Galeria Sastre s l Abstract Paintings

Title: Caprice 3 Medium: Oil on canvas Size: 12 x 15 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This painting is unstretched Year: 2015 Artist: YiJian Wang...

Highly Decorative, Abstract Oil Painting, Still Life with Honeydew Melons. The painting was most likely made in the USA. (See reverse side, manufacturer of the cardboard). Signed. U...

Ron Hoover surrealist painting titled "The Collector" done in a pointillism style in 1987. This work was exhibited at the Palm Spring Desert Museum in 1990. Signed and dated by artis...

Predominantly recognized as a self-taught painter, he also worked in architectural murals, sculptures, ceramics, prints and drawings. Vigas is one...

'Cubist Still Life', oil on board, with guitar, wine bottle and glasses, (circa 1950s - 1960s), by an unknown artist. A masterly cubist still life representation depicting items atop...

Presenting 'Naiad,' a stunning abstract portrait by Masri, celebrated for its vivacious flow and splatter techniques. This singular piece portrays a woman in profile, her form crispl...

Vibrant depiction of a group of bathers in a lush, colorful forest of fauvist invention by California artist Don Klopfer (1920-2009). The stylized nude fig...

Title: Caprice 2 Medium: Oil on canvas Size: 15.5 x 11.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This painting is unstretched Year: 2015 Artist: YiJian Wang...

Signed lower right, "Cucaro" for Pascal Cucaro (American, 1915-2003), additionally signed, verso, and dated 1959. An icon of the Beat years in San Francisco's North Beach, Pascal ...

'Still Life with Fruit', oil on board (1968), by Juliane Solignac. An engaging yet unusual artwork with vibrant colours, thickly applied with a painting knife. Nonetheless, through the thick paint there is an unfinished quality to the work leaving the impression that the raw canvas - or board in this case - is revealed. Some of the colour seems to have been scored on to the work with an artist's knife leaving lines and creating angles as in a cubist painting. There are layers of paint with no evident brush strokes. One may believe in this instance, Madame Solignac used this technique to create a visual effect which would deliberately have upset traditionalists. Be reminded that the Impressionists were criticised for creating patchy, incomplete works because there were strong notions about the correct way to paint in those days. Picasso once said, 'To finish a work is to kill it.' It is unsure how Mme Solignac would have felt about that. Regardless of this conjecture, the painting is colourful, compelling and rewards the viewer with a curious interest. The work is in fair vintage condition, newly framed with a linen slip. It is signed: 'Julian Solignac 68'. About the Artist: Juliane Solignac (born 1904). Regrettably, there is not much information available about the artist (including what year she may have died). She is referenced as a resident artist in Montmartre in the 1930s, one of only a handful of women in an otherwise sea of male names. In addition, Solignac is mentioned in both French and Dutch references as a creator of fabrics. These may have been more artistic 'tapis' which are hung on the wall like a painting. A Dutch museum references having one of her designs in their collection. Here is a quote from the magazine, 'COTE', Edition Nº 9 (March 2009): "Until 20 April, Pierre Frey is exhibiting 50 printed fabric works from their own collection dating from 1936 to today. Most were produced in liaison with artists like Jean Chatanay, Irène Rohr, Juliane Solignac, Rieffel Anossof, Janine Janet...

Title: Production Plan-2 Medium: Oil on canvas Size: 12 x 12 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This paintin...

David Hare Summer Land, 1970 Acrylic or oil paint and collage on board Dimensions: 26 X 36 inches. Framed measuring 29 x 38 inches. Hand signed, dated and titled on tape to verso 'Summer Land 1970 Hare'. Provenance: Hamilton Gallery of Contemporary Art, New York David Hare (1917 – 1992) was an American artist, associated with the Surrealist movement. He is primarily known for his sculpture, though he also worked extensively in photography and oil painting. The VVV Surrealism Magazine was first published and edited by Hare in 1942. Born March 10, 1917 in New York City, New York to father Meredith Hare, a lawyer and mother Elizabeth Sage Goodwin, an art collector. In the 1920s the family moved first to Santa Fe, New Mexico and later to Colorado Springs, Colorado, in hope that the fresh air would help heal Meredith Hare's tuberculosis. His mother founded the Fountain Valley School, where David attended high school. After high school Hare married and moved to Roxbury, Connecticut where he worked as a color photographer. He attended Bard College in Annandale-on-Hudson from 1936 to 1937, studying biology and chemistry. In the late 1930s, with no previous artistic training, he began to experiment with color photography. Using his previous education in chemistry Hare developed an automatist technique called "heatage" in which he heated the unfixed negative from an 8 by 10-inch plate, causing the image to ripple and distort. Hare's Surrealist experiments in photography were only one of his many projects. In 1938 he met Susanna Winslow Wilson and the couple soon married. Both David and Susanna pursued their interests in Surrealism and regularly attended Surrealist gatherings in New York Larre French restaurant on 56th street and at Breton's Greenwich Village apartment. In 1940 he received a commission from the American Museum of Natural History to document the Pueblo Indians of the American Southwest, for which he eventually produced 20 prints developed using Eastman Kodak's then-new dye transfer process (a time-consuming and complicated technique). In the same year, he also opened his own commercial photography studio in New York City and exhibited his photographs in a solo show at the Julien Levy Gallery. In the next few years, through his cousin the painter Kay Sage, he came into contact with a number of Surrealist artists who had fled their native Europe because of World War II. Hare became closely involved with the émigré Surrealist movement and collaborated closely with them on projects such as the Surrealist journal VVV, which he co founded and edited from 1941 to 1944 with André Breton, Max Ernst, and Marcel Duchamp. With numerous illustrations by Breton, Leonora Carrington, Marc Chagall, Roberto Matta, Giorgio de Chirico, MarcelDuchamp, Max Ernst, Andre Masson, Joan Miro, Enrico Donati, Dorothea Tanning, and others. Published in only four issues between 1942-44, VVV was an experimental New York-based magazine devoted to the dissemination of Surrealism. Edited by David Hare, the short-lived magazine featured contributions from some of the leading avant-garde artists of the period. David and Susanna divorce in 1945 and Breton’s wife Jacqueline Lamba...