Ascaso Gallery

Carlos Cruz-Diez (1923-2019) Carlos Cruz-Diez spent his life as a passionate painter and enjoyed a very colorful life. Born in Caracas, Venezuela in 1923, as a boy he loved drawing ...

Santiago Medina (born in 1964) is a Colombian-American sculptor. His career spans art, medicine, medical imaging, medical research, and education. Medina is best known for his stain...

Santiago Medina (born in 1964) is a Colombian-American sculptor. His career spans art, medicine, medical imaging, medical research, and education. Medina is best known for his stain...

Las obras del maestro Atchugarry vienen de la naturaleza, es una piedra de marmol forjada por siglos, unica he irrepetible, luego son esculpidas a mano usando las tecnicas originales...

Las obras del maestro Atchugarry vienen de la naturaleza, es una piedra de marmol forjada por siglos, unica he irrepetible, luego son esculpidas a mano usando las tecnicas originales...

Esta es una obra de arte hecha 100% a mano en piedra “Cumarebo” este es un tipo de material muy poroso y delicado de trabajar, lo que hace que su elaboracion y logro sea una faena pr...

Victor Vasarely’s complex paintings and sculptures helped define the ethos of the Op art movement. The artist’s vibrant compositions feature a mix of rigidly geometric and more fluid...

VMA-012, 2015 Edition / Talla directa sobre marmol blanco de Carrara 36 x 16 x 10,5 cm 14.1 x 6.2 x 41.3 in. The "Tu y Yo" (You and Me) series is based on complementary opposites and contain revealing elements of male and female symbology. As a tribute to his teacher Jesús Soto he introduces direct references to the work of the kinetics in hatched backgrounds of lines to produce the optical vibrations characteristic of that movement. JORGE SALAS...

Volumen VPC-038, 1970 Unique Piece Direct carving on Cumarebo stone 40 x 32 x 20 cm 15.7 x 12.5 x 7.8 in ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Volumen VPC-062, 1972 Unique Piece Direct carving on Cumarebo stone 67 x 38 x 20 cm 26.3 x 14.9 x 7.8 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Maqueta Armonía de Volúmenes y Espacios -La Hoyada- BMPC-002, 1980(1982) Edition /25 Bronze 48 x 37 x 26 cm 18.8 x 14.5 x 10.2 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Ofrenda CVIII 108, 2013 Unique Piece Acrilico sobre tela 70 x 70 x cm 27.5 x 27.5 in. About the Artist Born in New York on January 13, 1935. In 1941 he moved with his family to Car...

El cuadragésimo cuarto encuentro, 1997 Acrylic on canvas 112 x 132 x cm 44 x 51.9 x 0 in. About the Artist Born in New York on January 13, 1935. In 1941 he moved with his family to...

05.enero.2013 41 Black, 2013 Unique Piece Aluminum, Enamel 105 x 85 x 25 cm 41.3 x 33.4 x 9.8 in. About The Artist Born in 1970 in Pamplona, Spain. Madrid and New York-based artist...

27 mayo 2011 48 Purple, 2011 Unique Piece Aluminium, Enamel 100 x 91 x 31 cm 39.3 x 35.8 x 12.2 in. About The Artist Born in 1970 in Pamplona, Spain. Madrid and New York-based art...

Maqueta las Toninas, 1944 BMY-022, 1970 Edition 1/25 Bronze 22 x 22 x 10 cm 8.6 x 8.6 x 3.9 in ABOUT THE ARTIST Narvaez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narvaez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narvaez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narvaez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narvaez’s public output continued with works such as the statue of Fermín Toro, La Educacion, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narvaez, Maderas, Piedras y Bronces” (Francisco Narvaez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narvaez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narvaez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narvaez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narvaez is a path: the path that Venezuelan sculpture...

Carlos Medina Rain Cylinder, 1999-2021 Spatial intervention of 60 pieces Polished aluminum carving pieces and nylon Drops. 6.3 in. 16 cm ea. Price: $1...

