Art

Untitled Abstraction, 1958, oil on board, signed and dated lower left, 24 x 35 inches, presented in a newer frame Oscar Edmund Thalinger was an American painter, draftsman, printmaker, and muralist best known for his evocative depictions of the American Midwest, his 1950s and 60s abstractions, and his contributions to Missouri art...

Of The Night, c. 1950s, mixed media on canvas, signed lower right, 10 x 30 inches, artist's label verso reads: "Telephone Gramercy 7-7338 / 'Of The Night' / $350 / Naomi Lorne / 124...

North Sea Catch, c. 1950s, oil on canvas, signed lower right, 25 x 30 inches, titled verso, together with the artist's name and address, presented in an older (perhaps original) stri...

Untitled (Still Life in Landscape), third quarter 20th Century, watercolor on paper, signed lower right, 31 x 22 1/2 inches, presented in an older (perhaps original) frame, the work...

Dancing Figures (Untitled), 1944, oil on canvas, signed and dated lower right, 22 x 34 1/4 inches, presented in its original strip wood frame, from the estate of the artist Ernest Ro...

That Which Passes, c. 1950, oil on board, signed lower right, 24 x 34 inches Roman Maraz was an American painter, designer, and educator whose work reflected modernist trends in th...

Man With Necktie, third quarter 20th century, oil on canvas signed lower right, 29 x 23 3/4 inches, titled verso, presented in a new frame David Segel was an American painter, scul...

Abstraction (Untitled), 1949, oil on canvas, signed and dated verso, 30 x 32 inches, presented in a new wooden strip frame Jerry Opper was an American painter, printmaker, and comm...

Still Life, 1962, watercolor on paper, signed and dated lower right, 14 1/2 x 19 1/2 inches (sight), label verso bears title and artist's name James Couper Wright was a Scottish-bo...

House in Abstract Landscape (Untitled), c. 1950s, oil on board, estate stamp verso, 18 x24 inches, presented in an older frame Fiske Boyd was a Philadelphia-born painter, printmaker...

Dam and Power Plant (Untitled), third quarter 20th century, oil on paper on panel, signed lower right, 30 x 24 inches, presented in a newer frame Conrad Buff was a Swiss-born paint...

Untitled (perhaps Symphony in Blue), c. 1929, oil on Celotex, unsigned, 16 1/2 x 8 3/4 inches, likely exhibited at Negulesco's solo exhibition at Yorke Gallery, Washington DC, Februa...

Reversible Composition, c. 1937, oil on composition board, signed verso in pencil, 12 x 15 / 15 x 12 inches, “#11” “22” and #104” annotated verso, label verso reads on one side: “Cha...

Isotopic Matriculation, c. late 1940s, mixed media on Masonite, signed lower right, 15 x 18 inches, label verso reads: "Isotopic Matriculation / Ed Cowley / Price $25", presented in ...

Martha's Vineyard, c. 1951, oil on heavy board, signed upper left, 24 x 30 inches, signed, titled and dated verso, presented in a period frame Maurice Becker was a Russian-born Amer...

Sun Image, 1936, oil on canvas, signed lower right, 30 x 24 inches, presented in a newer frame Jerre Murry was a California modernist painter. Born in Columbia, Missouri, Murry stu...

Untitled, 1953, oil on Masonite, signed and dated lower left, 7 x 11 1/2 inches, presented in an older (likely original) frame Ralph McGuire was an American painter whose work celeb...

Man at Machine, 1939, oil on canvas, unsigned, 9 ½ x 16 inches, label verso bears artist’s name and address, title, date, size and medium of the painting, exhibited Roszak Early Pain...

Five Potted Plants, 1929, oil on canvas, signed and dated upper right, 38 ½ x 47 inches, titled verso, label with “#13” verso, noted “#9” verso; exhibited: 1) 45 Painters and Sculpto...

Wind Flowers in a Tzu Chow Vase, 1933, oil on canvas board, signed and dated lower right, 20 x 16 inches, label verso with title and original price ($185.00), exhibited 44th Annual E...

Peaches in a Pot, c. 1970s/80s, oil on canvas, signed lower right, 16 x 20 inches, original label verso, presented in its original frame Peaches in a Pot is an excellent example of...

