Gallery of the Masters Prints and Multiples
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U.S. Open at Oakmont
By LeRoy Neiman
Located in Missouri, MO
U.S. Open at Oakmont
Leroy Neiman (American, 1921-2012)
Signed in pencil lower right
Edition 63/300 lower left
27.5 x 39 inches
39.25 x 51 inches with frame
Known for his bright, co...
Category
20th Century American Modern Landscape Prints
Materials
Color, Lithograph
The 18th at Pebble Beach
By LeRoy Neiman
Located in Missouri, MO
The 18th at Pebble Beach
Leroy Neiman (American, 1921-2012)
Signed in pencil lower right
Edition 176/400 lower left
26 x 43 inches
37.25 x 54.5 inches with frame
Known for his brigh...
Category
20th Century American Modern Landscape Prints
Materials
Color, Lithograph
Cove at Vintage
By LeRoy Neiman
Located in Missouri, MO
Cove at Vintage
Leroy Neiman (American, 1921-2012)
Signed in pencil lower right
Edition 237/375 lower left
34 x 36.5 inches
43 x 45.5 inches with frame
Known for his bright, colorfu...
Category
20th Century American Modern Landscape Prints
Materials
Color, Lithograph
Red and Blue Spirals
By Alexander Calder
Located in Missouri, MO
Red and Blue Spirals
Alexander Calder (American, 1898-1976)
Signed in Pencil Lower Right
Numbered 59/150 in Pencil Lower Left
26 x 37 inches
35.5 x 46 inches with frame
One of Amer...
Category
1970s Abstract Abstract Prints
Materials
Color, Lithograph
Thoreau "If a Man Does Not Keep Peace"
By Corita Kent
Located in Missouri, MO
Thoreau "If a Man Does Not Keep Peace"
Sister Mary Corita Kent (American, 1918-1986)
Signed in Pencil Lower Right
22.5 x 22.5 inches
23.25 x 23.25 inches with frame
Sister Mary Cori...
Category
20th Century American Modern Abstract Prints
Materials
Color, Lithograph
We Don't Turn Out Perfect
By Corita Kent
Located in Missouri, MO
We Don't Turn Out Perfect
Corita Kent (American, 1918-1986)
Signature Faded Lower Right in Pencil
14.5 x 29.75 inches
15.75 x 30.75 inches with frame
Sister Mary Corita Kent, once t...
Category
20th Century American Modern Abstract Prints
Materials
Color, Lithograph
Leo Baeck "and a Spirit is Characterized"
By Corita Kent
Located in Missouri, MO
Leo Baeck and a Spirit is Characterized
Sister Mary Corita Kent (American, 1918-1986)
Signed Lower Right in Pencil
Edition of 250 Lower center
21.5 x 21.5 inches
24 x 24 inches frame...
Category
20th Century American Modern Abstract Prints
Materials
Color, Lithograph
Teres de Grand Feu
By (after) Joan Miró
Located in Missouri, MO
Terres de Grand Feu
Miro Artigas
Galerie Maeght Fine Art Poster Print
30 x 21 inches
31 x 22 inches with frame
Joan Miro (Spanish, 1893-1983)
Joan Miro was born in Barcelona, Spain...
Category
20th Century Surrealist Abstract Prints
Materials
Color
Calder Stabiles
By (after) Alexander Calder
Located in Missouri, MO
Calder Stabiles
Galerie Maeght Fine Art Poster Print
30 x 22 inches
31 x 23 inches with frame
Alexander Calder (American, 1898-1976)
One of America's best known sculptors, "Sandy" ...
Category
20th Century Surrealist Abstract Prints
Materials
Color
Rembrandt
By Salvador Dalí
Located in Missouri, MO
Rembrandt
Salvador Dali (Spanish, 1904-1989)
Signed Lower Right
"E.A." (Artist Edition) Lower Left
12 x 10 inches
23.25 x 19.25 inches with frame
Salvador Dali was born in May 11, 1...
Category
20th Century Modern Portrait Prints
Materials
Etching
The Blue Bicycle
By Will Barnet
Located in Missouri, MO
The Blue Bicycle, 1979
Will Barnet (American, 1911-2012)
26 x 25.5 inches
41 x 40 inches with frame
Titled Lower Center
Signed and Dated Lower Right
Edition 41/300 Lower Left
From B...
Category
1970s American Modern Figurative Prints
Materials
Lithograph
Framed
By Sam Francis
Located in Missouri, MO
Framed
Sam Francis (American, 1923-1994)
Edition 58/100 in pencil Lower Left
Signed in pencil Lower Right
17 x 22 inches
25.5 x 30.5 inches
An Abstract Expressionist* painter known ...
Category
1960s Abstract Abstract Prints
Materials
Color, Lithograph
"Mlle Landsberg" (grade planche, pl. 16)
By Henri Matisse
Located in Missouri, MO
"Mlle Landsberg" (grade planche, pl. 16), 1914
Henri Matisse (French, 1869-1954)
Signed and Numbered Lower Right
Edition 12/15
Image size: 7 7/8 x 4 5/16 inches
Sheet size: 17 11/16 x 12 1/2 inches
With frame: 19 1/2 x 14 1/2 inches
Henri Matisse came from a family who were of Flemish origin and lived near the Belgian border. At eight o'clock on the evening of December 31, 1869, he was born in his grandparents' home in the town of Le Cateau in the cheerless far north of France. His father was a self-made seed merchant who was a mixture of determination and tightly coiled tension.
