Lions Gallery Abstract Prints

Poetry by J.D. REED Artwork by Richard Merkin screenprint in color, 1969, edition 22/50 Published by Bizzaro, Providence, R.I. Richard Marshall Merkin (1938-2009) was an American painter, illustrator and arts educator. Merkin's fascination with the 1920s and 1930s defined his art and shaped his identity as a professional dandy. Merkin traveled back in time as an artist, to the time of the interwar years, creating narrative scenes (ala Robert Crumb and Ben Katchor) in bright colors of jazz musicians, film stars, writers, and sports heroes. Merkin was as well known for his painting and illustration work as he was for his eccentric collecting habits and his outré fashion sense. he received a Louis Comfort Tiffany Foundation Fellowship in Painting. Merkin began teaching at the Rhode Island School of Design (RISD) in 1963 and remained there for 42 years, during which time he built his reputation in New York. Some notable students Merkin taught at RISD include Chris Frantz and Tina Weymouth of the band Talking Heads and Martin Mull. Merkin had been a contributing editor for Vanity Fair since 1986 and a regular contributor of illustrations to The New Yorker since 1988, as well as Harper's and The New York Times' Sunday Magazine. From 1988–1991, he wrote a monthly style column called "Merkin on Style" for Gentlemen's Quarterly. Merkin also designed several album covers for the Jazz record label Chiaroscuro Records for artists such as Mary Lou Williams, Ruby Braff, and Ellis Larkins. Merkin's friend, the writer Tom Wolfe wrote in an email to the New York Times upon Merkin's death: "He was the greatest of that breed, the Artist Dandy, since Sargent, Whistler and Salvador Dali, Like Dali, he had one of the few remaining Great Mustaches in the art world" Perpetually on the fly from his middle-class Brooklyn background, Merkin found the perfect escape in the mid ‘60s in George Frazier, a dapper Boston columnist who inspired the emerging New York painter’s overnight reinvention of himself. The elements of structure, stability and surprise he admired in this well-dressed dandy, a cool linen suit, a splash of suspender, a polka dot scarf and pearl-handled walking stick, soon surfaced in paintings peopled by impeccable underdogs of café society along with his personal pop heroes, William Burroughs, Bobby Short...

Poetry by J.D. REED Artwork by Richard Merkin screenprint in color, 1969, edition 22/50 Published by Bizzaro, Providence, R.I. of African American interest for collectors. Richard Marshall Merkin (1938-2009) was an American painter, illustrator and arts educator. Merkin's fascination with the 1920s and 1930s defined his art and shaped his identity as a professional dandy. Merkin traveled back in time as an artist, to the time of the interwar years, creating narrative scenes (ala Robert Crumb and Ben Katchor) in bright colors of jazz musicians, film stars, writers, and sports heroes. Merkin was as well known for his painting and illustration work as he was for his eccentric collecting habits and his outré fashion sense. he received a Louis Comfort Tiffany Foundation Fellowship in Painting. Merkin began teaching at the Rhode Island School of Design (RISD) in 1963 and remained there for 42 years, during which time he built his reputation in New York. Some notable students Merkin taught at RISD include Chris Frantz and Tina Weymouth of the band Talking Heads and Martin Mull. Merkin had been a contributing editor for Vanity Fair since 1986 and a regular contributor of illustrations to The New Yorker since 1988, as well as Harper's and The New York Times' Sunday Magazine. From 1988–1991, he wrote a monthly style column called "Merkin on Style" for Gentlemen's Quarterly. Merkin also designed several album covers for the Jazz record label Chiaroscuro Records for artists such as Mary Lou Williams, Ruby Braff, and Ellis Larkins. Merkin's friend, the writer Tom Wolfe wrote in an email to the New York Times upon Merkin's death: "He was the greatest of that breed, the Artist Dandy, since Sargent, Whistler and Salvador Dali, Like Dali, he had one of the few remaining Great Mustaches in the art world" Perpetually on the fly from his middle-class Brooklyn background, Merkin found the perfect escape in the mid ‘60s in George Frazier, a dapper Boston columnist who inspired the emerging New York painter’s overnight reinvention of himself. The elements of structure, stability and surprise he admired in this well-dressed dandy, a cool linen suit, a splash of suspender, a polka dot scarf and pearl-handled walking stick, soon surfaced in paintings peopled by impeccable underdogs of café society along with his personal pop heroes, William Burroughs, Bobby Short...