Manayunk Fountain & Silverwood Sts, 1938, oil on canvas board, signed and dated lower right, titled and dated verso, 20 x 16 inches Although Florence Prince Ewing’s paintings ex...

Untitled, 1971, mixed media collage with painted and printed elements on paper, signed and dated lower right, 9 x 10 5/8 inches, exhibited Phoenix Gallery, New York, NY, unknown date...

Portrait of J. L. David (Portrait), c. 1930, oil on canvas adhered to board, apparently unsigned, 26 x 20 inches, exhibited: 1) Fourth Annual State-Wide Exhibition, Santa Cruz Art Le...

Spring Snowfall Seattle, 1937, watercolor on paper mounted on panel, signed lower right, 16 ½ x 17 ½ inches (image) 17 x 22 ½ inches (panel), ), title, measurements and Helder’s addr...

Children’s Theater, 1934, watercolor on paper, signed and dated lower right, 10 ¾ x 12 5/8 inches (image) Children’s Theater is a fine example of Berlandina’s modernist approach to ...

Untitled (Houses in the Hills), 1946, watercolor on paper, signed and dated lower right, 14 x 20 inches (image), 24 x 30 inches (frame) Dorothy Sklar was a popular and prolific Los ...

Loaves, 1937, oil on canvas, signed and dated lower left, 16 x 26 ¼ inches, exhibited at the Seventeenth Exhibition of Artists Members, Chicago Galleries Association, Chicago, IL, De...

Lady with White Bird, 1976, mixed media construction on wood panel, signed, dated, and titled verso, 17 x 17 inches, exhibited Ilse Getz Paintings, Collages, Constructions, Neuberger...

Untitled (New Bedford), 1933, oil on canvas, signed and dated lower right, 16 x 20 inches Hope Shippee Bunin was a multi-faceted artist, who worked as a painter, designer, and one ...

Spring, c. late 1940s, oil on canvas, signed lower right, 26 x 16 inches, label verso with title, original price, and artist's name Spring is an early work, likely from the late 19...

Untitled (Dallas Skyline), likely before 1934, oil on canvas, signed lower right, 13 x 11 inches, labels verso with artist’s name, date and place of birth (Dallas) In this rare work...

Untitled (perhaps New Jersey Factories), c. 1940s, oil on board, signed lower left, 24 x 28 inches, perhaps exhibited Fifty-First Annual Exhibition, National Association of Women Art...

NY Skyline, 1942, oil on canvas, signed and dated lower left, 24 x 20 inches, dated and titled verso, together with Lewis’ address NY Skyline depicts a typical array of Manhattan sk...

San Francisco Fog, 1952, oil on canvas, signed and dated lower right, 20 x 24 inches, label verso bears title and “#17”, Gumps (San Francisco) label verso, exhibited Paintings by Eli...

The Ditch, 1934, oil on board, signed and dated lower right, 18 x 24 inches, label verso has title, artist’s name, Colorado and New York addresses, and original price Virginia True ...

Untitled (Likely Carmel – Point Lobos), c. 1950, mixed media on silk, signed lower right, 16 x 20 inches (image) Carol Kushner Sideman was a California painter. Born in Oakland to R...

Untitled (New York), c. 1930s, oil and mixed media on canvas, estate stamped verso, 30 x 25 inches Bena Frank Mayer was a New York-based painter. Together with her husband, fellow ...

Untitled (Carmel), c. 1920s, oil on canvas, signed lower right, 18 x 24 inches, signed several times verso, illegible writing verso with the word “Carmel” and what appears to be “Rooms and Apts,” perhaps the title of the work Untitled (Carmel) is a pleasing example of California plein air painting from the early 20th century. Morgan's light touch and pastel-colored palette do a convincing job of capturing the unique California light falling over a downtown street in Carmel, a burgeoning tourist destination. The artist spent much of her career in Northern California and was a member of the Carmel Art Association. Born in Lakeville, California, Morgan studied at the San Francisco School of Design with Arthur Matthews and Emil Carlsen and later in life at the University of California Berkeley where she earned an MFA degree in 1928. She exhibited across Northern California, including at the Mechanics Institute in San Francisco, with the San Francisco Art Association, Carmel Arts & Crafts Club, Carmel Art Association, California Statewide Exhibitions, and Oakland Art Gallery. She was the sister-in-law of fellow artist Mary DeNeale Morgan, with whom she sometimes shared a studio. Charlotte Morgan...

