Kunst nach Medium: Masonit

Gelassene Winterlandschaft mit Schnee und kahlen Bäumen in kühlen Farbtönen der kalifornischen Künstlerin Virginia Sevier Rogers (Amerikanerin, 1917-2015). Signiert und datiert unten...

Öl auf Masonit. Signiert und datiert in Öl in der rechten unteren Ecke.

Eine heitere figurative Abstraktion der Bay Area-Künstlerin Kristin Cohen (Amerikaner, geb. 1963). Signiert und datiert unten links, "Cohen '95". Präsentiert in dem vom Künstler bem...

Ein charmantes, modernes Porträt eines jungen Mannes aus der Mitte der 1960er Jahre von Francis Chapin (Am. 1899-1965). Mit wunderbaren expressionistischen Pinselstrich und einer k...

Katherine S. Kirkman (Amerikanerin, XX-XXI), "Urban Renewal", Öl auf Masonit, rechts unten signiert, verso betitelt und signiert, Holzrahmen. Bild: 23,5" H x 19,5" W; Rahmen: 26" H x...

Charmantes Gemälde mit farbenfrohen gallischen "Le Coq Gaulois"-Hähnen von der in der Liste aufgeführten kalifornischen Künstlerin Helen Enoch Gleiforst (Amerikanerin, 1903-1997), um...

Winged Victory of Los Angeles, um 1960, Öl auf Masonit, rechts unten signiert, verso Name des Künstlers und Titel, 33 x 34 1/2 Zoll, ausgestellt: 1) Edward Biberman, Heritage Gallery...

Neonlicht WPA Mitte des 20. Jahrhunderts Sozialrealismus Amerikanische Szene Moderne Figuren MAURICE BECKER (1889-1975) Neonbeleuchtung 17 1/4 x 13 3/4 Zoll Öl auf Masonit Verso sig...

Mid Century Original Big Sur Seascape Ölgemälde Wunderschönes Ölgemälde des kalifornischen Künstlers Hartzell Harrison Ray (Amerikaner, 1896-1991) aus der Mitte des Jahrhunderts mit...

Lady of the Lake ist ein Ölgemälde auf einer Tafel, 23,5 x 25,5" groß, signiert "HOFMANN" unten rechts und gerahmt in einem zeitgenössischen, blattvergoldeten Rahmen. Douglas Hofman...

Waterline Fine Art, Austin, TX, freut sich, die folgenden Arbeiten zu präsentieren: Öl auf Karton. Signiert und datiert unten rechts und verso, betitelt verso. 36.25 x 48 in. 40,5 ...

Montiert in einem handgeschnitzten, blattvergoldeten Rahmen aus der Zeit. Signiert unten rechts "Paul King".

Abstrakte Landschaft, Kastanie und Koralle" von Gianni Pisani, 1963. Biennale Venedig, Gewinner des Michetti-Preises ----- Signiert unten rechts "G. Pisani" für Gianni Pisani (Itali...

Die Gemälde von Jean Krillé sind bekannt für ihre ausdrucksstarke Farbgebung und ihre dynamischen, abstrakten Formen, die in seinen Naturdarstellungen Realismus und Abstraktion mitei...

Ein junger Mann erregt in einem überfüllten haitianischen Schwimmbad der Oberschicht Aufmerksamkeit. Wir sehen ihn nur von hinten in einer Magritte-ähnlichen Pose. Die verblüfften Bl...

Kunstwerk wird mit Rahmen verkauft: (61,5 x 79 cm) José Gerson ist ein vielseitiger Schweizer Künstler, dessen Karriere die Bereiche Fotografie, Malerei, Skulptur, Zeichnung und Fil...

Datum: 1950 Medium: Öl auf Masonit Abmessungen: 25.75" x 20.00" Unterschrift: Unterschrieben unten rechts Original-Titelillustration für The Saturday Evening Post, 1. Juli 1950. Di...

