Verners Lazdans Art

Primary Colour Series- Blue Cat is inspired by Japanese woodblock Print and the a nod to calligraphy tradition. With strokes of gilded gold leaves, gesso and acrylic, Shizico Yi pain...

A wonderful mid-century interpretation of prehistoric, Paleolithic cave paintings; done in reddish earth tones and rich in visual texture by Sausalito, California artist Nan Street F...

Coral Reef Painting by Olga Nikitina Title: Coral Reef Size:85x60cm Materials: Oil, Stretched Canvas, Palette Knife Shipping: gallery standards packaging, Express Shipping with track...

Title: The Guardians over the Rainbow-Bridge Large artwork with horse in blue. This strikingly beautiful artwork by Karnish, depicts abundance, the spirit of the horse and absolute ...

Veit Hofmann (*1944 Dresden), Rare Animal, 1987. Oil on light card, 42 cm (height) x 30 cm (width), monogrammed “V[eit]H[ofmann]” lower right and dated “[19]87”, titled “Seltenes Tie...

Edward Avedisian ( 1936-2007 ) 7.5 X 5.75 Oil paint on wood panel This is not signed on front. It bears his name verso. Provenance: Hudson, N.Y. estate of noted Art Collector Albert...

***This artwork is currently on exhibit at the Instituto Cervantes, Chicago until September 2025. If purchased this artwork will be available to ship after September 1, 2025. Contact...

Messenger Series - Horse on Road" is a captivating oil painting by the renowned artist Koko, known for their unique abstract-impressionist style. This particular artwork is a strikin...

Title: Potentiality Africa Sunshine Rhino Power Colorful Exclusive Investment Modern Potentiality: "Latent qualities or abilities that may be developed and lead to future success."...

Mid-Century - Horse Race #28 Pierre Bosco (Italy/France, 1909-1993) Oil on canvas 9 /78 x 6 7/8 (17 7/8 x 14 5/8 inches, frame size) *Frame appears to be original and made by the art...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Enthralled with the lore and spirituality of American Indian cultures, his work often depicts these traditional subjects in nontraditional ways. Hawkins captures the raw sense of ele...