Home to Thanksgiving, c. third quarter 20th century, oil on Masonite, signed lower left, 26 ¼ x 20 inches Priscilla Roberts was an American painter who rose to prominence in the 194...

The Summer House, 1941, oil on Masonite, signed and dated lower right, signed, titled, and dated verso, 16 x 20 ¼ inches Constance Coleman Richardson was a well-regarded Detroit-bas...

Moving Forms, c. 1947, oil on canvas, apparently unsigned, 23 ½ x 20 inches, exhibited The Twenty-Seventh Annual Exhibition of the Southern States Art League, Virginia Museum of Fine...

Provincetown Landscape (Ptown Landscape), 1942, oil on canvas board, signed lower left, 20 x 24 inches, titled and dated verso, labels verso read 1) “Provincetown Landscape / oil painting by Buelah Stevenson / 252 Fulton St. / Brkn / price $ [illegible] /” and 2) “New York Society of Women Artists”, perhaps exhibited: 1) Society of Independent Artists, American Society of Fine Arts, New York, NY, 1942 – 1944 under the title “Landscape", 2) 17th Annual Exhibition of the New York Society of Women Artists, New York, NY, February - March, 1942; and/or 3) Beulah Stevenson Paintings, Fifteen Gallery, New York, NY, April 6 -18, 1942 Provincetown Landscape is a beautiful example of Beulah Stevenson's painting from the 1940s, a time when she honed her mature style which emphasized rhythmic patterns developed in a semi-abstract idiom executed with a bright, saturated palette. Provincetown had long been a source of inspiration for American painters and Stevenson knew it well from her time studying there with Hans Hoffman. In reviewing her solo exhibition of twenty-five works at Fifteen Gallery which included a large section of Provincetown paintings...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged from Expressionism and Pop Art to the Neo Immaculate paintings and pastels for which she is best known. A native of Venice, Stern and her family fled in 1939 to escape Italy’s repressive racial laws. After living in England for several years, the family arrived in the United States in 1941. A bright and capable student, Stern graduated from New York’s Julia Richman High School at age 15 and soon enrolled in the Pratt Institute to pursue an interdisciplinary education in the arts. Despite majoring in advertising design, Stern favored her fine art courses. She graduated from Pratt in 1946 at age 18 and began working for advertising agencies. After a brief marriage which ended in divorce, Stern married her second husband, who encouraged the artist to study at the Art Students League of New York, under the renowned Japanese American modernist, Yasuo Kuniyoshi. In Fall 1953, Stern gave birth to her first child, Michael, as she continued to study at the Arts Students League. Later in the Spring of 1957, Stern gave birth to her daughter Nina, as she continued to balance motherhood with her fine art practice and commercial art and design work. Stern’s first significant exhibitions were in 1962 at the Waverly Gallery and the Osgood Gallery, both in New York, followed by inclusion of her work in the Bertha Schaefer Traveling Collage Show from 1963 to 1964. Stern made a splash in the avant-garde art world in 1964 when Time magazine reviewed a show at Amel Gallery which featured three of her audio-visual paintings. Time’s critic noted that Stern created the “cleverest noisemakers” in the exhibition. Time dubbed this work “Talkie Pop,” a label which Stern rejected. Following this recognition, Stern was selected for inclusion in The New American Realism at the Worcester Art Museum—a major showcase of leading artists, including Andy Warhol, Robert Indiana, Roy Lichtenstein, and Jasper Johns. After the Worcester exhibition, Stern began to shift away from her “talking” Pop paintings to mysterious, interior scenes with orange, blue or black walls with windows or doors rising above black and white floors, often depopulated, but sometimes with figures. One of these works, Seven Minus Twenty-One Equals Seven, entered the permanent collection of New York’s Museum of Modern Art in 1966. By 1969, Stern began to incorporate industrial images into these scenes, and in the early 1970s, Stern created her first Neo-Immaculate works of rural, and urban landscapes, which she described as her most satisfying work. Stern often depicted locations that she held close -- New York, New Jersey, Iowa (where her son attended college), Sharon, Connecticut (where her family spent weekends and vacations) and her native Venice, Italy. Stern’s success as a Neo Immaculate