1900 by SP Mixed Media

ABSTRACT American Woman Abstract Non-objective Mid 20th Century Modern Drawing Irene Rice Pereira (1902-1971) Abstract 8 1/2 x 5 1/2 inches Watercolor, gouache, and ink on black paper Signed lower right Framed by Bark BIO rene Pereira was born in 1902 in Chelsea, Massachusetts and grew up in Great Barrington. She was strongly influenced by her mother who was an amateur artist. Irene began art lessons at the age of fifteen; she took a secretarial job because her father had died. She took art classes at the Art Students League in New York City. At the age of twenty-one she married the first of three husbands, Humberto Pereira, whose name she kept. She traveled extensively in Europe and North Africa and was much inspired by the expansive vistas of the Sahara Desert. Returning to New York, she began incorporating these visions into her work, increasingly experimental in her styles and methods. At first she painted on canvas, then she devised a means of actually incorporating light into her works by painting on layers of glass and mounting the layers together. In 1942 she married George Brown, an engineer, who helped her experiment with a variety of materials. By the 1950s she became more interested in writing poetry and, divorced from Brown in 1952, she married George Reavey, an Irish Poet...

The idea of Ben Nicholson and his circle was to apply constructivist principles to public and private art. Especially, they were against ornaments and advocated for clean lines. Artworks were created with mathematical precision. “Geometric shapes...

Title: Bullfighting Scene Artist: Roberto Domingo Technique: Gouache on paper Dimensions: 7 x 10 in (14 x 17.3 in with frame) Period: 1930s Style: Spanish Impressionism with Post-Impressionist influence Condition: Framed in a classic wooden frame Theme: Bullfighting scene Description of the Artwork "Bullfighting Scene" by Roberto Domingo is a vibrant and dynamic depiction of a typical moment in a bullring. The composition captures the drama and intensity of the moment, with a mounted picador on a striking white horse as the centerpiece, flanked by a matador and assistants preparing for the spectacle. The artwork radiates energy through swift and loose brushstrokes, imbuing the scene with movement and vitality. Domingo’s style emphasizes visual synthesis, focusing on color and form rather than meticulous detail to convey the atmosphere of the bullfighting arena. Warm tones dominate, with vibrant yellows and reds contrasting against the grays and whites of the horse and costumes, creating a captivating chromatic interplay. The classic frame adds sobriety and balance to the piece, further highlighting the expressive power of the gouache. Biography of the Artist Roberto Domingo Fallola (1883-1956), born in Paris, was a renowned painter and illustrator of Spanish descent. The son of the celebrated bullfighting painter Vicente Domingo, he inherited a passion for bullfights and became one of the leading exponents of bullfighting art...

Family at the Beach WPA Modernism American Scene Social Realism Mid 20th Century William Gropper (1898 - 1977) "Family at the Beach" 27 1/2 x 19 1/2 inches Mixed media on paper, c. 1940 Signed lower left Provenance: Estate of the artist. The drawing will ship from the home of Mr. Gropper's grandson. Bio Throughout his life, William Gropper used his artistic talents to protest social injustice. Born in New York City, he grew up there in poverty and left high school to work as a dishwasher and delivery boy. He eventually began a career in art and was able to study with Robert Henri and George Bellows from 1912 to 1915. He adopted their realistic painting style, and his own work expressed sympathy for common laborers and outrage at society's ills. In 1919 Gropper established a reputation as a political cartoonist working for the New York Tribune. His blunt, forceful style attracted the attention of other publications, and he provided illustrations and cartoons for a variety of magazines, from the left-wing New Masses to mainstream Vanity Fair. Like many social realist artists of the 1930s, Gropper supported liberal political causes, depicting subjects such as the plight of migrant laborers and striking factory workers. In his first gallery exhibition in 1936 at ACA Galleries, Gropper's work was so well received by critics, collectors, and artists that the following year he had two one-man exhibitions at ACA Galleries. In 1937, Gropper traveled west on a Guggenheim Fellowship and visited the Dust Bowl and the Hoover and Grand Coulee Dams, sketching studies for a series of paintings and a mural he painted for the Department of the Interior. That same year he had paintings purchased by both the Metropolitan Museum of Art and the Museum of Modern Art. Gropper exhibited at the 1939 New York World's Fair, Whitney Museum of American Art (1924-55), Art Institute of Chicago (1935-49), Carnegie International (1937-50), Pennsylvania Academy of the Fine Arts (1939-48), and National Academy of Design (1945-48). He was a founder of the Artists Equity Association and member of the National Institute of Arts and Letters. From 1940 to 1945 William Gropper was preoccupied with anti-Nazi cartoons...

Yiddish Theatre Cubist Costume Design 1924 Deco Color Field Modernism Broadway. Boris Aronson (1898 – 1980) "Day and Night," 17 ½ x 13 inches. Gouache ...

WPA Mural Study Mid-Century Modern American Scene Social Realism Workers Anton Refregier (1905-1979) Mural Study, Untitled 7 ¾ x 22 inches (sight) Gouache, pencil, and charcoal on board, c. 1940s Unsigned Provenance: Estate of Seymour Fogel, noted verso Thomas McCormick Gallery...

Chita Rivera BYE BYE BIRDIE Original 1960 Broadway Costume Drawing Tony Awards Miles White (1915 – 2000) ChITA RIVERA in BYE BYE BIRDIE 11 x 8 inches M...

Abstract Mid 20th Century WPA Non Objective American Modernism New Hope Modern.mixed media. 21 x 16 (sight). Housed in a hand carved frame. Louis King Stone ...

2022 Watercolor, color pencil, salt, and gouache on paper Dimensions: 9x12" "Alligator Woman" is a surrealist work on paper which explores one's relationship to their hidden streng...

MODERNIST DRAWING New Hope Mid-Century WPA Abstract Non-Objective Jazz Modern. Signed with a "Ramstonev" stamp lower right. RAMSTONEV Cooperative Art Project (1937-1939). In the late 1930s, Charles Ramsey became close friends with Charles Evans and Louis Stone. He persuaded them to join him teaching his New Hope summer classes in non-objective painting. Soon, a history-making collaboration began. In 1937, meeting in Evans' studio at the rear of Cryer's Hardware store on Main Street in New Hope, a decision was made to establish the Co-Operative Painting Project. They were intrigued by the cooperative ad-lib process by which jazz musicians created their music. Believing this to be the quintessential American contribution to music, they theorized that a similar result might be obtainable with art, a "visual jam session." This particlarly fascinated Ramsey, who was a jazz buff and had a large collection of jazz records. The objective was to jointly collaborate in the creation of a painting as well as applying collective criticism during its creation. By creating forward movement by general consent, they believed they could produce a higher level of beauty. By consensus it was decided that subject matter would be non-objective. Up to eight people would participate and stop when the painting "felt" finished by common agreement. These co-operative works were done in several different mediums- the majority in pastel, but some in watercolor, gouache, graphite or cut paper collage. On occasion, the group would create a series, as opposed to a single work, created in steps by three or four artists. One of the occasional participants was famed New Hope poet, Stanley Kunitz. These series could range in number from four to sixteen paintings in each. The first of a series would be very basic and the last a fully finished work. In the scope of importance among the New Hope Modernist...

Golden Lotus I is a mixed media drawing. The drawing is being framed in a finely crafted gilded lacquered wood frame. The inner gilded lacquered wood frame and the Thai silk in magen...

Untitled (blue & red diamonds) Gouache on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / Gestural Abstraction / ...