Henri had no clear idea of what he wanted to do with his life. He was a twenty-year-old law clerk convalescing from appendicitis when he first began to paint, using a box of colors given to him by his mother. Little more than a year later, in 1890, he had abandoned law and was studying art in Paris. The classes consisted of drawing from plaster casts and nude models and of copying paintings in the Louvre. He soon rebelled against the school's conservative atmosphere; he replaced the dark tones of his earliest works with brighter colors that reflected his awareness of Impressionism. Matisse was also a violinist; he took an odd pride in the notion that if his painting eye failed, he could support his family by fiddling on the streets of Paris.
Henri found a girlfriend while studying art, and he fathered a daughter, Marguerite, by her in 1894. In 1898 he married another woman, Amelie Parayre. She adopted the beloved Marguerite; they eventually had two sons, Jean, a sculptor and Pierre who became an eminent art dealer. Relations between Matisse and his wife were often strained. He often dallied with other women, and they finally separated in 1939 over a model who had been hired as a companion for Mme. Matisse. She was Madame Lydia, and after Mme. Matisse left, she remained with Matisse until he died.
Matisse spent the summer of 1905 working with Andre Derain in the small Mediterranean seaport of Collioure. They began using bright and dissonant colors. When they and their colleagues exhibited together, they caused a sensation. The critics and the public considered their paintings to be so crude and so roughly crafted that the group became known as Les Fauves (the wild beasts).
By 1907, Matisse moved on from the concerns of Fauvism and turned his attention to studies of the human figure. He had begun to sculpt a few years earlier. In 1910, when he saw an exhibition of Islamic art, he was fascinated with the multiple patterned areas and adapted the decorative universe of the miniatures to his interiors. As a continuation of his interest in the "exotic", Matisse made extended trips to Morocco in 1912 and 1913.
At the end of 1917, Matisse moved to Nice; he would spend part of each year there for the remainder of his life. A meticulous dandy, he wore a light tweed jacket amd a tie when he painted. He never used a palette, but instead squeezed his colors on to plain white kitchen dishes...
Category
1910s Fauvist Figurative Prints
Materials
Etching, Drypoint
Study/Falling Man (Series I)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series I), 1967
By. Ernest Tino Trova (American, 1927-2009)
24 x 24 inches
Wrapped on Foam Core
Signed Artist Proof Lower Right
Ernest Tino Trova (American, 1927-...
Category
1960s American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series I)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series I), 1967
By. Ernest Tino Trova (American, 1927-2009)
24 x 24 inches
Wrapped to Foam Core
Signed Artist Proof Lower Right
Ernest Tino Trova (American, 1927-...
Category
1960s American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series I)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series I)
By. Ernest Tino Trova (American, 1927-2009)
24 x 24 inches
Wrapped to Foam Core
Signed Artist Proof Lower Right
Ernest Tino Trova (American, 1927-2009)
...
Category
1960s American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series I)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series I), 1967
By. Ernest Tino Trova (American, 1927-2009)
24 x 24 inches
Wrapped to Foam Core
Signed Artist Proof Lower Right
Ernest Tino Trova (American, 1927-...
Category
1960s American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series I)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series I), 1967
By. Ernest Tino Trova (American, 1927-2009)
24 x 24 inches
Wrapped to Foam Core
Signed Artist Proof Lower Right
Ernest Tino Trova (American, 1927-...
Category
1960s American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series I)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series I), 1967
By. Ernest Tino Trova (American, 1927-2009)
24 x 24 inches
Wrapped to Foam Core
Signed Artist Proof Lower Right
Ernest Tino Trova (American, 1927-...
Category
1960s American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series II)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series II)
By. Ernest Tino Trova (American, 1927-2009)
24 x 24 inches
Wrapped to Foam Core
Signed Artist Proof Lower Right
Ernest Tino Trova (American, 1927-2009)...
Category
1960s American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series II)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series II), 1967
By. Ernest Tino Trova (American, 1927-2009)
24 x 24 inches
Wrapped to Foam Core
Signed Artist Proof Lower Right
Ernest Tino Trova (American, 1927...
Category
1960s American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series II)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series II), 1967
By. Ernest Tino Trova (American, 1927-2009)
24 x 24 inches
Wrapped to Foam Core
Signed Artist Proof Lower Right
Ernest Tino Trova (American, 1927...
Category
1960s American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series II)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series II), 1967
By. Ernest Tino Trova (American, 1927-2009)
24 x 24 inches
Wrapped to Foam Core
Signed Artist Proof Lower Right
Ernest Tino Trova (American, 1927...
Category
1960s American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series II)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series II), 1967
By. Ernest Tino Trova (American, 1927-2009)
24 x 24 inches
Signed Artist Proof Lower Right
Wrapped to Foam Core
Ernest Tino Trova (American, 1927...
Category
1960s American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series II)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series II), 1967
By. Ernest Tino Trova (American, 1927-2009)
24 x 24 inches
Wrapped on Foam core
Signed Artist Proof Lower Right
Ernest Tino Trova (American, 1927...
Category
1960s American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series II)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series II), 1967
By. Ernest Tino Trova (American, 1927-2009)
Signed in Pencil Lower Right
Color Lithograph
Unframed: 6 x 6 inches
With Frame: 8.75 x 8.5 inches
Kn...
Category
20th Century American Modern Abstract Prints
Materials
Lithograph
Study/Falling Man (Series I)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series I), 1967
By. Ernest Tino Trova (American, 1927-2009)
Black Frame, Green Background
Signed in Pencil Lower Right
Unframed: 6 x 6 inches
With Frame: 8.75 x 8....
Category
20th Century American Modern Abstract Prints
Materials
Lithograph
Study/Falling Man (Series I)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series I), 1967
By. Ernest Tino Trova (American, 1927-2009)
Signed Lower Right in Pencil
Screenprint, Available in Black or Silver Frame
Unframed: 6 x 6 inches
Wit...