Carmelo Niño Carolina niña con Marina, 2021 Acrylic on canvas 350 x 200 cm 137.7 x 78.7 in. The work is accompanied by a certificate of authenticity signed by the artist. Carmelo Niño, a Venezuelan artist originally from Maracaibo, Zulia State, an oil-producing region of Venezuela, is today one of the most outstanding painters in the plastic arts landscape in the country. Many years have passed since his birth in 1951 to the present, when he inaugurates this August 2022, a major exhibition at the Ascaso Gallery in Miami, with paintings from different dates resulting from the permanent and daily work of reflection, physical and intellectual, that he has always pursued in his creative life. Without neglecting a single moment of day-to-day life to be in front of the medium-sized canvas on the easel or of larger canvas hanging on a wall, he works in his large studio in the area of El Junco, outside the capital city of Caracas, surrounded by lush green vegetation, with a wonderful climate of pleasant temperature and poetic mist that invites to the reverie and glorification of his life as a painter. From a very early age Niño and his family discovered his vocation for drawing, a discipline in which he showed a special disposition and talent. From this moment on he dedicates his life to art, to the practice of painting, starting from a fantastic and strange world of fantasy, close to surrealism, unfailingly influenced by the circus of fantasy owned by his mother and a musician father. These circumstances will shape the artist's life. His traces and influences from the beginning will be present in his creative work, especially through the memories of the infinite curiosity to look, touch and be enraptured by the strange furniture and objects from his mother's circus that he knew were deposited in a room of the house. This universe of fantasy will leave an indelible mark on his subconscious and will serve as the thematic and artistic support for all his work. In an interview conducted by the critic Roberto Montero Castro in 1977, Carmelo Niño states, "the symbols of my painting come from the everyday life". His life has been one of continuous work and effort. At the age of fifteen he enrolled in the School of Arts of Maracaibo, graduated three years later, 1966, and immediately, with a scholarship, he travelled to Spain, took a few courses at the San Fernando Academy in Madrid, strengthened his preparation in art workshops and in frequent visits to the big museums of this European capital. With a sensitive gaze he penetrates the mysteries of masterpieces of the great artists who have made the universal history of art. His life as a painter has been intense, of intense study, preparation and work. With much composure and modesty he talks about his life and his artistic production, recognized not only in Venezuela, but also internationally. His participation in exhibitions began in 1969 and as early as 1970 he held his first individual exhibition at the Fine Arts Center of Maracaibo. From these dates onwards successes started to come, with the participation in collective and individual exhibitions, in Venezuela and abroad, as well as the awards from 1971, when he won the Scholarship Award at the First National Salon of Young Artists in Maracay, Aragua State; in 1972 he was awarded the Second Prize at the Regional Salon of Maracaibo. 1975 is the year of awards, he received the First Prize at the IV Salon of Young Artists in Caracas; the Aurelio Rodriguez Award at the IV Avellan Salon in Caracas and the First Prize at the Salon of Young Zulian Artists in Maracaibo; he also participated in the group exhibition of History of Painting in Venezuela, at Casa de Las Americas, Havana, Cuba; and in 1976 he was invited by Jose Gomez Sicre to take part in the exhibition of Venezuelan painting...

Carmelo Niño Amantes con escena, 2019 Acrylic on canvas 140 x 200 cm 55.1 x 78.7 in. The work is accompanied by a certificate of authenticity signed by ...

Carmelo Niño La Jaula, 2018 Acrylic on canvas 200 x 200 cm 78.7 x 78.7 in. The work is accompanied by a certificate of authenticity signed by the artist...

Carmelo Niño El Primogénito, 2021 Acrylic on canvas 200 x 120 cm 78.7 x 47.2 in. The work is accompanied by a certificate of authenticity signed by the ...

Carmelo Niño Amantes con escena, 2019 Acrylic on canvas 200 x 400 cm 78.7 x 157.4 in. The work is accompanied by a certificate of authenticity signed b...