Bevor es den Cirque du Soleil gab, der das Publikum mit außergewöhnlicher Akrobatik und spektakulären Darbietungen in Erstaunen versetzte, lockten Amerikas Wanderzirkusse die Besuche...

Großes gerahmtes Gemälde aus der Mitte des Jahrhunderts mit zwei Zwillingsbäumen in warmen Erdtönen und strukturierten Details. Das Werk wird zunächst in Gips geformt und dann bemal...

Ausgestellt: 2003 Oakland Museum of California "Fred Martin Retrospektive" Der gebürtige Kalifornier Fred Martin wurde 1927 in San Francisco geboren und erwarb sowohl seinen BA (194...

Die Gemälde von Jean Krillé sind bekannt für ihre ausdrucksstarke Farbgebung und ihre dynamischen, abstrakten Formen, die in seinen Naturdarstellungen Realismus und Abstraktion mitei...

Sonnenuntergang Meereslandschaft mit üppigen blühenden Blumen Signiert unten rechts Öl auf Masonit Leichte Gebrauchsspuren am Rahmen 8 x 10 ungerahmt, 15 x 17,25 gerahmt

Shoemaker at Work - Porträt in Öl auf Masonit Schönes Porträt eines Schusters bei der Arbeit von Max Schneider (Deutscher, 1903-1980). Der Schuhmacher hält einen Hammer in der Hand ...

Primary Hughes' "Presque Isle (Tag 62) 23. Juni" ist ein originales, handgefertigtes Ölgemälde, das eine Ozeanlandschaft mit Wellen darstellt, die sich um eine felsige Küste mit grü...

Künstler: William Littlefield, Amerikaner (1902 - 1969) Titel: Stilleben und Abstraktes Jahr: 1950 und 1954 Medium: Doppelseitiges Öl auf Masonit, beidseitig signiert und datiert Grö...

Dieses moderne abstrakte Gemälde von Peter Keil ist auf einer glatten Masonitplatte mit einem gemalten Tiffanyblauen Hintergrund, schwarzes abstraktes Portrait. Hier sehen Sie sicher...

Eine lebendige Chicagoer Straßenszene aus den 1930er Jahren aus dem Viertel Old Townes von Francis Chapin (Am. 1899-1965), einem bekannten modernen Künstler aus Chicago. Das Bild ze...

Die Gemälde von Jean Krillé sind bekannt für ihre ausdrucksstarke Farbgebung und ihre dynamischen, abstrakten Formen, die in seinen Naturdarstellungen Realismus und Abstraktion mitei...

Andrene Kauffman (Amerikanerin, 1905-1993) Alter Ego. Surrealistische Zirkus- oder Zooszene mit fliegenden Tieren auf einem abstrakten, farbgesättigten Hintergrund. Öl auf Masonit....

Ein schönes Originalgemälde von Peter Keil. Keils unverkennbarer Stil zeigt sich in diesen von Picasso inspirierten Porträts. Diese Porträts sind charakteristisch für Keils Werk in d...

Tinte, Holzkohle, Harz auf Masonit Dimitri geht von der Idee des "Unvollendeten" aus. Sie beeinflusst die Wahl der Materialien und die Art und Weise, wie er sie verarbeitet. Sie präg...

"Frauen der IDF" Große Farbfotografie-Ausstellung 30 x 40 Zoll, auf Masonit montiert und laminiert. Auflage 4 + 2 Künstlerabzüge. Kanten leicht...

Zwei stimmungsvolle, mit dem Surrealismus kokettierende Strandstillleben des Außenseiterkünstlers John Prue. Öl auf Masonitplatte, Maße jeweils 12 x 24 Zoll; 13 x 25 Zoll gerahmt. Je...

Modernes Ölgemälde aus der Jahrhundertmitte, Stadtbild der 1940er Jahre, "Bedford at Lafayette, Brooklyn". Öl auf Masonit. Gezeichnet King Rich. In modernistischem Vintage-Rahmen. ...