painter led to consistent New York gallery representation for over two decades, first with Lee Ault & Co and James Yu Gallery, and then Forum Gallery, where she had six solo shows. Stern completed a Neo-Immaculate mural commission for the Port Authority of New York, George Washington Bridge #1 and #2, followed by another commission from the NY Cityarts Public Art Program in 1976 for a mural on Mulberry Street. Stern also enjoyed solo exhibitions in Boston (Eleanor Rigelhaupt Gallery), Connecticut (Silo Gallery, the Hotchkiss School, J. Rosenthal Fine Arts Gallery, Tremaine Gallery, and Staib Gallery), Chicago (Michael Rosenfeld Gallery), and Santa Fe (Santa Fe East Gallery). Her work was included in group shows at over a dozen public institutions, including The National Academy of Design, The Staten Island Museum, Worcester Art Museum, the Oklahoma Art Center, and the Arkansas Art Center. The Southern Alleghenies Museum of Art hosted a retrospective of four decades of Stern’s work from January 19 to April 22, 2007, entitled Perception and the Cultural Environment: The Paintings of Marina...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Previously exhibited 1) Marina Stern Nocturnes, Forum Gallery, New York, NY, September 9 to 24, 1993, no. 17 (label verso); and 2) Perception and the Cultural Environment – The Paintings of Marina...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Previously exhibited: Marina Stern Nocturnes, Forum Gallery, New York, N...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged from Expressionism and Pop Art to the Neo Immaculate paintings and pastels for which she is best known. A native of Venice, Stern and her family fled in 1939 to escape Italy’s repressive racial laws. After living in England for several years, the family arrived in the United States in 1941. A bright and capable student, Stern graduated from New York’s Julia Richman High School at age 15 and soon enrolled in the Pratt Institute to pursue an interdisciplinary education in the arts. Despite majoring in advertising design, Stern favored her fine art courses. She graduated from Pratt in 1946 at age 18 and began working for advertising agencies. After a brief marriage which ended in divorce, Stern married her second husband, who encouraged the artist to study at the Art Students League of New York, under the renowned Japanese American modernist, Yasuo Kuniyoshi. In Fall 1953, Stern gave birth to her first child, Michael, as she continued to study at the Arts Students League. Later in the Spring of 1957, Stern gave birth to her daughter Nina, as she continued to balance motherhood with her fine art practice and commercial art and design work. Stern’s first significant exhibitions were in 1962 at the Waverly Gallery and the Osgood Gallery, both in New York, followed by inclusion of her work in the Bertha Schaefer Traveling Collage Show from 1963 to 1964. Stern made a splash in the avant-garde art world in 1964 when Time magazine reviewed a show at Amel Gallery which featured three of her audio-visual paintings. Time’s critic noted that Stern created the “cleverest noisemakers” in the exhibition. Time dubbed this work “Talkie Pop,” a label which Stern rejected. Following this recognition, Stern was selected for inclusion in The New American Realism at the Worcester Art Museum—a major showcase of leading artists, including Andy Warhol, Robert Indiana, Roy Lichtenstein, and Jasper Johns. After the Worcester exhibition, Stern began to shift away from her “talking” Pop paintings to mysterious, interior scenes with orange, blue or black walls with windows or doors rising above black and white floors, often depopulated, but sometimes with figures. One of these works, Seven Minus Twenty-One Equals Seven, entered the permanent collection of New York’s Museum of Modern Art in 1966. By 1969, Stern began to incorporate industrial images into these scenes, and in the early 1970s, Stern created her first Neo-Immaculate works of rural, and urban landscapes, which she described as her most satisfying work. Stern often depicted locations that she held close -- New York, New Jersey, Iowa (where her son attended college), Sharon, Connecticut (where her family spent weekends and vacations) and her native Venice, Italy. Stern’s success as a Neo Immaculate painter led to consistent New York gallery representation for over two decades, first with Lee Ault & Co and James Yu Gallery, and then Forum Gallery, where she had six solo shows. Stern completed a Neo-Immaculate mural commission