Category
20th Century American Modern Abstract Prints
Materials
Screen
Trova/Index, Waves
By Ernest Tino Trova
Located in Missouri, MO
Trova/Index, Waves, 1969
By. Ernest Tino Trova (American, 1927-2009)
Signed in Pencil Lower Right
Unframed: 10.5 x 7.5 inches
With Frame: 15.25 x 11.75 inches
Known for his Falling ...
Category
20th Century American Modern Abstract Prints
Materials
Screen
Study/Falling Man (Series II)
By Ernest Tino Trova
Located in Missouri, MO
Study/Falling Man (Series II), 1967
By. Ernest Tino Trova (American, 1927-2009)
Signed in Pencil Lower Right
Unframed: 12 x 9 inches
With Frame: 15.25 x 12.25 inches
Known for his F...
Category
20th Century American Modern Abstract Prints
Materials
Screen
Float Drawing, Venice
By Dale Chihuly
Located in Missouri, MO
Float Drawing, Venice
By. Dale Chihuly (American, b. 1941)
With frame: 40.75 x 28.75 inches
Without frame: 36.5 x 24.75 inches
Edition: 142/150 bottom right
Signed in Paint bottom ce...
Category
21st Century and Contemporary American Modern Abstract Prints
Materials
Mixed Media, Acrylic, Lithograph
The Triangles and Spiral
By Alexander Calder
Located in Missouri, MO
The Triangles and Spiral, 1973
By. Alexander Calder (American, 1898-1976)
Signed Lower Right
Numbered: 66/150
Unframed: 26 x 19.25 inches
Framed: 34 x 27 inches
Alexander Calder was born in Philadelphia in 1898. After obtaining his mechanical engineering degree from the Stevens Institute of Technology, Calder worked at various jobs before enrolling at the Art Students League in
New York City in 1923. During his student years, he did line drawing for the National Police Gazette.
In 1925, Calder published his first book, Animal Sketches...
Category
1970s Abstract Abstract Prints
Materials
Color, Lithograph
Affiche Pour L'Exhibition Peintres sur Papier Dessins
By Joan Miró
Located in Missouri, MO
Joan Miro (Spanish, 1893-1983)
"Affiche Pour L'Exhibition Peintres sur Papier Dessins" 1971
Color lithograph on wove paper,
Signed in Pencil Lower Right
Numbered Lower Left 60/150 in...
Category
20th Century Modern Abstract Prints
Materials
Lithograph, Paper
Canyon Road, Sante Fe
By Will (William Howard) Shuster
Located in Missouri, MO
Canyon Road, Santa Fe
By. William Howard Shuster (American, 1893-1969)
Signed Lower Right
Edition of 100 Lower Center
Titled Lower Left
Unframed: 4" x 4.75"
Framed: 15.75" x 15.25"
...
Category
20th Century American Modern Landscape Prints
Materials
Etching
Spectrum
By Yaacov Agam
Located in Missouri, MO
Spectrum
By. Yaacov Agam (Israeli, b. 1928)
Signed Lower Right
Edition 158/180 Lower Left
Unframed: 27" x 33.5"
Framed: 36.5" x 43"
Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality.
He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art.
A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory.
His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977).
Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work.
For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970.
Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...
Category
20th Century Abstract Abstract Prints
Materials
Lithograph
Emerging
By Yaacov Agam
Located in Missouri, MO
Emerging, 1985
By. Yaacov Agam ( Israeli, b. 1928)
Color Serigraph
Signed Lower Right
Edition 1/12 Lower Left
Unframed: 25" x 31"
Framed: 34" x 43"
Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality.
He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art.
A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory.
His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977).
Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work.
For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970.
Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...
Category
20th Century Abstract Abstract Prints
Materials
Lithograph
Curtain
By Yaacov Agam
Located in Missouri, MO
Curtain
By. Yaacov Agam (Israeli, b. 1928)
Signed Lower Right
Edition 221/227
Unframed: 18" x 22.5"
Framed: 30.5" x 34.5"
Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality.
He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art.
A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory.
His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977).
Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work.
For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970.
Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...
Category
20th Century Abstract Abstract Prints
Materials
Lithograph
Blue Rings (Abstract Composition)
By Yaacov Agam
Located in Missouri, MO
Blue Rings (Abstract Composition), Serigraph
By Yaacov Agam (Israeli, b. 1928)
Signed Lower Right
Edition 8/270 Lower Left
Unframed: 21" x 21.5"
Framed: 31" ...
Category
20th Century Abstract Abstract Prints
Materials
Lithograph
Abstract Purple, Blue, Greens
By Yaacov Agam
Located in Missouri, MO
Abstract Purple, Blue, Greens (Serigraph)
By Yaacov Agam (Israeli, b. 1928)
Signed Lower Right
Edition 4/30 Lower Left
Unframed: 14" x 33"
Framed: 21" x 41"
Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality.
He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art.
A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory.
His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977).
Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work.
For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970.
Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...
Category
20th Century Abstract Abstract Prints
Materials
Lithograph
Untitled, (Serigraph)
By Yaacov Agam
Located in Missouri, MO
Untitled (Serigraph)
By Yaacov Agam (Israeli, b. 1928)
Signed Lower Right
Edition 56/180 Lower Left
Unframed: 20" x 8"
Framed: 26.25" x 14"
Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality.
He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art.
A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory.
His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977).
Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work.
For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling...