Ölgemälde auf Masonit von dem bekannten russisch-amerikanischen Künstler Nahum Tschacbasov. Signiert unten rechts und datiert 1946. In gutem Zustand. Das Gemälde ist in einen zeitge...

Marjorie Portnows "Barbados View from Cherry Tree Hill" ist eine lebendige und fesselnde impressionistische Landschaft aus der Luft, die die atemberaubende Schönheit der Insel aus ei...

Dieses Werk verkauft sich von selbst. Sehen Sie es sich einfach an, und eine ausführliche Erklärung ist nicht erforderlich. Es gibt praktisch niemanden, der ein Bild wie Crockwell ...

GERAHMT: 18,25" x 21,625" x 1,375" UNGESTRAHLT: 12" x 15,25"

Die Gemälde von Jean Krillé sind bekannt für ihre ausdrucksstarke Farbgebung und ihre dynamischen, abstrakten Formen, die in seinen Naturdarstellungen Realismus und Abstraktion mitei...

Französische Schule, Cherub trinkt Wein, Öl auf Leinwand auf Masonit, 19. Jahrhundert, undeutlich links unten signiert, verschnörkelter Goldholzrahmen. Bild: 25,75" H x 21,5" W; Rahm...

Julio De Diegos Gemälde der Atomic Series sind ein außergewöhnliches Zeugnis des Schocks und der Angst, die mit dem Anbruch des Atomzeitalters einhergingen. In den Worten des Künstle...

Das Werk von Charles Ford befindet sich in der ständigen Sammlung des Museum of the City of New York. Ein weiteres wunderbares Gemälde von Charles Ford, das die großartigen Licht- u...

Dieses moderne abstrakte Gemälde von Peter Keil ist auf einer glatten Masonitplatte mit einem gemalten Tiffany Blue Hintergrund, schwarzes abstraktes Portrait mit vielen Farben. Hier...

Klett war in der Nachkriegszeit der späten 1940er und 1950er Jahre ein gefragter Illustrator. und . Seine Arbeiten erschienen damals in vielen Zeitschriften am Kiosk. Dieses Werk i...

Das Bild eines gehörnten Teufels mit spitzen Klauen und fledermausartigen Flügeln taucht aus einer Voodoo-Trommel auf. Er hat die Arme ausgestreckt wie eine Christusfigur. Die Tromme...

Three Chimneys, 1956, Öl auf Masonit, signiert und datiert unten links, 18 x 36 Zoll, verso betitelt, im Originalrahmen präsentiert Drei Schornsteine ist ein Paradebeispiel für Et...

Das vorliegende Werk war auf der Titelseite der Saturday Evening Post vom 8. März 1952 abgebildet. Die Post schreibt: "Als Stevan Dohanos ein kleiner Junge war, durfte er im Winter ...

