Stefan UMAERUS Paintings

Modern French Abstract Paintig Still Life by Roland Bierge Beautiful, important painting by the great French artist Roland Bierge (1922-1991). Still life oil on canvas  ‘Pomme et Po...

This abstract painting presents a dynamic figurative composition in which organic forms and bold contours intertwine in a rhythmic and balanced arrangement. In this oil on canvas, t...

"Shattered" WPA Mid 20th Century Modernism American Scene Surrealism Figurative Estate stamp on the stretcher, verso. Provenance: Estate of the artist. 20 x 24 inches. Look at the last two photos in the listing. A new book about Leon Bibel was just published and there's a photo of the artist taken in front of the painting. Amazingness. BIO Leon Bibel continued painting through 1941 and resumed work in both painting and especially wood sculpture by 1960. He worked until his very last day in 1995. His last series of large wood sculptures were modeled on spice boxes, which were miniature buildings...

Figurative Cubist Surrealist Abstraction Mid 20th Century American Modern Large O. Louis Guglielmi (1906 - 1956) OBSESSIVE THEME 44 x 33 inches Oil on canvas Signed and dated '48 lo...

Corrado Cagli (Ancona 1910 – Rome 1976) oil pastel on canvas paper. The work is signed “Cagli” in the lower right corner. The work is in excellent condition, with a natural patina ...

"Backstage, Ambassador" Broadway Theatre NYC Mid-century Modern Modernist Cubist Sam Norkin (1917-2011) Backstage, The Ambassador 24 x 36 inches oil ...

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

Cubist acrylic and oil on board in the modern form of a stylised mannequin figure portrait by French artist Créqule. The painting is influenced by the paintings of Giorgio de Chirico...

Brooklyn Dusk is painted on panel. The glass-like finish can be achieved on few other surfaces. I was attracted to this style of painting early on, seduced by the deep delicate tones...

"Untitled" Painting 39" x 30" inch by Patricio Gonzalez Patricio Gonzalez Bezanilla (1974), studied at the School of Visual Arts at the University o...

"Cellar with Horseshoe" WPA American Scene Modernism 20th Century NYC Industrial Joseph Solman (1909-2008) "Cellar with Horseshoe" 16 x 20 inches, c. 1938 Oil on canvas Initialed "...

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.” Bibliography Art in America, April 1951, p.78 About this artists: 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...