Category
20th Century Abstract Abstract Prints
Materials
Lithograph
Colossal Flashlight in Place of Hoover Dam
By Claes Oldenburg
Located in Missouri, MO
Colossal Flashlight in Place of Hoover Dam, 1982
By Claes Oldenburg (Swedish, American, 1929-2022)
Signed Lower Right
Dated Middle Right
Unframed: 23" x 22"
Framed: 36.5" x 27.5"
Whimsical sculpture of pop culture objects, many of them large and out-of-doors, is the signature work of Swedish-born Claes Oldenburg who became one of America's leading Pop Artists. He was born in Stockholm, Sweden. His father was a diplomat, and during Claes' childhood moved his family from Stockholm to a variety of locations including Chicago where the father was general consul of Sweden and where Oldenburg spent most of his childhood. He attended the Latin School of Chicago, and then Yale University where he studied literature and art history, graduating in 1950, the same year Claes became an American citizen.
Returning to Chicago, he enrolled at the Art Institute of Chicago from 1952 to 1954 and also worked as a reporter at the City News Bureau. He opened his own studio, and in 1953, some of his satirical drawings were included in his first group show at the Club St. Elmo, Chicago. He also painted at the Oxbow School of Painting in Michigan.
In 1956, he moved to New York where he drew and painted while working as a clerk in the art libraries of Cooper-Union Museum for the Arts of Decoration. Selling his first artworks during this time, he earned 25 dollars for five pieces.
Oldenburg became friends with numerous artists including Jim Dine, Red Grooms and Allan Kaprow, who with his "Happenings" was especially influential on Oldenburg's interest in environmental art. Another growing interest was soft sculpture, and in 1957, he created a piece later titled Sausage, a free-hanging woman's stocking stuffed with newspaper.
In 1959, he had his first one-man show, held at the Judson Gallery at Washington Square. He exhibited wood and newspaper sculpture and painted papier-mache objects. Some viewers of the exhibit commented how refreshing Oldenburg's pieces were in contrast to the Abstract Expressionism, a style which much dominated the art world. During this time, he was influenced by the whimsical work of French artist, Bernard Buffet, and he experimented with materials and images of the junk-filled streets of New York.
In 1960, Oldenburg created his first Pop-Art Environments and Happenings in a mock store full of plaster objects. He also did Performances with a cast of colleagues including artists Lucas Samaras, Tom Wesselman, Carolee Schneemann, Oyvind Fahlstrom and Richard Artschwager, dealer Annina Nosei, critic Barbara Rose, and screenwriter Rudy Wurlitzer.
His first wife (1960-1970) Pat Muschinski, who sewed many of his early soft sculptures, was a constant performer in his Happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas.
In December 1961, he rented a store on Manhattan's Lower East Side to house "The Store," a month-long installation he had first presented at the Martha Jackson Gallery in New York. This installation was stocked with sculptures roughly in the form of consumer goods.
Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York I could think of". That same year, he conceived AUT OBO DYS, performed in the parking lot of the American Institute of Aeronautics and Astronautics in December 1963.
In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took the form of small collages such as a crayon image of a fat, fuzzy teddy bear looming over the grassy fields of New York's Central Park (1965) and Lipsticks in Piccadilly Circus, London (1966). Oldenburg realized his first outdoor public monument in 1967; Placid Civic Monument took the form of a Conceptual performance/action behind the Metropolitan Museum of Art, New York, with a crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground.
Many of Oldenburg's large-scale sculptures of mundane objects elicited public ridicule before being embraced as whimsical, insightful, and fun additions to public outdoor art. From the early 1970s Oldenburg concentrated almost exclusively on public commissions.
Between 1969 and 1977 Oldenburg had been in a relationship with Hannah Wilke, feminist artist, but in 1977 he married Coosje van Bruggen, a Dutch-American writer and art historian who became collaborator with him on his artwork. He had met her in 1970, when she curated an exhibition for him at the Stedelijk Museum in Amsterdam. Their first collaboration came when Oldenburg was commissioned to rework Trowel I, a 1971 sculpture of an oversize garden tool, for the grounds of the Kröller-Müller Museum in Otterlo, the Netherlands.
Oldenburg has officially signed all the work he has done since 1981 with both his own name and van Bruggen's. In 1988, the two created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis, Minnesota that remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city. Typewriter Eraser...
Category
20th Century American Modern Abstract Prints
Materials
Paper, Lithograph
Brown Cottonwood
Located in Missouri, MO
Brown Cottonwood, 2005
By Andrew Millner (American, b. 1967)
Lightjet Print Mounted on UV Plex
Signed Lower Right
Unframed: 87" x 44"
Framed: 88" x 45"
Andrew Millner is a visual artist based in St. Louis, MO. His work investigates the relationship between art and nature, the natural and the made. Millner received a BFA from University of Michigan, in Painting and Sculpture.
He has had more than 56 group exhibitions since 1987 and over 15 solo exhibitions at institutions including Miller Yezerski Gallery, Boston, Massachusetts; Ellen Miller Gallery, Boston, Massachusetts; CCA, Santa Fe, New Mexico; Tria Gallery, New York City, New York; Richard Levy Gallery, Albuquerque, New Mexico; David Floria Gallery, Aspen, Colorado; Contemporary Museum St. Louis, St. Louis, Missouri.
"I started drawing on the computer in 2005. Previous to that, most of my work had been about finding lines in nature; the contours of leaves, the ripples on rivers, the edges of overlapping hills. Although I was using traditional art materials, I prepared the canvases with slicker and slicker surfaces so that the lines wouldn’t soak into the background but sit on top, preserving the nuances of my hand. I thought of the drawings as photographic, in the diaristic sense of recording moments of time. I enjoyed the easy correspondence of the endless novelty of line in these natural forms and the endless variety of line created by my hand. I couldn’t draw the same leaf twice so my subject and process were well matched.