Gilbert Lewis (b.1945). Influence of Red (male portrait), ca. 1990s. Oil on masonite panel, 16 x 20 inches. Signed upper right. Ausgezeichneter Zustand. Measures 18 x 22 inches in custom gold leaf float frame. Original gallery labels affixed on verso. Provenance: estate of the artist. Artist statement: Figurative art is a vital active process. The image has its own meaning; not storytelling, not just a picture of a face or a flower. Neither is it simply an exercise in the arrangement of shapes or colors. I want to translate my immediate impression into paint to present the image of an outstretched branch of flowers or a face – direct and simple. My art reflects human concerns expressed symbolically, through fantasy and in a more concrete manner in the process of making the representation itself. Art is my response to the image, the end result of an active process of exploration of the limits of the paint on paper within the confines of representation. The painting of a face is not just a face. My feelings are expressed through these images. My paintings speak to anyone in touch with their own humanity; to anyone else my art may be dismissed as “to personal”. Biography: Gilbert Braddy Lewis born September 25, 1945 in Hampton, Va. Son of David Blake Lewis (born in Atlanta, Ga.) and Gladys Louise Braddy [Lewis] (of Sanford, Fl.); brother of David Blake Lewis (Jr.) and Linda Lewis [Hunter]. The family resides at 3 South Linden Street, Hampton, Va. 1953 until 1962 “I studied from the age of seven, in Virginia, with two well-known Tidewater artists, Jean Craig and the late Allan Jones. The teaching methods of carefully observed studies from nature in charcoal or tempra paint, derived, of course, from the original French academic model, conveyed its impact on my early development; however, my eye and consciousness were mostly activated by the reproductions on the studio wall of works by Botticelli, Da Vinci, and Michelangelo.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1963-68 Studies at Pennsylvania Academy of the Fine Arts with Franklin Watkins, Hobson Pittman, Morris Blackburn, and Walter Stuempfig. While a student at PAFA he shares apartment [261 South 21st Street] with PAFA students, Jody Pinto and Barbara Sosson. In 1967 he receives PAFA’s: Bergman Prize in Painting; M. Herbert Syme Prize; and Samuel Cresson Memorial Travelling Scholarship. The latter award enables Lewis to travel to Europe during the summer of 1967 where he visits museums. “In 1967, after having seen the Italian master’s work while on scholarship from the Pennsylvania Academy, I was to realize my great influences and to discover the earlier Sienese masters whose clarity and energy still move me.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1968 Horizontal painting [of an interior with a seated woman and cat by a large window] reproduced in black and white in school catalog for Pennsylvania Academy of the Fine Arts 1968-1969, p. 24. Other students whose works are reproduced include Clayton Anderson, Barkley Hendricks, Paul Kane, Jody Pinto, Bruce Samuelson, Barbara Sosson, and James Victor. Gloria Etting, Philadelphia The Intimate City (New York: A Studio Book – The Viking Press, 1968), photograph of Gilbert Lewis drawing in the cast hall of the Pennsylvania Academy of the Fine Arts reproduced in the chapter titled, “Art and Collectors,” n.p.. 1974 May 31, 1974, awarded Bachelor of Fine Art degree from the Philadelphia College of Art 1978 Received a Master’s Degree in Creative Arts in Therapy (MCAT) from Hahnemann University, Philadelphia. Gilbert Lewis, The Spontaneous Art Productions of an Institutionalized Geriatric Population: a thesis presented to the faculty of the Graduate School, Hahnemann Medical College, March 30, 1978 Late 1970’s to late 1980s/early-1990s, works as art therapist at Manchester House Nursing Center/Home in Media, Pa. 1977 Summer: studies at the American Projective Drawing Institute’s Annual Summer Institute run by Emanuel F. Hammer, Ph.D. 1981 First solo exhibition at Peale House Galleries (East Gallery) of the Pennsylvania Academy of the Fine Arts, March 5 – 27, 1981 “Since art school I’ve turned from oil to media of gouache and pencil, separately and sometimes together. I’m trying to discover for myself the power of observation without sacrificing the passion of the art materials.