, Pastel
1980s Soft Pastel Abstract Drawing on Paper, Signed, 18.5"x13"
Located in Arp, TX
D. Tongen "Rust and Black" 1980s 18.5"x 13" Soft pastel and pencil on paper Initialed in pencil lower right
Paper, Pastel, Pencil
$1,950
H 16.5 in W 11.75 in
"Tarkan, " Portrait Oil Pastel Drawing on a Paper Bag by Reginald K. Ge
By Reginald K. Gee
Located in Milwaukee, WI
"Tarkan" is an original oil pastel drawing on a paper bag by Reginald K. Gee. The artist signed the piece on the back. It features an abstract portrait in bright, expressionistic col...
Oil Pastel, Found Objects
$3,500
H 20 in W 15 in
"Pink Green Study" Diana Kurz, Abstract Grid Expressionist New York Pastel
By Diana Kurz
Located in New York, NY
Diana Kurz Pink Green Study Pastel on paper 20 x 15 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England ...
Paper, Pastel
$1,950
H 16.5 in W 11.75 in
"J.D. Wovel Wearing Helmet, " Oil Pastel on Paper Bag signed by Reginald K. Gee
By Reginald K. Gee
Located in Milwaukee, WI
"J.D. Wovel Wearing Helmet" is an original oil pastel drawing on a paper bag by Reginald K. Gee. The artist signed the piece on the back. It features an abstract portrait in orange, ...
Oil Pastel, Found Objects
$1,950
H 16.5 in W 11.75 in
"Liek, " Abstract Portrait Oil Pastel on Paper Bag signed by Reginald K. Gee
By Reginald K. Gee
Located in Milwaukee, WI
"Liek" is an original oil pastel drawing on a paper bag by Reginald K. Gee. The artist signed the piece on the back. It features abstract color fields and gestural marks, over which ...
Oil Pastel, Found Objects
$2,650
H 13.5 in W 12 in
"The Extrovert, Aura, " Abstract Oil Pastel on Grocery Bag by Reginald K. Gee
By Reginald K. Gee
Located in Milwaukee, WI
"The Extrovert, Aura" is an original oil pastel drawing on a grocery bag by Reginald K. Gee. The artwork has a Drowning Prevention Foundation advertisement on the verso. The artist s...
Oil Pastel, Found Objects
$2,650
H 16.5 in W 11.75 in
"Phizo, " Abstract Portrait Oil Pastel on Grocery Bag signed by Reginald K. Gee
By Reginald K. Gee
Located in Milwaukee, WI
"Phizo" is an original oil pastel drawing on a grocery bag by Reginald K. Gee. The artist signed the piece on the back. It features an abstracted portrait with expressionistic marks ...
Oil Pastel, Found Objects
Kate #7 #2
By Ant Pearce
Located in Brecon, Powys
The series continues Water Based Ink + cotton thread sewn on cotton on paper
Cotton, Ink, Paper, Thread
$680Sale Price|20% Off
H 30 in W 22.25 in
Abstract Portrait of a Woman in Gouache on Paper
By Ricardo de Silva
Located in Soquel, CA
Abstract Portrait of a Woman in Gouache on Paper A vibrant abstract portrait of a woman with raven black hair accented in bold red and yellow, by California-based artist, Ricardo de Silva (American...