Carmelo Niño Celebrando a Kiefer I, 2021 Acrylic on canvas 200 x 126 cm 78.7 x 49.6 in. The work is accompanied by a certificate of authenticity signed by the artist. Carmelo Niño, a Venezuelan artist originally from Maracaibo, Zulia State, an oil-producing region of Venezuela, is today one of the most outstanding painters in the plastic arts landscape in the country. Many years have passed since his birth in 1951 to the present, when he inaugurates this August 2022, a major exhibition at the Ascaso Gallery in Miami, with paintings from different dates resulting from the permanent and daily work of reflection, physical and intellectual, that he has always pursued in his creative life. Without neglecting a single moment of day-to-day life to be in front of the medium-sized canvas on the easel or of larger canvas hanging on a wall, he works in his large studio in the area of El Junco, outside the capital city of Caracas, surrounded by lush green vegetation, with a wonderful climate of pleasant temperature and poetic mist that invites to the reverie and glorification of his life as a painter. From a very early age Niño and his family discovered his vocation for drawing, a discipline in which he showed a special disposition and talent. From this moment on he dedicates his life to art, to the practice of painting, starting from a fantastic and strange world of fantasy, close to surrealism, unfailingly influenced by the circus of fantasy owned by his mother and a musician father. These circumstances will shape the artist's life. His traces and influences from the beginning will be present in his creative work, especially through the memories of the infinite curiosity to look, touch and be enraptured by the strange furniture and objects from his mother's circus that he knew were deposited in a room of the house. This universe of fantasy will leave an indelible mark on his subconscious and will serve as the thematic and artistic support for all his work. In an interview conducted by the critic Roberto Montero Castro in 1977, Carmelo Niño states, "the symbols of my painting come from the everyday life". His life has been one of continuous work and effort. At the age of fifteen he enrolled in the School of Arts of Maracaibo, graduated three years later, 1966, and immediately, with a scholarship, he travelled to Spain, took a few courses at the San Fernando Academy in Madrid, strengthened his preparation in art workshops and in frequent visits to the big museums of this European capital. With a sensitive gaze he penetrates the mysteries of masterpieces of the great artists who have made the universal history of art. His life as a painter has been intense, of intense study, preparation and work. With much composure and modesty he talks about his life and his artistic production, recognized not only in Venezuela, but also internationally. His participation in exhibitions began in 1969 and as early as 1970 he held his first individual exhibition at the Fine Arts Center of Maracaibo. From these dates onwards successes started to come, with the participation in collective and individual exhibitions, in Venezuela and abroad, as well as the awards from 1971, when he won the Scholarship Award at the First National Salon of Young Artists in Maracay, Aragua State; in 1972 he was awarded the Second Prize at the Regional Salon of Maracaibo. 1975 is the year of awards, he received the First Prize at the IV Salon of Young Artists in Caracas; the Aurelio Rodriguez Award at the IV Avellan Salon in Caracas and the First Prize at the Salon of Young Zulian Artists in Maracaibo; he also participated in the group exhibition of History of Painting in Venezuela, at Casa de Las Americas, Havana, Cuba; and in 1976 he was invited by Jose Gomez Sicre to take part in the exhibition of Venezuelan painting...