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1986 Elizabeth Leonard, Painting Flowers, (New York: Watson-Guptill Publications 1986), reproduced in color, pp. 56, 67, 110, and cover Travels to Italy: Florence, Venice… 1988 Work acquired by Philadelphia Museum of Art: Autumn, 1987, gouache, purchased with Julius Bloch Memorial Fund 1991 October 10, receives A.T.R. from American Art Therapy Association, renewed in 1996 1992 Applies to American Academy in Rome, Philadelphia Regional Visiting Artists Program Around this time he has artwork with American Artist Gallery, Wayne, Pa. 1992 (June) lives at 322 South Street. By May 1994 living at 1804 Catharine Street (until January 2017). 1998 Group exhibition: 135th Annual Exhibition of Small Oil Paintings, Philadelphia Sketch Club, Pa., March 22 – April 26, 1998. Awarded Honorable Mention c. 1999-2007+ teaches at PAFA, certificate and continuing education programs (what years?) 2001 Group exhibition: 138th Annual Exhibition of Small Oil Paintings, Philadelphia Sketch Club, Pa., March 25 – April 29, 2001. Awarded Second Award By 2002 until c. 2014 Works at Blick Art Supply store, Philadelphia 2005 An undated artist statement from this time states: “My inspiration for this series came from the work of the nineteenth-century painter, George Catlin, who painted portraits of the American Indians. My portraits serve to commemorate the “tribe” of contemporary creative youth. Most of the studies were painted from life, originally using transparent and opaque watercolors, and in the past five years the series began to include oil studies on panels. In the watercolor paintings, the forms emerge from multiple layers of color, which have an intensity and a luminosity equal to oil painting on canvas, but demands the additional challenge of maintaining the integrity of the paper’s fragile surface. My oil studies, consisting of many layers of oil glazes over an under-painting, approach a look more like the oil paintings of Catlin that had originally inspired me, but these studies seem to have an additional intense almost icon-like quality.” 2008 Peter Weiermair, editor, Treasures of Gay Art from the Leslie/Lohman Gay Art Foundation, (All Saints Press, 2008). Resting, 1982, gouache on paper, 44 x 30 inches, Founders’ purchase, 2004.1222.0002, reproduced in color p. 50; Swimmer, 1984, gouache on board, 63.75 x 44 inches, gift of George Dudley, 1994.1222.0001, reproduced in color p. 51 2015 Kevin Clarke, The Art of Looking: The Life and Treasures of Collector Charles Leslie, (Berlin: Bruno Gmünder, 2015), Swimmer reproduced in color p. 182 2017 He moves from his home at 18XX Catherine Street, Philadelphia, to the WaterMark. In January 2018 he is moved to Wyncote House, Pa., an Alzheimer’s care facility. Six works acquired by PAFA. Philadelphia, Pa., Pennsylvania Academy of the Fine Arts. Recent Acquisitions, summer 2017. Stephan Salisbury, “PAFA’s 32 New Works,” The Philadelphia Inquirer, Tuesday, July 11, 2017, pp. C-1 and C-6. SOLO EXHIBITIONS 2020 Pennsylvania Academy of the Fine Arts (July 9 - ), Willliam Way Community Center (July 10 - ), and Woodmere Art Museum (July 16 – October 20), Gilbert Lewis 2004 New York, N.Y., Leslie Lohman Foundation, Gilbert Lewis: Becoming Men - • Doug Gruse, “Gilbert Lewis,” Philadelphia Gay News, April 9-15, 2004, pp. 25, 27 and 32; BECOMING MEN: Portrait Paintings by Gilbert Lewis, March 9 – April 17, 2004 127-B Prince Street, (Text from Becoming Men: Portrait Paintings by Gilbert Lewis by Christian Bain, in issue 12 of The ARCHIVE) BECOMING MEN: Portrait Paintings by Gilbert Lewis By Christian Bain Philadelphia artist Gilbert Lewis inspires superlatives. What other artist has been compared to Eakins (whose student was Lewis’ teacher) and Titian in the same Art Matters review, or anywhere else for that matter? Gilbert is also an artist who focuses on the beginning and end of adulthood. During the almost 20 years he worked in a nursing home he painted portraits of elderly patients by day and of young men at night. “One of my motivations in painting has been to celebrate the beginning of adulthood for the young and the final period of life for the old,” Gilbert observes. “What struck me is that both young men and the old are ignored by society. Despite our ostensible focus on youth, young men are in a sort of nether world, no longer teenagers and yet not full adults. They’re in transition with no established identity and no real place in society. “A nursing home is basically an orphanage for elderly adults. It’s a place where people don’t really have their families anymore and visiting relatives and the staff constantly tell them what to do and don’t stop