Gouache, Paper
$1,707
H 12.8 in W 9.85 in
Untitled #3 - Emmanuelle Messika, 21st Century, Abstract drawing
By Emmanuelle Messika
Located in Paris, FR
Coloured inks and pastel on paper Signed Gestural abstraction Outsider art Artist’s statement : "Painting, for me, is an expressive endeavor in which one depicts the evolution of the various facets of the artistic self. There is, on each canvas, a tension where violence and stillness naturally coexist. By playing with different materials, I seek to establish a sort of unexpected dialogue between these states, and aspire to express this tension through profusion of color. The canvas is the stage that allows me to unite narration with the action of painting the fantastic—even the outrageous---and the everyday. I develop scenarios borrowed from the imagination, which join fantasy, even fables, with the everyday. Pulling threads from each domain, I bring together the mythical and the quotidian, so that the worlds of reality and fantasy merge. I rely on “creatures,” improbable little characters that could exist in some other realm or dimension. They materialize, issuing forth from the surprising, unbelievable and wondrous world of childhood. Human or animal, both find themselves entangled in inextricable and melancholic situations. These inextricable situations create distance; the humor comes through this breach. It is the absurdity of their predicaments that manifests the humor in the work. In each of my paintings, the sentiments are heightened by an intentional, provocative tone that transforms the work. An Otherness is attributed to objects; objects become personified, and by their very presence, they become witnesses or guinea pigs torn between and bound to their dilemma. The titles of my paintings, whether invented or quotations taken out of context, come from literature, theater, or song lyrics. Accident and chance are often major actors in my work.” Emmanuelle Messika BIOGRAPHY : Emmanuelle Messika was born in France in 1979. She works and lives in Paris. STUDIES 1999-2005 École Nationale Supérieure des Beaux-Arts de Paris Diplômée en Juin 2005 2004 Échange universitaire à Hunter College, New York NY, USA 1993-1999 Ateliers des Beaux-Arts de la Ville de Paris, Montparnasse PERSONAL EXHIBITIONS : 2019 Claire Corcia Gallery, Paris 2018 Claire Corcia Gallery, Paris Outsider Art Fair, Paris 2012 Art Contemporain Sèvres, "La Chartreuse", Sèvres 2011 Espace Seven, Galerie De Vos, Paris 2010 Les Trois Baudets, Paris Galerie Mariska Hammoudi, Paris Galerie Crous -Beaux-Arts, Paris L'Apparemment Café, Paris 2009 Espace Rachi, Paris 2008 Galerie Console, Paris 2007 Exposition Place du Québec, Mairie du sixième, Paris 2006 Galerie Eonnet-Dupuis, Paris 2005 Galerie Crous Beaux Arts, Paris 2004 The Mark Bar, "Bring your own flashlight", Brooklin, New York 2003 Le Glaz’art, Paris 2002 9 rue Dauphine, Paris 2001 Galerie Gauche, École des Beaux-Arts, Paris 2000 La grosse caisse, Paris La liberté, Paris GROUP SHOWS 2011 Chic Art Fair, Galerie Mariska Hammoudi Galerie De Vos, Espace Seven 2010 Galerie Mariska Hammoudi, Paris Chic Dessin, avec Cherry Gallery...
Paper, Pastel, Ink
Sold
H 24 in W 30 in
"Colorful Geometric Abstraction, " Simon Samsonian, Armenian Artist
By Simon Samsonian
Located in New York, NY
Simon Samsonian (1912 - 2003) Colorful Geometric Abstraction, 1981 Oil on paper 16 x 22 inches Signed and dated lower right Provenance: Estate of the artist This survivor of the Armenian genocide wound up in a Cairo orphanage in 1927. He rose to fame as one of Egypt’s great modernists, but after moving to Long Island late in life he withdrew into anonymity. Now his compelling story is being told. Art historians are finally beginning to realize that the power of abstraction in its early years was a zeitgeist not limited to the major European centers of the avant-garde — Paris, Munich, and Moscow — but one that quickly rippled to major cities throughout the world. Within a few decades that original shock of a new vision had inspired thousands of artists from different cultures — particularly those the Middle East — whose translations were not slavish imitations of works by seminal figures like Picasso, Braque, Malevich, and Kandinsky but creative variants colored by their respective cultures. This essay focuses on an extraordinary Armenian artist, his harrowing survival of the genocide, his rise to fame in Cairo, and his creation of a unique style of abstraction. Art historians have typically formed a chorus that teaches the history of abstraction like this: Just before and during the World War I era, several avant-garde artists emerged to create shockingly different new forms by which artists could express themselves. In Paris, Picasso and Braque broke out with cubism, quickly followed by Mondrian. In Moscow, Malevich created Suprematism, the ultimate hard-edge geometric abstraction. And in Munich, Kandinsky emerged as the father of Abstract Expressionism. Within these few short years a zeitgeist was sensed throughout the art world. American pioneers, too — particularly Stanton Macdonald-Wright and Morgan Russell — felt this explosive freedom of expression. When Europe was recovering after World War I it became clear that Paris would retain its title as capitol of the art world, lasting through the Roaring Twenties and even through the Great Depression. But the end of World War II changed everything. A parallel war had been won by a group of irascible young Abstract Expressionists in New York — led by Pollock, Rothko, DeKooning, and Kline. No sooner had Paris been liberated from the Germans than Picasso, Matisse, Breton, and Duchamp surrendered to the Americans. From that point on New York would be the epicenter of the art world. But a lens that focuses myopically on the war between the avant-garde of Paris and New York misses the wider narrative of multiple aesthetic modernities that developed in the several decades following World War I. For Armenian artists the matter is even more complex owing to the genocide of 1915 where more than 1.5 million people — seventy-five percent of Armenians in the Ottoman Empire — were massacred. Those not shot on the spot were sent on death marches through the Mesopotamian desert without food or water. Frequently, the marchers were stripped and forced to walk naked under the scorching sun until they dropped dead. As a child Samsonian witnessed the murder of his parents and most of the members of his family. Soon thereafter, his older sister, Anahid, quickly shepherded him into a line of children being rescued by Greek nuns. But they became separated and he lost her, too. He was sent to a Greek orphanage in Smyrna (now Izmir), on Turkey’s west coast. Because he only knew his first name, the orphanage gave him a last name based on the place where they found him — Samsun — a major port on Turkey’s north coast on the Black Sea. His birth date was unknown, too. According to Samsonian’s vague recollections he assumed he was about three or four years old at the onset of the genocide, which would place his birth year in 1911 or 1912. In 1922, when Samsonian was about 10, the Turks ended their war with the Greeks by putting Smyrna to the torch in what has been called the “Catastrophe of Smyrna.” Once again, the child was on the run, escaping the fire and slaughter. He found temporary refuge in Constantinople, but within a year that major port would fall to the Turks, too, and become renamed as Istanbul. This time, Samsonian was whisked away to an orphanage in Greece founded by the American charity, Near East Relief — which is credited with saving so many Armenian orphans that the American historian Howard M. Sachar said it “quite literally kept an entire nation alive. Any understanding of Samsonian’s approach to modernism requires careful consideration of the impact of his early years because his art is inseparable from the anguish he experienced. In 1927, when he was a teenager, he was transferred to Cairo, Egypt, then a cosmopolitan city hosting a sizable portion of the Armenian diaspora. There he lived with thirty-two other children on the top floor of the Kalousdian Armenian School. Upon graduating in 1932 he won a scholarship to attend the Leonardo da Vinci Art Institute — an Italian art school in Cairo — where he won first prize in final examinations among one hundred students. He found work with an Armenian lithographic printer and he returned to the Kalousdian Armenian School to teach drawing. In 1939 he married one of his students, Lucy Guendimian. The Cairo in which Samsonian matured as an artist was home to many prominent art collectors after World War I. In this receptive environment Samsonian exhibited widely and won many awards. Beginning in 1937 and for the next thirty years he exhibited annually at the prestigious Le Salon du Caire hosted by the Société les Amis de l’Art (founded in 1921). After World War II he hit his stride as a modernist in Cairo, counting among his peers other artists of the Armenian diaspora such as Onnig Avedissian, Achod Zorian, Gregoire Meguerdichian, Hagop Hagopian...
Paper, Oil