I had the idea to draw every leaf of a tree, but I struggled with the scale and complexity of the subject. How does one bring a tree indoors? How can one see the whole tree and its individual parts simultaneously? I tried traditional strategies and materials but the results were unsatisfactory. I wondered if it would be possible to make the drawing on a computer. Since everything… music, photos, movies & books were being digitized, what about drawing? I wasn’t interested in something computer-generated, but sought to “dumb down” the computer and use it as a repository for simple line drawings. In the program I use, Adobe Illustrator, lines are called “paths”… an apt name since the line exists at no set scale or color. Only later do I assign the attributes of color and thickness.
Taking my laptop outdoors, I drew my first tree “en plein air.” Using a digital tablet and pen, I drew simple contours of the leaves and branches. Having these drawings remain in digital form rather than in physical form, opened up interesting possibilities and enabled me to tackle the complexity of a tree in intriguing ways. My lines were free and separate from the background and from each other. I drew the branches individually and then later, I could cobble them together to reconstitute the whole tree. On the screen, I could zoom in and out and draw at different scales simultaneously. I could zoom out to draw a simple contour of the entire trunk and then zoom in to draw the smallest leaf with equal effort. I drew in layers so that as the drawings accumulated I could turn layers “off” so that they wouldn’t obscure subsequent layers. These two novelties, drawing at different scales simultaneously and making parts of the drawing invisible to allow for work on top or behind previous drawings, allowed for the accumulation of hundreds of simple outlines to create a dizzying visual complexity.
Subsequent trees I drew from photographs. I would take hundreds of close-ups of a tree from a single point of view and then stitch all of these close ups together on the computer. Sometimes I photographed the same tree in the summer and then in the fall after it lost its leaves. This allowed me to see and draw all of the branches and limbs unadorned and unobscured. I would draw the tree twice, with and without leaves, merging the two drawings into one document. In this way, the drawings comprise and compress great spans of looking over vast time frames and seemingly contradictory close-up and distant points of view.
My digital drawings have been outputted in different ways… mostly as photographs printed directly from the digital file or as archival inkjet prints. The results defy easy categorization. Are they drawings, prints, or camera-less photographs...
Category
21st Century and Contemporary American Modern Still-life Prints
Materials
Plexiglass, Inkjet
Demi-Mondaine a sa fenetre (Small Socialite at Her Window)
By Joan Miró
Located in Missouri, MO
Demi-Mondaine a sa fenetre (Small Socialite at Her Window)
By. Joan Miro (1893-1983)
Unframed: 36" x 24.75"
Framed: 51" x 40"
Edition: 45/50 Lower Left
Signed Lower Right
Joan Miro was born in Barcelona, Spain on April 20, 1893, the son of a watchmaker. From 1912 he studied at the Barcelona Ecole des Beaux-Arts and the Academie Gali. In the first quarter of the 20th century, Barcelona was a cosmopolitan, intellectual city with a craving for the new in art...
Category
20th Century Abstract Abstract Prints
Materials
Paper, Etching, Aquatint
Senza Titolo 10 (Lynton G.68)
By Victor Pasmore
Located in Missouri, MO
Senza Titolo 10 (Lynton G.68), 1989
By. Victor Pasmore (1908-1998)
Etching and Aquatint
Signed Bottom Right
Edition 47/90 Bottom Left
Site Size: approx. 30 x 80"
Framed Size: approx...
Category
20th Century Abstract Abstract Prints
Materials
Etching, Aquatint
Abstract Composition
By Serge Poliakoff
Located in Missouri, MO
Serge Poliakoff (1906-1969)
"Composition Rouge, Verte, Jaune et Bleue" 1964
Burin, Drypoint, Aquatint and Roulette in Colors on Arches wove paper,
Signed in Pencil, Numbered 62/75
Size Height 24.4 in.; Width 19.7 in. / Height 62 cm.; Width 50 cm.
Framed Size: approx. 33 x 28 inches
Cat. Rais. Poliakoff & Schneider, XVI
Found./Pub. XXe Siècle
Serge Poliakoff was a Russian-born French modernist painter belonging to the 'New' Ecole de Paris (Tachisme).
Serge Poliakoff was born in Moscow in 1906, the thirteenth of fourteen children. His father, a Kyrgyz, supplied the army with horses that he bred himself and also owned a racing stable. His mother was heavily involved with the church, and its religious icons fascinated him. He enrolled at the Moscow School of Painting, Sculpture and Architecture, but fled Russia and the Russian Revolution in 1917. He arrived in Constantinople in 1920, living off the profits from his talent as a guitarist.
He went on to pass through Sofia, Belgrade, Vienna, and Berlin before settling in Paris in 1923, all the while continuing to play in Russian cabarets. In 1929 he enrolled at the Académie de la Grande Chaumière*. His paintings remained purely academic until he discovered, during his stay in London from 1935 to 1937, the abstract art and luminous* colours of the Egyptian sarcophagi. It was a little afterwards that he met Wassily Kandinsky, Sonia and Robert Delaunay, and Otto Freundlich...
Category
Late 20th Century Abstract Abstract Prints
Materials
Engraving, Aquatint
Gaudi XX, (D. 1079)
By Joan Miró
Located in Missouri, MO
Gaudi XX, (D. 1079), 1979
By. Joan Miro
Signed Lower Right
Edition 41/50 Lower Left
Unframed: 37.5" x 30.75"
Framed: 46.5" x 39"
Joan Miro was born in Barcelona, Spain on April 20, 1893, the son of a watchmaker. From 1912 he studied at the Barcelona Ecole des Beaux-Arts and the Academie Gali. In the first quarter of the 20th century, Barcelona was a cosmopolitan, intellectual city with a craving for the new in...