to hear what they have to say. When I was with them doing their portraits we were one on one and we were free to talk about whatever they wanted, with assurance that it would remain confidential. They often told me things even their children didn’t know. “What they had in common with the young men who modeled for me is that they could talk and know that someone was listening. My good fortune was that my young models really appreciated the fact that an adult person was actually there for them and not telling them what to do. I never gave them explicit instructions other than to tell them where to sit or stand. I let them decide how they would do it–I took the queue from each model. “Both the young men and elderly people who sat for me had a sense of trust because I listened to them and didn’t run away. Some of the young models would bring CDs or tapes of their favorite music to play while we sat. “I always painted from live models in gouache, watercolor or oil. The portraits were always completed while the model was still sitting: I only touched up the backgrounds, but never the figures.
“I wish that the exhibition could have colored strings connecting the young men who modeled for me with the models who recommended them and the friends they recommended in turn. It would make a very interesting story.” 1994 Philadelphia, Pa., Rosenfeld Gallery, Gilbert Lewis: watercolors & gouache paintings, April 10 – May 1, 1994, Man in Gray Shirt, 1992, watercolor, 16 x 20 inches, reproduced in color on the postcard. Review: Edward J. Sozanski, “Art. Nudes done dispassionately and romantically, Two very different approaches,” The Philadelphia Inquirer, Friday, April 15, 1994, Study watercolor, reproduced. [Bruce Samuelson ‘s exhibition also reviewed] c. 1990 Educational Testing Services, Gilbert Lewis, ten works (checklist): 1- Left Profile; 2- Dancer (Woodmere Art Museum); 3- Studious; 4- Wrestler (collection of Bill Scott); 5. Untitled Portrait; 6. Man in Red and Blue; 7 Man in Blue Sweater; 8- Student; 9- Young Artist; 10- Man with Intense Gaze 1988 Philadelphia, Pa., Gross McCleaf Gallery, Gilbert Lewis: Paintings and Drawings, October 19 – November 5, 1988. Review:s Victoria Donohoe, “On galleries,” The Philadelphia Inquirer, Saturday, October 29, 1988, p. 5-D.; Jeanne Nugent, “Pennsylvania: Gilbert Lewis,” New Art Examiner, January 1989, pp. 52-53. Study [reclining nude male, arms folded over head], 1988, gouache, 22 x 30 inches, reproduced in black and white; Brenda Reed, “Reviews in Brief,” Art Matters, December 1988/January 1989, p. 2 1987 West Chester, Pa., Mitchell Hall Gallery at West Chester University, Gilbert Lewis: Paintings & Drawings, November 4 – 25, 1987. Hands Together, 1987, gouache on board, 40 x 30 inches, reproduced in color on the invitation. Twenty-one works on the checklist, including #19- Sick Boy (collection of Woodmere Art Museum) 1986 Boston, Mass., Twentieth Century Gallery, Gilbert Lewis, to July 2, 1986; Review: David Bonetti, “On and off the street,” The Boston Phoenix, section three, June 17, 1986 1985 Philadelphia, Pa., Noel Butcher Gallery, through January 30, 1985. Twenty-one works (pricelist/checklist). Review: Tam Mossman, “Lewis: Sex and sensitivity,” Welcomat, January 23, 1985. Works cited in review: Blonde Man [on invitation], Man in Argyle Sweater [both 1984], Man in Black and White Shirt, Boy, Summer Afternoon, Tribute, Gray Robe, Roses, Spring Portrait. Reproduced in the review: Swimmer (Leslie Lohman Foundation); Victoria Donohoe, “Galleries,” The Philadelphia Inquirer, Saturday, January 12, 1985; reviewed by Ann Jarmusch for New Art Examiner???? 1983 Philadelphia, Pa., Noel Butcher Gallery, September 9 - October 5, 1983. Reviews: William Southwell, “Reviews in Brief,” Art Matters, October 1983, p. 2; Victoria Donohoe, “3 painters, 3 distinct viewpoints,” The Philadelphia Inquirer, Sunday, September 25, 1983, p. 17-H; Profile advertisement in Art Now/ Philadelphia: Gallery Guide, September 1983, Seated Figure and Reclining Nude reproduced 1982 Philadelphia, Pa., Butcher & More Gallery 1981 Philadelphia, Pa., Peale House Galleries of the Pennsylvania Academy of the Fine Arts 1976 Philadelphia, Pa., La Terrasse Restaurant, Solo Exhibition GROUP SHOWS: 2020 Lincroft, N.J., Brookdale Community College, Morris Blackburn (1902-1979) and His Legacy: Painter, Printmaker, Writer, Teacher, January 22 – February 21, 2020. 2019 Philadelphia, Pa., Leonard Pearlstein Gallery, Westphal College of Media Arts and Design, Drexel University, Stonewall@50, curated by David Acosta and Janus Ourma, June 28 – July 26, 2019. 