Carmelo Niño La arlequín con mascara dorada, 2021 Acrylic on canvas 169 x 149.8 cm 63 x 59 in. The work is accompanied by a certificate of authenticity signed by the artist. Carmelo Niño, a Venezuelan artist originally from Maracaibo, Zulia State, an oil-producing region of Venezuela, is today one of the most outstanding painters in the plastic arts landscape in the country. Many years have passed since his birth in 1951 to the present, when he inaugurates this August 2022, a major exhibition at the Ascaso Gallery in Miami, with paintings from different dates resulting from the permanent and daily work of reflection, physical and intellectual, that he has always pursued in his creative life. Without neglecting a single moment of day-to-day life to be in front of the medium-sized canvas on the easel or of larger canvas hanging on a wall, he works in his large studio in the area of El Junco, outside the capital city of Caracas, surrounded by lush green vegetation, with a wonderful climate of pleasant temperature and poetic mist that invites to the reverie and glorification of his life as a painter. From a very early age Niño and his family discovered his vocation for drawing, a discipline in which he showed a special disposition and talent. From this moment on he dedicates his life to art, to the practice of painting, starting from a fantastic and strange world of fantasy, close to surrealism, unfailingly influenced by the circus of fantasy owned by his mother and a musician father. These circumstances will shape the artist's life. His traces and influences from the beginning will be present in his creative work, especially through the memories of the infinite curiosity to look, touch and be enraptured by the strange furniture and objects from his mother's circus that he knew were deposited in a room of the house. This universe of fantasy will leave an indelible mark on his subconscious and will serve as the thematic and artistic support for all his work. In an interview conducted by the critic Roberto Montero Castro in 1977, Carmelo Niño states, "the symbols of my painting come from the everyday life". His life has been one of continuous work and effort. At the age of fifteen he enrolled in the School of Arts of Maracaibo, graduated three years later, 1966, and immediately, with a scholarship, he travelled to Spain, took a few courses at the San Fernando Academy in Madrid, strengthened his preparation in art workshops and in frequent visits to the big museums of this European capital. With a sensitive gaze he penetrates the mysteries of masterpieces of the great artists who have made the universal history of art. His life as a painter has been intense, of intense study, preparation and work. With much composure and modesty he talks about his life and his artistic production, recognized not only in Venezuela, but also internationally. His participation in exhibitions began in 1969 and as early as 1970 he held his first individual exhibition at the Fine Arts Center of Maracaibo. From these dates onwards successes started to come, with the participation in collective and individual exhibitions, in Venezuela and abroad, as well as the awards from 1971, when he won the Scholarship Award at the First National Salon of Young Artists in Maracay, Aragua State; in 1972 he was awarded the Second Prize at the Regional Salon of Maracaibo. 1975 is the year of awards, he received the First Prize at the IV Salon of Young Artists in Caracas; the Aurelio Rodriguez Award at the IV Avellan Salon in Caracas and the First Prize at the Salon of Young Zulian Artists in Maracaibo; he also participated in the group exhibition of History of Painting in Venezuela, at Casa de Las Americas, Havana, Cuba; and in 1976 he was invited by Jose Gomez Sicre to take part in the exhibition of Venezuelan painting...

Carmelo Niño Gran arlequín, 2019 Acrylic on canvas 200 x 100 cm 78.7 x 39.3 in. The work is accompanied by a certificate of authenticity signed by the ar...

Carmelo Niño Arlequín azul con ángel, 2015 Acrylic on canvas 177x 124 cm 69.6 x 48.8 in. The work is accompanied by a certificate of authenticity signe...

Carmelo Niño Lechera, 2014 Oil on canvas 207 x 149 cm 81.4 x 58.6 in. The work is accompanied by a certificate of authenticity signed by the artist. Carmelo Niño, a Venezuelan artist originally from Maracaibo, Zulia State, an oil-producing region of Venezuela, is today one of the most outstanding painters in the plastic arts landscape in the country. Many years have passed since his birth in 1951 to the present, when he inaugurates this August 2022, a major exhibition at the Ascaso Gallery in Miami, with paintings from different dates resulting from the permanent and daily work of reflection, physical and intellectual, that he has always pursued in his creative life. Without neglecting a single moment of day-to-day life to be in front of the medium-sized canvas on the easel or of larger canvas hanging on a wall, he works in his large studio in the area of El Junco, outside the capital city of Caracas, surrounded by lush green vegetation, with a wonderful climate of pleasant temperature and poetic mist that invites to the reverie and glorification of his life as a painter. From a very early age Niño and his family discovered his vocation for drawing, a discipline in which he showed a special disposition and talent. From this moment on he dedicates his life to art, to the practice of painting, starting from a fantastic and strange world of fantasy, close to surrealism, unfailingly influenced by the circus of fantasy owned by his mother and a musician father. These circumstances will shape the artist's life. His traces and influences from the beginning will be present in his creative work, especially through the memories of the infinite curiosity to look, touch and be enraptured by the strange furniture and objects from his mother's circus that he knew were deposited in a room of the house. This universe of fantasy will leave an indelible mark on his subconscious and will serve as the thematic and artistic support for all his work. In an interview conducted by the critic Roberto Montero Castro in 1977, Carmelo Niño states, "the symbols of my painting come from the everyday life". His life has been one of continuous work and effort. At the age of fifteen he enrolled in the School of Arts of Maracaibo, graduated three years later, 1966, and immediately, with a scholarship, he travelled to Spain, took a few courses at the San Fernando Academy in Madrid, strengthened his preparation in art workshops and in frequent visits to the big museums of this European capital. With a sensitive gaze he penetrates the mysteries of masterpieces of the great artists who have made the universal history of art. His life as a painter has been intense, of intense study, preparation and work. With much composure and modesty he talks about his life and his artistic production, recognized not only in Venezuela, but also internationally. His participation in exhibitions began in 1969 and as early as 1970 he held his first individual exhibition at the Fine Arts Center of Maracaibo. From these dates onwards successes started to come, with the participation in collective and individual exhibitions, in Venezuela and abroad, as well as the awards from 1971, when he won the Scholarship Award at the First National Salon of Young Artists in Maracay, Aragua State; in 1972 he was awarded the Second Prize at the Regional Salon of Maracaibo. 1975 is the year of awards, he received the First Prize at the IV Salon of Young Artists in Caracas; the Aurelio Rodriguez Award at the IV Avellan Salon in Caracas and the First Prize at the Salon of Young Zulian Artists in Maracaibo; he also participated in the group exhibition of History of Painting in Venezuela, at Casa de Las Americas, Havana, Cuba; and in 1976 he was invited by Jose Gomez Sicre to take part in the exhibition of Venezuelan painting...