for the Port Authority of New York, George Washington Bridge #1 and #2, followed by another commission from the NY Cityarts Public Art Program in 1976 for a mural on Mulberry Street. Stern also enjoyed solo exhibitions in Boston (Eleanor Rigelhaupt Gallery), Connecticut (Silo Gallery, the Hotchkiss School, J. Rosenthal Fine Arts Gallery, Tremaine Gallery, and Staib Gallery), Chicago (Michael Rosenfeld Gallery), and Santa Fe (Santa Fe East Gallery). Her work was included in group shows at over a dozen public institutions, including The National Academy of Design, The Staten Island Museum, Worcester Art Museum, the Oklahoma Art Center, and the Arkansas Art Center. The Southern Alleghenies Museum of Art hosted a retrospective of four decades of Stern’s work from January 19 to April 22, 2007, entitled Perception and the Cultural Environment: The Paintings of Marina...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged from Expressionism and Pop Art to the Neo Immaculate paintings and pastels for which she is best known. A native of Venice, Stern and her family fled in 1939 to escape Italy’s repressive racial laws. After living in England for several years, the family arrived in the United States in 1941. A bright and capable student, Stern graduated from New York’s Julia Richman High School at age 15 and soon enrolled in the Pratt Institute to pursue an interdisciplinary education in the arts. Despite majoring in advertising design, Stern favored her fine art courses. She graduated from Pratt in 1946 at age 18 and began working for advertising agencies. After a brief marriage which ended in divorce, Stern married her second husband, who encouraged the artist to study at the Art Students League of New York, under the renowned Japanese American modernist, Yasuo Kuniyoshi. In Fall 1953, Stern gave birth to her first child, Michael, as she continued to study at the Arts Students League. Later in the Spring of 1957, Stern gave birth to her daughter Nina, as she continued to balance motherhood with her fine art practice and commercial art and design work. Stern’s first significant exhibitions were in 1962 at the Waverly Gallery and the Osgood Gallery, both in New York, followed by inclusion of her work in the Bertha Schaefer Traveling Collage Show from 1963 to 1964. Stern made a splash in the avant-garde art world in 1964 when Time magazine reviewed a show at Amel Gallery which featured three of her audio-visual paintings. Time’s critic noted that Stern created the “cleverest noisemakers” in the exhibition. Time dubbed this work “Talkie Pop,” a label which Stern rejected. Following this recognition, Stern was selected for inclusion in The New American Realism at the Worcester Art Museum—a major showcase of leading artists, including Andy Warhol, Robert Indiana, Roy Lichtenstein, and Jasper Johns. After the Worcester exhibition, Stern began to shift away from her “talking” Pop paintings to mysterious, interior scenes with orange, blue or black walls with windows or doors rising above black and white floors, often depopulated, but sometimes with figures. One of these works, Seven Minus Twenty-One Equals Seven, entered the permanent collection of New York’s Museum of Modern Art in 1966. By 1969, Stern began to incorporate industrial images into these scenes, and in the early 1970s, Stern created her first Neo-Immaculate works of rural, and urban landscapes, which she described as her most satisfying work. Stern often depicted locations that she held close -- New York, New Jersey, Iowa (where her son attended college), Sharon, Connecticut (where her family spent weekends and vacations) and her native Venice, Italy. Stern’s success as a Neo Immaculate painter led to consistent New York gallery representation for over two decades, first with Lee Ault & Co and James Yu Gallery, and then Forum Gallery, where she had six solo shows. Stern completed a Neo-Immaculate mural commission for the Port Authority of New York, George Washington Bridge #1 and #2, followed by another commission from the NY Cityarts Public Art Program in 1976 for a mural on Mulberry Street. Stern also enjoyed solo exhibitions in Boston (Eleanor Rigelhaupt Gallery), Connecticut (Silo Gallery, the Hotchkiss School, J. Rosenthal Fine Arts Gallery, Tremaine Gallery, and Staib Gallery), Chicago (Michael Rosenfeld Gallery), and Santa Fe (Santa Fe East Gallery). Her work was included in group shows at over a dozen public institutions, including The National Academy of Design, The Staten Island Museum, Worcester Art Museum, the Oklahoma Art Center, and the Arkansas Art Center. The Southern Alleghenies Museum of Art hosted a retrospective of four decades of Stern’s work from January 19 to April 22, 2007, entitled Perception and the Cultural Environment: The Paintings of Marina...