2018 Montclair, N.J., Montclair Art Museum, Constructing Identity in America (1766 – 2017), September 1, 2018 – January 5, 2019 2017 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Recent Acquisitions Philadelphia, Pa., Woodmere Art Museum, A More Perfect Union: Power, Sex, and Race in the Representation of Couples, February 4 – May 21, 2017. Reproduced in color in the catalog, pp. 53 and 69. Untitled (8-25-83), gouache, reproduced in color in Woodmere Art Museum Calendar, Winter/Spring 2017, p. 4 Philadelphia, Cerulean Arts Gallery ? Philadelphia, Pa., Gross McCleaf Gallery, Todd’s show 2014 Philadelphia, Cerulean Arts Gallery, Lilies, Figs and Folly: Contemporary Still Life Paintings & Works on Paper. Bill Scott, guest curator, November 26 – December 21, 2014 2007 Serves as juror for William Way Center’s Annual Juried Exhibition. The other two jurors were Robert Goodman and Shelly Spector. 2006 or 2007 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition [Vase of Roses] 2006 Philadelphia, Pa., William Way Center, Annual Juried Show, Douglas Pascall, juror Philadelphia, Pa., William Way Center, Gilbert Lewis: Portraits, a solo exhibition, Fall The artist donates his work, Portrait, to the William Way Center for its art collection. Teaches Drawing Fundamentals: a mixed media drawing class, at the William Way Center. 2005 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2004 Moorestown, N.J., Perkins Center for the Arts, Juried Exhibition Philadelphia, Pa., The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition, awarded Mary Butler Memorial Award Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2003 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2002 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2001
Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition Sewell, N.J., Gloucester County College Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition, March 25 – April 29, 2001, awarded Second Award 2000 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition 1999 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition 1998 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition, March 22 – April 26, 1998, awarded Honorable Mention Moorestown, N.J., Perkins Center for the Arts, Juried Exhibition 1996 Camden, Stedman Art Gallery, Rutgers, The State University of New Jersey, Rutgers National: Works On/Of Paper, March 11 – April 27, 1996, Study with Blue, Green reproduced in black and white in the catalog. Leon Golub and Ann Philbin, jurors. Northampton, Mass., Smith College, Drawing Philadelphia, Pa., Philadelphia Art Alliance 1995 Media, Pa., Delaware County Community College Philadelphia, Pa., The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition Philadelphia, Pa., Philadelphia Art Alliance 1994 Philadelphia, Pa., Rosenfeld Gallery, (also in 1993) Philadelphia, Pa., The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition Media, Pa., Delaware County Community College 1993 Haverford, Pa., Main Line Center for the Arts Abington, Pa., Abington Art Center Philadelphia, Pa., Woodmere Art Museum, (also in 1989) Media, Pa., Delaware County Community College 1992 Williamsburg, Va., Muscarelle Museum of Art, American Drawing Biennial, April 11 – May 24, 1992, Jack Beal, juror. Exhibited: Study, watercolor Philadelphia, Pa., Philadelphia Watercolor Club Cheltenham, Pa., Cheltenham Art Center (also in 1989) Philadelphia, Pa., Philadelphia Museum of Art, Pertaining to Philadelphia, [June?] – August 16, 1992, reproduced in black and white in Philadelphia Museum of Art’s June 1992 newsletter of Special Exhibitions & Events; Reviews: Edward J. Sozanski, “On Galleries,” The Philadelphia Inquirer, Thursday, June 4, 1992, p. D5; “Local Artist Exhibits at Philadelphia Museum of Art,” Town Talk, Wednesday, July 29, 1992, p. 24M, Autumn reproduced Williamsburg, Va., Muscarelle Museum of Art Allentown, Pa., Allentown Art Museum, 23rd Juried Show. Review: Peter Schnore, “Reviews in Brief,” Art Matters, February 1992, page 1 Philadelphia, Pa., Woodmere Art Museum, The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition, closed January 5, 1992. Reviewed: Peter Schnore, “More Reviews,” Art Matters, December 1991/January 1992, p. 9. “…only Gilbert Lewis approaches the level of Eakins. Lewis continues his ongoing documentation of young men seen with a searing empathy, incredible candor, and no more technical flaws than the average...