Category
20th Century Abstract Abstract Prints
Materials
Paper, Etching, Aquatint
Bareback Act, Old Hippodrome
By Gifford Beal
Located in Missouri, MO
Bareback Act, Old Hippodrome
By Gifford Beal (1879-1956)
Signed Lower Right
Unframed: 6.5" x 9.5"
Framed: 17.5" x 20"
Gifford Beal, painter, etcher, muralist, and teacher, was born in New York City in 1879. The son of landscape painter William Reynolds Beal, Gifford Beal began studying at William Merritt Chase's Shinnecock School of Art (the first established school of plein air painting in America) at the age of thirteen, when he accompanied his older brother, Reynolds, to summer classes. He remained a pupil of Chase's for ten years also studying with him in New York City at the artist's private studio in the Tenth Street Studio Building. Later at his father's behest, he attended Princeton University from 1896 to 1900 while still continuing his lessons with Chase. Upon graduation from Princeton he took classes at the Art Students' League, studying with impressionist landscape painter Henry Ward Ranger and Boston academic painter Frank Vincent DuMond. He ended up as President of the Art Students League for fourteen years, "a distinction unsurpassed by any other artist."
His student days were spent entirely in this country. "Given the opportunity to visit Paris en route to England in 1908, he chose to avoid it" he stated, "I didn't trust myself with the delightful life in ParisIt all sounded so fascinating and easy and loose." His subjects were predominately American, and it has been said stylistically "his art is completely American." Gifford achieved early recognition in the New York Art World.
He became an associate member of the National Academy of Design in 1908 and was elected to full status of academician in 1914. He was known for garden parties, circuses, landscapes, streets, coasts, flowers and marines. This diversity in subject matter created "no typical or characteristic style to his work."
Beal's style was highly influenced by Chase and Childe Hassam, a long time friend of the Beal family who used to travel "about the countryside with Beal in a car sketching...
Category
20th Century American Modern Animal Prints
Materials
Lithograph
Missouri Arrival (Flood)
By Joseph Vorst
Located in Missouri, MO
Missouri Arrival (Flood) c. 1940
By Joseph Vorst (1897-1947)
Signed Lower Right
Unframed: 11" x 8.25"
Framed: 18.5" x 15.5"
German-born Joseph Vorst came from Essen (born June 19, 1897). His teacher was the leading German impressionist Max Liebermann (1847-1935), who was the champion of French impressionism in Berlin. He had traveled to Barbizon and Paris to see paintings by Manet first hand, including In the Conservatory, which made its way to Berlin. Later Vorst's home town of Essen would acquire a collection of modern art in 1921, which became the Museum Folkwang, one of the earliest of its kind.
Most likely to escape the Nazis, Vorst made his way to Missouri; we know that he was a member of the American Artists Congress and he signed the famous "Call" in 1936 at the group's first congress, the left-wing organization that stood up to combat fascism. Surely he would have known Joe Jones...
Category
20th Century American Realist Portrait Prints
Materials
Lithograph
One of Their Pets (Two Farm Boys and Cow at the Watering Hole)
By Joseph Vorst
Located in Missouri, MO
One of Their Pets (Two Farm Boys and Cow at The Watering Hole)
By Joseph Vorst (1897-1947)
Signed Lower Right
Edition 1/50 Lower Left
Unframed: 8.5" x 11"
Framed: 16" x 18.5"
German-born Joseph Vorst came from Essen (born June 19, 1897). His teacher was the leading German impressionist Max Liebermann (1847-1935), who was the champion of French impressionism in Berlin. He had traveled to Barbizon and Paris to see paintings by Manet first hand, including In the Conservatory, which made its way to Berlin. Later Vorst's home town of Essen would acquire a collection of modern art in 1921, which became the Museum Folkwang, one of the earliest of its kind.
Most likely to escape the Nazis, Vorst made his way to Missouri; we know that he was a member of the American Artists Congress and he signed the famous "Call" in 1936 at the group's first congress, the left-wing organization that stood up to combat fascism. Surely he would have known Joe Jones...
Category
Early 20th Century American Realist Landscape Prints
Materials
Lithograph
Fodder
By John Costigan
Located in Missouri, MO
Fodder by John Costigan (1888-1972)
Signed Lower Right
Titled Lower Left
9.75" x 12.75" Unframed
17.5" x 19.75" Framed
John Edwards Costigan was born in Providence, Rhode Island on ...
Category
20th Century American Impressionist Landscape Prints
Materials
Etching
Hurry Sundown
By Billy Schenck
Located in Missouri, MO
Billy Schenck (American, b. 1947)
Hurry Sundown, 1985
Edition 19/60
Serigraph
21 x 38 inches
Signed, Titled, Dated, and Numbered Lower Margin
Billy Schenck is a contemporary artist ...
Category
1980s Pop Art Landscape Prints
Materials
Screen
Le Christ a l'Horloge, Paris
By Marc Chagall
Located in Missouri, MO
Marc Chagall
"Le Christ a l'Horloge, Paris" (Christ in the Clock) 1957 (M. 196)
Color Lithograph on Arches Wove Paper
Signed in Pencil "Marc Chagall" Lower Right
Initialed "H.C." (Hors Commerce) Lower Left, aside from numbered edition of 90
*Floated in Gold Frame with Linen Matting, UV Plexiglass
Sheet Size: 18 3/4 x 14 3/4 inches (47.5 cm x 38 cm)
Image Size: 9 3/4 x 8 1/2 inches
Framed Size: 28.5 x 24.25 inches
Marc Chagall was a man of keen intelligence, a shrewd observer of the contemporary scene, with a great sympathy for human suffering. He was born on July 7, 1887 in Vitebsk, Russia; his original name was Moishe Shagal (Segal), but when he became a foremost member of the Ecole de Paris, he adopted French citizenship and the French spelling of his name. Vitebsk was a good-sized Russian town of over 60,000, not a shtetl. His father supported a wife and eight children as a worker in a herring-pickling plant.