Armando Barrios Composición XXVI , 1955 Oil on canvas 110 x 66 cm 43.3 x 25.9 in. The work is registered under No. 254, in the General Catalog (1930 - 1999) La Pintura Como Razón de Ser, edited by Armando Barrios Foundation, Caracas, Venezuela, 2005. " Armando Barrios was born in Caracas on August 21, 1920. Son of Serapio Barrios and Carmen Rodríguez de Barrios, both of Spanish origin. Since his adolescence he developed a great love for the arts, so from the age of 12 he was already studying at the School of Fine Arts and Applied Arts in Caracas. His searches in the artistic field were initially directed towards the study of the Impressionist and Cubist schools...

Francisco Narváez Forma (BFM-002), 1956 Bronze (1970) Edition of 25 30 x 8 x 10 cm 11.8 x 3.1 x 3.9 in. LITTERATURE Registro General de la obra de...

Francisco Narváez Forma (BFM-049), 1956 Bronze (1970) Edition of 25 30 x 8 x 10 cm 11.8 x 3.1 x 3.9 in. LITTERATURE Registro General de la obra de...

Francisco Narváez Volumen (BVM-002), 1974 Bronze (1974) Edition of 25 15 x 20.5 x 10.5 cm 5.9 x 8 x 4.1 in. LITTERATURE El Proceso Creativo en Narva...

Rafael Barrios Movil Espiral Fractal (Código M597), 2019 Edition 3/3 Hand Fabricated Lacquered Aluminum 178 x 80 cm 70 x 31.4 in. This artwork is accompanied by a certificate of authenticity directly from the artist. RAFAEL BARRIOS is a Venezuelan artist born in 1947 in Baton Rouge, Louisiana, US. He studied Fine Arts in Canada, the United States, and Venezuela. His artistic trajectory dates back to a very early age. He studied drawing and painting at the Museo de Bellas Artes in Caracas, Venezuela, achieving his first recognition with the award “National Youth Painting” in 1963. Upon completing his basic studies in Venezuela and Canada, he received a scholarship from J. Walter Thompson International to attend the Ontario College of Art in Toronto, Canada, graduating with honors in “Pure Art” and “Communication and Design”. He received a scholarship from New York University (US) to attend its Graduate Program for “Fine Arts” and “Monumental Sculpture Techniques”. He was granted several national and international awards: “The Sculpture Award”, Ernesto Avellán Exhibition; the McLean Foundation Scholarship, the highest award offered by the Ontario College of Art, Canada; the “Excelentísima Diputado Pronvicial de la Frontera” Decoration, for his Monumental Sculpture titled “Tercer Horizonte”, to commemorate 500 years of America’s Discovery, in Palos de la Frontera, Huelva, Spain; “Second Prize” at the Sofia Imber Caracas Contemporary Museum’s Biennial of Visual Arts, in Venezuela; the “Conferry Award”, First Sculpture Biennial, Francisco Narváez...

