FOMOBOY Abstract Drawings and Watercolors
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Untitled Floral Still Life
Located in Wilton Manors, FL
Beautiful floral still life by American artist Jane Piper (1916-1991) .
Untitled. 1980.
Pastel, oil crayon and pencil on tracing paper. Image measuring 9 x 12 inches in original ...
Category
1980s Abstract Still-life Drawings and Watercolors
Materials
Parchment Paper, Crayon, Pastel, Pencil
Untitled Modernist (Abstract Expressionist Figurative Painting)
Located in Wilton Manors, FL
Beautiful Abstract expressionist figure signed Kline. Charcoal on paper measuring 10 x 13 inches. Sheet is glued down to foam board backing. Total measurement 13 x 16 inches.
Category
Mid-20th Century Abstract Expressionist Abstract Drawings and Watercolors
Materials
Paper, Ink
Animal Capers (Black Surrealist Artist)
By Roland Ayers
Located in Wilton Manors, FL
Surrealist proto-Afropunk drawing by African-American artist, Roland Ayers (1932-2014).
Animal Capers, ca. 1970 .
Ink on illustration board, image measures 20 inches. inches; illustration panel measures 21.5 inches. Unsigned.
Minor staining evident in detail photos
Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively.
In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery.
During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic.
A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe.
Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content.
Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...
Category
1970s Surrealist Abstract Drawings and Watercolors
Materials
Ink, Archival Paper
Untitled Floral Still Life
Located in Wilton Manors, FL
Beautiful floral still life by American artist Jane Piper (1916-1991) . Pastel, oil crayon and pencil on tracing paper. Image measuring 13 x 15.5 inches in ...
Category
1980s Abstract Still-life Drawings and Watercolors
Materials
Parchment Paper, Crayon, Pastel, Pencil
Hesitation Blues (Black Surrealist Artist)
By Roland Ayers
Located in Wilton Manors, FL
Surrealist proto-Afropunk drawing by African-American artist, Roland Ayers (1932-2014). Hesitation Blues, 1968. Ink on paper, sheet measures 13 x 23 inches; 14 x 18 inches in archival pH-neutral matting. Signed and dated lower right. Excellent condition with no damage or restoration.
Provenance: Sheila Ayers-Whitelaw
Exhibition History: Roland Ayers: Calligraphy of Dreams, Woodmere Art Museum, 07/10/2021 - 10/24/2021
Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively.
In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery.
During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic.
A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe.
Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content.
Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...
Category
1960s Surrealist Abstract Drawings and Watercolors
Materials
Ink, Archival Paper
Portrait of Aiko
Located in Wilton Manors, FL
Seiichi Hara (Japanese). Portrait of Aiko, 1972. Pencil, gouache on paper. Sheet measures 16 x 20 inches. Signed lower right and en verso. Custom frame of hardwood with welded steel ...
Category
1970s Abstract Abstract Drawings and Watercolors
Materials
Paper, Gouache, Pencil
Nude Study
By Federico Castellon
Located in Wilton Manors, FL
double-sided c.1950's drawing by Spanish artist, Federico Castellon (1914-1971). Ink on wove paper, sheet measures 10 x 13 inches; 21.5 x 24.5 inches in wood frame. Excellent condition with no restoration or damage. Signed with artist's chop in red ink seal that he used in Asia. From a recently discovered collection of over 60 important Castellon drawings and watercolors c.1939-1950.
Birth place:
Almeria, SpainDeath place: New York, NYAddresses: NYC (immigrated 1921; citizen, 1943)Profession: Painter, graphic artist, sculptor, etcher, illustrator, teacher
Exhibited:
Weyhe Gal., 1934, 1936-40; AIC, 1935-47 (prize, 1938); AFA traveling exh., 1937; WMAA, 1938-45; PAFA, 1938-39, 1940 (prize), 1941-42; Carnegie Inst., 1942; PAFA, 1943-53; Assoc. Am. Ar., 1946 (prize), 1952 (solo); Corcoran Gal, 1947; LOC, 1949 (prize); Paris, France, 1952; Bombay, India, 1952; Gallery 10, 1961; Dintenfass Gal., N.Y., 1963; Phila. Pr. Cl., 1964 (prize); Hudson Gld. A., 1964; Great Neck, L.I., 1964; SAGA, 1964 (prize). In 1953, under the auspices of State Dept. Specialist Div., of I.E.S., he exhibited in Venezuela, Colombia, Peru, Chile, Bolivia, Uruguay, Argentina, Paraguay, with lectures in each country.
Awards:
F., Spanish Republic, 1934-36; fellow, Guggenheim Fnd., 1941, 1950; Nat. Inst. A. & Let. Grant, 1950.
Member:
NA; SAGAWork: WMAA; PAFA; MoMA; PMA; MMA; BM; AIC; NYPL; LOC; Univ. KY; San Diego Mus. FA; Newark (NJ) Pub. Lib.; Princeton Univ. (Frank Jewett Mather Coll.).
Comments:
A Surrealist painter whose imagery of the 1930s was greatly influenced by Dali. His full name was Federico Cristencia de Castellón y Martinez. Teacher: Columbia Univ., 1946-61; Pratt Inst., Brooklyn, 1952-61. Illustrator: Shenandoah, 1941; I Went into the Country, 1941; Bulfinch's Mythology, 1948; The Story of Marco Polo, 1954; The Man Who Changed China, 1954; The Story of J. J. Audubon, 1955; The Little Prince, 1954; The Life of Robert L. Stevenson, 1954. Reproduction of paintings on The Sumerian Civilization" for Life series "The Epic of Man," 1956; 15 paintings on "The History of Medicine" for MD magazine, 1960-61; The Story of Madame Curie...
Category
Mid-20th Century Cubist Nude Drawings and Watercolors
Materials
Paper, Ink
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