Sheltered by the Jewish commandment against graven images, the young Chagall never saw so much as a drawing until, one day, he watched a schoolmate copying a magazine illustration. He was ridiculed for his astonishment, but he began copying and improvising from magazines. Both Chagall's parents reluctantly agreed to let him study with Yehuda Pen, a Jewish artist in Vitebsk. Later, in 1906, they allowed their son to study in St. Petersburg, where he was exposed to Russian Iconography and folk art. At that time, Jews could leave the Pale only for business and employment and were required to carry a permit. Chagall, who was in St. Petersburg without a permit, was imprisoned briefly.
His first wife, Bella Rosenfeld, was a product of a rich cultivated and intellectual group of Jews in Vitebsk. Chagall was made commissar for the arts for the area, charged with directing its cultural life and establishing an art school. Russian folklore, peasant life and landscapes persisted in his work all his life. In 1910 a rich patron, a lawyer named Vinaver, staked him to a crucial trip to Paris, where young artists were revolutionizing art. He also sent him a handsome allowance of 125 francs (in those days about $24) each month. Chagall rejected cubism, fauvism and futurism, but remained in Paris. He found a studio near Montparnasse in a famous twelve-sided wooden structure divided into wedge-shaped rooms. Chaim Soutine, a fellow Russian Jew, and Modigliani lived on the same floor. To Chagall's astonishment, he found himself heralded as one of the fathers of surrealism. In 1923, a delegation of Max Ernst, Paul Eluard and Gala (later Salvador Dali's wife) actually knelt before Chagall, begging him to join their ranks. He refused.
To understand Chagall's work, it is necessary to know that he was born a Hasidic Jew, heir to mysticism and a world of the spirit, steeped in Jewish lore and reared in the Yiddish language. The Hasidim had a special feeling for animals, which they tried not to overburden. In the mysterious world of Kabbala and fantastic ancient legends of Chagall's youth, the imaginary was as important as the real. His extraordinary use of color also grew out of his dream world; he did not use color realistically, but for emotional effect and to serve the needs of his design. Most of his favorite themes, though superficially light and trivial, mask dark and somber thoughts. The circus he views as a mirror of life; the crucifixion as a tragic theme, used as a parallel to the historic Jewish condition, but he is perhaps best known for the rapturous lovers he painted all his life. His love of music is a theme that runs through his paintings.
After a brief period in Berlin, Chagall, Bella and their young daughter, Ida, moved to Paris and in 1937 they assumed French citizenship. When France fell, Chagall accepted an invitation from the Museum of Modern Art to immigrate to the United States. He was arrested and imprisoned in Marseilles for a short time, but was still able to immigrate with his family. The Nazi onslaught caught Chagall in Vichy, France, preoccupied with his work. He was loath to leave; his friend Varian Fry rescued him from a police roundup of Jews in Marseille, and packed him, his family and 3500 lbs. of his art works on board a transatlantic ship. The day before he arrived in New York City, June 23, 1941, the Nazis attacked Russia. The United States provided a wartime haven and a climate of liberty for Chagall. In America he spent the war years designing large backdrops for the Ballet.
Bella died suddenly in the United States of a viral infection in September 1944 while summering in upstate New York. He rushed her to a hospital in the Adirondacks, where, hampered by his fragmentary English, they were turned away with the excuse that the hour was too late. The next day she died.
He waited for three years after the war before returning to France. With him went a slender married English girl, Virginia Haggard MacNeil; Chagall fell in love with her and they had a son, David. After seven years she ran off with an indigent photographer. It was an immense blow to Chagall's ego, but soon after, he met Valentine Brodsky, a Russian divorcee designing millinery in London (he called her Fava). She cared for him during the days of his immense fame and glory. They returned to France, to a home and studio in rustic Vence. Chagall loved the country and every day walked through the orchards, terraces, etc. before he went to work.
Chagall died on March 28, 1985 in the south of France. His heirs negotiated an arrangement with the French state allowing them to pay most of their inheritance taxes in works of art. The heirs owed about $30 million to the French government; roughly $23 million of that amount was deemed payable in artworks. Chagall's daughter, Ida and his widow approved the arrangement.
Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California.
Sources:
Hannah Grad Goodman in Homage to Chagall in Hadassah Magazine, June 1985
Jack Kroll in Newsweek, April 8, 1985
Andrea Jolles in National Jewish Monthly Magazine, May 1985
Michael Gibson...
Category
1950s Modern Figurative Prints
Materials
Lithograph
Sphere and Cube
By Victor Vasarely
Located in Missouri, MO
Victor Vasarely
"Sphere and Cube" c. 1970
Serigraph
Signed and Numbered Ed. 250
Framed Size: 42 x 31 inches
Image Size: 28 x 21 inches
Category
1970s Abstract Geometric Abstract Prints
Materials
Lithograph
Abstract in Purple and Green
By Victor Vasarely
Located in Missouri, MO
Victor Vasarely
"Abstract" c. 1970
Serigraph
Ed. 275
Signed and Numbered
Image Size: 23.5 x 23.5
Framed: approx 34 x 34.5 inches
Category
1970s Abstract Geometric Abstract Prints
Materials
Lithograph
MAKK-S
By Victor Vasarely
Located in Missouri, MO
Victor Vasarely
"MAKK-S"
Serigraph
Ed. HC 11/45
Signed and Numbered
Image Size: 25 x 25 inches
Framed Size: approx. 45 x 40.5 inches
Victor Vasarely was born in Hungary in 1906, as...