Víctor Valera Umbria, 1975 Polychromed wood and vinyl 68 x 68 x 10 cm 26.7 x 26.7 x 3.9 in. Signed in back. Victor Valera was born in Maracaibo, Venezu...

Victor Valera Movil continuo, 2012 Edition of 40 + 4AP Acrylic on canvas mounted on MDF (Quadriptyque) 70 x 140 x 12 cm 27.5 x 55.1 x 4.7 in Signed in ba...

Victor Valera Malerma, 2011 Edition of 40 + 4AP Acrylic on canvas mounted on MDF (Quadriptyque) 50 x 120 x 8 cm 19.6 x 47.2 x 3.1 in. Signed in back. V...

Edgar Negret Mascara, 1994 Painted Aluminum 87 x 87 x 32 cm 34.2 x 34.2 x 12.5 in. The artwork is signed and dated on the back and illustrated as follows...

Edgar Negret El Sol Rojo, 1985 Painted Aluminum 250 x 244 x 80 cm 98.4 x 96.1 x 31.5 in. Carlos Jiménez Moreno, Negret Escultor: Homenaje. Villegas Edito...

Felipe Castañeda Desnudo, 1984 Marble 52 x 32 x 35 cm 20.4 x 12.5 x 13.7 in. Felipe Castañeda (Mexican, b.1933) began his artistic career working at...

Felipe Castañeda Mujer con Flores, 1982 Black Marble 52 x 32 x 35 cm 20.4 x 12.5 x 13.7 in. Felipe Castañeda (Mexican, b.1933) began his artistic ca...

Agustín Cárdenas El Violinista, 1989 Bronze. Ed. 4/6 54 x 36 x 22 cm 21.2 x 14.1 x 8.6 in. AGUSTIN CARDENAS (b. 1927, Matanzas, Cuba; d. 2001 Havana,...

Carmelo Niño Arlequin casi nocturno, 2012 Oil on canvas 145 x 125 cm 57 x 49.2 in. "Arlequin casi nocturno" is a painting by Venezuelan artist Carmelo Ni...

Alirio Palacios Versiones, 2012 Mixed media and gold leaf on cardboard (intervened by the artist) 145 x 134 cm 57 x 52.7 in. The artwork is signed and...

Armando Barrios Rostro, 1971 Oil on paper 26.5 x 19 cm 10.4 x 7.4 in. The work is illustrated page 121 No. 0682, in the General Catalog (1930 - 1999) La Pintura Como Razón de Ser, edited by Armando Barrios Foundation, Caracas, Venezuela, 2005. " Armando Barrios was born in Caracas on August 21, 1920. Son of Serapio Barrios and Carmen Rodríguez de Barrios, both of Spanish origin. Since his adolescence he developed a great love for the arts, so from the age of 12 he was already studying at the School of Fine Arts and Applied Arts in Caracas. His searches in the artistic field were initially directed towards the study of the Impressionist and Cubist schools...

Armando Barrios India, 1955 Pastel on paper 41 x 26 cm 16.1 x 10.2 in. The work is illustrated page 70 No. 0256, in the General Catalog (1930 - 1999) La Pintura Como Razón de Ser, edited by Armando Barrios Foundation, Caracas, Venezuela, 2005. " Armando Barrios was born in Caracas on August 21, 1920. Son of Serapio Barrios and Carmen Rodríguez de Barrios, both of Spanish origin. Since his adolescence he developed a great love for the arts, so from the age of 12 he was already studying at the School of Fine Arts and Applied Arts in Caracas. His searches in the artistic field were initially directed towards the study of the Impressionist and Cubist schools...

Cornelis Zitman Divertimiento, 1973 Bronze, AP 72 x 34 x 45 cm 28.3 x 13.3 x 17.7 in. Cornelis Zitman (1926-2016) Born in Leiden in a family of builders, he enters the Fine Arts ...