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. This work consists of six oils on canvas framed together by the artist. ...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Literature: Marina Stern Paintings and Drawings, privately published (20...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Literature: Marina Stern Paintings and Drawings, privately published (2015), p. 6. Marina Stern was a multifaceted New York-based artist whose works ranged from Expressionism and Pop Art to the Neo Immaculate paintings and pastels for which she is best known. A native of Venice, Stern and her family fled in 1939 to escape Italy’s repressive racial laws. After living in England for several years, the family arrived in the United States in 1941. A bright and capable student, Stern graduated from New York’s Julia Richman High School at age 15 and soon enrolled in the Pratt Institute to pursue an interdisciplinary education in the arts. Despite majoring in advertising design, Stern favored her fine art courses. She graduated from Pratt in 1946 at age 18 and began working for advertising agencies. After a brief marriage which ended in divorce, Stern married her second husband, who encouraged the artist to study at the Art Students League of New York, under the renowned Japanese American modernist, Yasuo Kuniyoshi. In Fall 1953, Stern gave birth to her first child, Michael, as she continued to study at the Arts Students League. Later in the Spring of 1957, Stern gave birth to her daughter Nina, as she continued to balance motherhood with her fine art practice and commercial art and design work. Stern’s first significant exhibitions were in 1962 at the Waverly Gallery and the Osgood Gallery, both in New York, followed by inclusion of her work in the Bertha Schaefer Traveling Collage Show from 1963 to 1964. Stern made a splash in the avant-garde art world in 1964 when Time magazine reviewed a show at Amel Gallery which featured three of her audio-visual paintings. Time’s critic noted that Stern created the “cleverest noisemakers” in the exhibition. Time dubbed this work “Talkie Pop,” a label which Stern rejected. Following this recognition, Stern was selected for inclusion in The New American Realism at the Worcester Art Museum—a major showcase of leading artists, including Andy Warhol, Robert Indiana, Roy Lichtenstein, and Jasper Johns. After the Worcester exhibition, Stern began to shift away from her “talking” Pop paintings to mysterious, interior scenes with orange, blue or black walls with windows or doors rising above black and white floors, often depopulated, but sometimes with figures. One of these works, Seven Minus Twenty-One Equals Seven, entered the permanent collection of New York’s Museum of Modern Art in 1966. By 1969, Stern began to incorporate industrial images into these scenes, and in the early 1970s, Stern created her first Neo-Immaculate works of rural, and urban landscapes, which she described as her most satisfying work. Stern often depicted locations that she held close -- New York, New Jersey, Iowa (where her son attended college), Sharon, Connecticut (where her family spent weekends and vacations) and her native Venice, Italy. Stern’s success as a Neo Immaculate painter led to consistent New York gallery representation for over two decades, first with Lee Ault & Co and James Yu Gallery, and then Forum Gallery, where she had six solo shows. Stern completed a Neo-Immaculate mural commission for the Port Authority of New York, George Washington Bridge #1 and #2, followed by another commission from the NY Cityarts Public Art Program in 1976 for a mural on Mulberry Street. Stern also enjoyed solo exhibitions in Boston (Eleanor Rigelhaupt Gallery), Connecticut (Silo Gallery, the Hotchkiss School, J. Rosenthal Fine Arts Gallery, Tremaine Gallery, and Staib Gallery), Chicago (Michael Rosenfeld Gallery), and Santa Fe (Santa Fe East Gallery). Her work was included in group shows at over a dozen public institutions, including The National Academy of Design, The Staten Island Museum, Worcester Art Museum, the Oklahoma Art Center, and the Arkansas Art Center. The Southern Alleghenies Museum of Art hosted a retrospective of four decades of Stern’s work from January 19 to April 22, 2007, entitled Perception and the Cultural Environment: The Paintings of Marina...