Alexander Liberman (1912-1999): Svet III Mischtechnik auf Karton, 1984, unten signiert 'Alexander Liberman' und datiert= Rückseitig handsigniert, betitelt und datiert. 92 x 90 in. ...

Öl, Acryl, Harz auf Masonit

Stadtlichter" von Joan Savo, 1960. San Francisco Beat Generation, Künstlerin, Bay Area Abstraktion ----- Signiert unten rechts, "Savo" für Joan Savo (Amerikanerin, 1918-1992) und da...

Es gibt Tage, da möchte man sich einfach nur einrollen und abschalten. Die himmlische Szenerie, die J.J. hier gemalt hat, lässt erkennen, dass etwas nicht stimmt, dass etwas kaputt i...

Julio De Diegos Gemälde der Atomic Series sind ein außergewöhnliches Zeugnis des Schocks und der Angst, die mit dem Anbruch des Atomzeitalters einhergingen. In den Worten des Künstle...

Die Gemälde von Jean Krillé sind bekannt für ihre ausdrucksstarke Farbgebung und ihre dynamischen, abstrakten Formen, die in seinen Naturdarstellungen Realismus und Abstraktion mitei...

Jim's of Lambertville ist stolz darauf, dieses Kunstwerk anzubieten: Gershon Benjamin (1899 - 1985) Gershon Benjamin ist ein amerikanischer Modernist, der Porträts, Landschaften,...

Die Gemälde von Jean Krillé sind bekannt für ihre ausdrucksstarke Farbgebung und ihre dynamischen, abstrakten Formen, die in seinen Naturdarstellungen Realismus und Abstraktion mitei...

Eine fesselnde, ausdrucksstarke Strandszene Portugals aus der Mitte des Jahrhunderts von Rudolph T. Pen (Am. 1918 - 1989), einem bekannten Künstler aus Chicago. Pen reiste in den 19...

"Squares and Things", gemalt von dem bedeutenden Künstler Charles McGee, atmet förmlich sein afroamerikanisches Erbe und seine außerordentlich lebendige Verwendung von Farben. Proven...

Straßenreparaturen, Lower Manhattan bei Nacht, 1934, Öl auf Masonit, signiert und datiert unten rechts, 24 x 16 Zoll; Originaletikett verso mit Titel und Adresse Margit Varga war ei...

Dies ist ein bedeutendes, großes Temperagemälde der Sanddünen an der Küste Michigans. Zolton Sepeshy, der in Michigan lebte und malte, schrieb auch ein Buch über Temperamalerei. Di...