Oswaldo Vigas Terricola, 1963 Oil on Canvas 116 x 90 cm 45.6 x 35.4 in. The painting is accompanied by a certificate of authenticity. Cat. Rais. 1963.131 Provenance: Private Collect...

Jorge Salas You and Me Series, 2019 Carved and painted on wood Edition of 9 +AP 86,4 x 35,6 x 3.8 cm 34 x 14 x 1.5 in. The "Tu y Yo" (You and Me) series is ...

Jorge Salas You and Me Series / Soto, 2018 Carved and painted on wood 125,7 x 95,3 x 6,4 cm 49.5 x 37.5 x 2.5 in. The "Tu y Yo" (You and Me) series is based ...

Jorge Seguí Ilusion silla, 2000 Bronze, Edition of 7 78 x 90 x 33 cm 30.7 x 35.4 x 12.9 in. Signed and Numbered. Jorge Seguí b. 1945, Argentina. He atte...

Jorge Segui Magic Woman, 2019 Bronze. 1/3 AP 83.8 x 91.4 x 59.6 cm 33 x 36 x 23.5 in. Signed and Numbered. Jorge Seguí b. 1945, Argentina. He attended th...

Jorge Seguí Falsos Heroes en Caballos Míticos, 2010-2013 Bronze, Edition 1/7 110 x 71 x 70 cm 43.3 x 27.9 x 27.5 in. Signed and Numbered. Jorge Seguí b...

Agustín Cárdenas Le Repos Passionné, 1989 Bronze. Ed. 7/7 60 x 145 x 51.5 cm 23.6 x 57 x 20.2 in. The artwork is accompanied by a certificate of aut...

Agustín Cárdenas El Violinista, 1989 Bronze. Ed. 3/3 177 x 120 x 61 cm 69.6 x 47.2 x 24 in. AGUSTIN CARDENAS (b. 1927, Matanzas, Cuba; d. 2001 Havan...

Jorge Seguí Esperansilla, 2003 Bronze, Edition 1/7 + 3AP 71.1 x 40.6 x 30.4 cm 28 x 16 x 12 in. Signed and Numbered. Jorge Seguí b. 1945, Argentina. He a...

Jorge Seguí Ciclista IX, 2010-13 Bronze, Edition 7/7 70.5 x 18 x 70 cm 27.7 x 7 x 27.5 in. Signed and Numbered. Jorge Seguí b. 1945, Argentina. He attend...

Alirio Palacios Paisaje azul, 1997 Natural pigments on paper mounted on wood 150 x 160 cm 59 x 62.9 in. The artwork is signed and dated on the fro...

Pedro Barreto Esfera, Undated Marble ø 25.6 in. ø 65 cm (Depth 5.9 in. 15 cm) Base: 7.9 x 7.9 x 9.8 in. 20 x 20 x 25 cm Pedro Barreto (b. Santa Catalina, Venezuela, 1935; d. Lechería, Venezuela, 2008) His first experiences as a sculptor were with wood, influenced by his place of birth in the Orinoco River delta. Between 1954 and 1958, he studies at the Plastic and Applied Arts School of Caracas. In 1957, his first one-man exhibition took place in Tucupita, earning him a scholarship to study in Europe. He attends the School of Fine Arts of Rome until 1960, after which he travels to Paris and works in Agustín Cárdenas’ studio. In 1973, he is awarded Tokyo’s Shinsakasho Prize and Venezuela’s Salón Arturo Michelena.

Carlos Medina Estudio para cuatro cuadrados, 2013 PVC, brass rod, copper iron on mdf and vinyl acrylic paint 23.7 x 23.6 x 4.3 in. 63 x 63.5 x 11 cm CA...

Carlos Medina Superficie blanca J, 2013 AP (Edition of 6 + AP) PVC, staimless steel rod on mdf and vinyl acrylic paint 23.6 x 23.6 x 2.6 in. 60 x 60 x...

Carlos Medina Fragmento Angular II, 2013 PVC, alumiminum rod, copper iron on mdf and vinyl acrylic paint 24.8 x 25 x 3.1 in. 63 x 63.5 x 8 cm CARLOS ME...