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Literature: Marina Stern Paintings and Drawings, privately published (2015), p. 36 Marina Stern was a multifaceted New York-based artist whose works ranged from Expressionism and Pop Art to the Neo Immaculate paintings and pastels for which she is best known. A native of Venice, Stern and her family fled in 1939 to escape Italy’s repressive racial laws. After living in England for several years, the family arrived in the United States in 1941. A bright and capable student, Stern graduated from New York’s Julia Richman High School at age 15 and soon enrolled in the Pratt Institute to pursue an interdisciplinary education in the arts. Despite majoring in advertising design, Stern favored her fine art courses. She graduated from Pratt in 1946 at age 18 and began working for advertising agencies. After a brief marriage which ended in divorce, Stern married her second husband, who encouraged the artist to study at the Art Students League of New York, under the renowned Japanese American modernist, Yasuo Kuniyoshi. In Fall 1953, Stern gave birth to her first child, Michael, as she continued to study at the Arts Students League. Later in the Spring of 1957, Stern gave birth to her daughter Nina, as she continued to balance motherhood with her fine art practice and commercial art and design work. Stern’s first significant exhibitions were in 1962 at the Waverly Gallery and the Osgood Gallery, both in New York, followed by inclusion of her work in the Bertha Schaefer Traveling Collage Show from 1963 to 1964. Stern made a splash in the avant-garde art world in 1964 when Time magazine reviewed a show at Amel Gallery which featured three of her audio-visual paintings. Time’s critic noted that Stern created the “cleverest noisemakers” in the exhibition. Time dubbed this work “Talkie Pop,” a label which Stern rejected. Following this recognition, Stern was selected for inclusion in The New American Realism at the Worcester Art Museum—a major showcase of leading artists, including Andy Warhol, Robert Indiana, Roy Lichtenstein, and Jasper Johns. After the Worcester exhibition, Stern began to shift away from her “talking” Pop paintings to mysterious, interior scenes with orange, blue or black walls with windows or doors rising above black and white floors, often depopulated, but sometimes with figures. One of these works, Seven Minus Twenty-One Equals Seven, entered the permanent collection of New York’s Museum of Modern Art in 1966. By 1969, Stern began to incorporate industrial images into these scenes, and in the early 1970s, Stern created her first Neo-Immaculate works of rural, and urban landscapes, which she described as her most satisfying work. Stern often depicted locations that she held close -- New York, New Jersey, Iowa (where her son attended college), Sharon, Connecticut (where her family spent weekends and vacations) and her native Venice, Italy. Stern’s success as a Neo Immaculate painter led to consistent New York gallery representation for over two decades, first with Lee Ault & Co and James Yu Gallery, and then Forum Gallery, where she had six solo shows. Stern completed a Neo-Immaculate mural commission for the Port Authority of New York, George Washington Bridge #1 and #2, followed by another commission from the NY Cityarts Public Art Program in 1976 for a mural on Mulberry Street. Stern also enjoyed solo exhibitions in Boston (Eleanor Rigelhaupt Gallery), Connecticut (Silo Gallery, the Hotchkiss School, J. Rosenthal Fine Arts Gallery, Tremaine Gallery, and Staib Gallery), Chicago (Michael Rosenfeld Gallery), and Santa Fe (Santa Fe East Gallery). Her work was included in group shows at over a dozen public institutions, including The National Academy of Design, The Staten Island Museum, Worcester Art Museum, the Oklahoma Art Center, and the Arkansas Art Center. The Southern Alleghenies Museum of Art hosted a retrospective of four decades of Stern’s work from January 19 to April 22, 2007, entitled Perception and the Cultural Environment: The Paintings of Marina...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Previously exhibited: Marina Stern Venice – New Works, Forum Gallery, Ne...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Previously exhibited: 1) Marina Stern - New Paintings, Forum Gallery, Ne...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Another example previously exhibited: An Exhibition of Recent Paintings ...