Category
1970s Op Art Prints and Multiples
Materials
Lithograph
IUSKA
By Victor Vasarely
Located in Missouri, MO
Victor Vasarely
"IUSKA"
Serigraph
Ed. 48/300
Signed and Numbered
Framed Size: approx. 40 x 38.5 inches
Image Size: approx 25 x 25 inches
Category
1980s Op Art Prints and Multiples
Materials
Lithograph
Seascape (Foot)
By Tom Wesselmann
Located in Missouri, MO
"Seascape" (Foot) 1967
Screenprinted Vacuum-Formed Plexiglass In Colors
Scratch-Signed, Dated and Numbered 92/101
14 1/4 x 12 15/16 x 3/4 in (36.1 x 32.9 x 2 cm).
Known for his Pop-...
Category
1960s Pop Art Figurative Prints
Materials
Plexiglass, Screen
The Jolly Flatboatmen
By George Caleb Bingham
Located in Missouri, MO
George Caleb Bingham (American, Missouri, 1811-1879)
Painted by G. C. Bingham
Engraved by T. Doney
The Jolly Flatboatmen, 1847
Engraving
18 1/2 x 24 ...
Category
Mid-19th Century American Realist Figurative Prints
Materials
Engraving
The County Election
By George Caleb Bingham
Located in Missouri, MO
George Caleb Bingham (American, Missouri, 1811-1879)
Painted by G. C. Bingham. Engraved by John Sartain, published by Goupil and Co.
The County Election, 1854
Hand Colored Engraving
21 1/4 x 30 inches (image)
30 x 37 inches (sheet)
31.5 x 39 inches (framed)
The following exhibition review is from The Kansas City Star, September 8, 2013, and refers to an exhibition at the Jackson County Historical Society.
By BRIAN BURNES
The Kansas City Star
Three judges can be found on the second floor of the renovated Jackson County Truman Courthouse in Independence.
That wouldn't be unusual, except for the way the judges gaze upon visitors — steady, unmoving and frozen on canvas.
Turns out all three judges sat for 19th century Missouri artist George Caleb Bingham. Now their portraits hang on a wall of the new Jackson County Museum of Art, opening Saturday in the recently renovated courthouse, not far from the offices of the county's assessments and collections departments.
Many of the 27 Bingham artworks displayed are owned by Ken McClain, Independence lawyer and developer.
"Bingham is recognized as a national treasure, but his Jackson County roots are not focused on that frequently," McClain said of the artist, who maintained a studio in his Independence home, later served as a Kansas City police commissioner and is buried in Union Cemetery.
"I thought the courthouse would be an appropriate place for a museum dedicated to him."
Jackson County Executive Mike Sanders worked with McClain to set aside during courthouse renovations several second-floor rooms that have been transformed into a gallery.
Ceiling-mounted pendant lamps that recall the courthouse's 1933 renovation now hang alongside track lighting. Long blinds have been installed in the building's tall window frames to protect the paintings, some of them about 150 years old.
"Ken's vision has moved the courthouse renovation from a great project to an incredible one, increasing its value exponentially," Sanders said. "Visitors will come here from all over the country."
The Bingham artworks make up the principal holdings of the nonprofit museum, which will be administered by its own board of directors. Other works are on loan from the State Historical Society of Missouri and the Jackson County Historical Society.
McClain hopes that future acquisitions, as well as other loaned artworks, can be rotated through the holdings.
Bingham began painting about 1830. Although his reputation today may rest on paintings such as The Jolly Flatboatmen...
Category
Mid-19th Century American Realist Figurative Prints
Materials
Engraving
Stump Speaking
By George Caleb Bingham
Located in Missouri, MO
George Caleb Bingham (American, Missouri, 1811-1879)
Painted by G. C. Bingham. Engraved by Gautier, published by Goupil and Co.
Stump Speaking, 1856
Hand Colored Engraving
22 5/16 x 30 inches (image)
32 x 39 inches (framed)
The following exhibition review is from The Kansas City Star, September 8, 2013, and refers to an exhibition at the Jackson County Historical Society.
By BRIAN BURNES
The Kansas City Star
Three judges can be found on the second floor of the renovated Jackson County Truman Courthouse in Independence.
That wouldn't be unusual, except for the way the judges gaze upon visitors — steady, unmoving and frozen on canvas.
Turns out all three judges sat for 19th century Missouri artist George Caleb Bingham. Now their portraits hang on a wall of the new Jackson County Museum of Art, opening Saturday in the recently renovated courthouse, not far from the offices of the county's assessments and collections departments.
Many of the 27 Bingham artworks displayed are owned by Ken McClain, Independence lawyer and developer.
"Bingham is recognized as a national treasure, but his Jackson County roots are not focused on that frequently," McClain said of the artist, who maintained a studio in his Independence home, later served as a Kansas City police commissioner and is buried in Union Cemetery.
"I thought the courthouse would be an appropriate place for a museum dedicated to him."
Jackson County Executive Mike Sanders worked with McClain to set aside during courthouse renovations several second-floor rooms that have been transformed into a gallery.
Ceiling-mounted pendant lamps that recall the courthouse's 1933 renovation now hang alongside track lighting. Long blinds have been installed in the building's tall window frames to protect the paintings, some of them about 150 years old.
"Ken's vision has moved the courthouse renovation from a great project to an incredible one, increasing its value exponentially," Sanders said. "Visitors will come here from all over the country."
The Bingham artworks make up the principal holdings of the nonprofit museum, which will be administered by its own board of directors. Other works are on loan from the State Historical Society of Missouri and the Jackson County Historical Society.
McClain hopes that future acquisitions, as well as other loaned artworks, can be rotated through the holdings.
Bingham began painting about 1830. Although his reputation today may rest on paintings such as The Jolly Flatboatmen...
Category
Mid-19th Century American Realist Figurative Prints
Materials
Engraving