Poetry by J.D. REED Artwork by Richard Merkin screenprint in color, 1969, edition 22/50 Published by Bizzaro, Providence, R.I. Richard Marshall Merkin (1938-2009) was an American painter, illustrator and arts educator. Merkin's fascination with the 1920s and 1930s defined his art and shaped his identity as a professional dandy. Merkin traveled back in time as an artist, to the time of the interwar years, creating narrative scenes (ala Robert Crumb and Ben Katchor) in bright colors of jazz musicians, film stars, writers, and sports heroes. Merkin was as well known for his painting and illustration work as he was for his eccentric collecting habits and his outré fashion sense. he received a Louis Comfort Tiffany Foundation Fellowship in Painting. Merkin began teaching at the Rhode Island School of Design (RISD) in 1963 and remained there for 42 years, during which time he built his reputation in New York. Some notable students Merkin taught at RISD include Chris Frantz and Tina Weymouth of the band Talking Heads and Martin Mull. Merkin had been a contributing editor for Vanity Fair since 1986 and a regular contributor of illustrations to The New Yorker since 1988, as well as Harper's and The New York Times' Sunday Magazine. From 1988–1991, he wrote a monthly style column called "Merkin on Style" for Gentlemen's Quarterly. Merkin also designed several album covers for the Jazz record label Chiaroscuro Records for artists such as Mary Lou Williams, Ruby Braff, and Ellis Larkins. Merkin's friend, the writer Tom Wolfe wrote in an email to the New York Times upon Merkin's death: "He was the greatest of that breed, the Artist Dandy, since Sargent, Whistler and Salvador Dali, Like Dali, he had one of the few remaining Great Mustaches in the art world" Perpetually on the fly from his middle-class Brooklyn background, Merkin found the perfect escape in the mid ‘60s in George Frazier, a dapper Boston columnist who inspired the emerging New York painter’s overnight reinvention of himself. The elements of structure, stability and surprise he admired in this well-dressed dandy, a cool linen suit, a splash of suspender, a polka dot scarf and pearl-handled walking stick, soon surfaced in paintings peopled by impeccable underdogs of café society along with his personal pop heroes, William Burroughs, Bobby Short...

Fabian Marcaccio 560 Conjectures for a New Paint Management 1989-99 Ink jet print mounted on polystyrene with laminate Dimensions composition 30 1/4 x 23 3/16" (76.9 x 58.9 cm) sheet 30 1/4 x 23 3/16" (76 x 58.9 cm) Publisher Muse X Editions, Los Angeles Ink jet print mounted on polystyrene with laminate Fabian Marcaccio (Born 1963 Rosario, Argentina) is an Argentine-Italian born artist living and working in the United States whose trans-genre works including "Paintants" and '"Draftants" have been exhibited worldwide. Marcaccio was born to a native Argentine mother and Italian father in Rosario de Santa Fe where he later attended the University of Philosophy. In 1985, at age 22, he moved to New York City, where he continues to live and work. He has exhibited widely throughout theUnited States, Europe and South America. In 2004, Kunstmuseum Liechtenstein organized a retrospective of his work, the same year that a solo exhibition was mounted at the Miami Art Museum. He regularly exhibits with galleries in New York, Los Angeles, Berlin, Paris, Cologne and Barcelona. He has participated in numerous group exhibitions, including; the 44th Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington, DC in 1995, Summer Projects at PS1 Contemporary Art Center, New York in 2002, and Documenta 11, Kassel, Germany in 2002. His multidisciplinary collaborations include projects with the architect Greg Lynn that resulted in an exhibition at the Wexner Center for the Arts, Columbus, Ohio in 2001 and projects with composer Claudio Baroni creating animated operas and a 2005 scored, paintball performance at Weston Hall in Toronto, Canada. Marcaccio’s work investigates whether the traditional medium of painting can survive in the digital age. He has used printmaking transfer techniques to make paintings and became well known in the 1990s for his manipulations of the conventions of painting. More recently, he has relied upon digital and industrial techniques to infuse his painting process with spatial and temporal concerns. The results are environmental paintings, animations, and “Paintants” that combine digitally manipulated imagery, sculptural form, and three dimensionally painted surfaces. On September 10, 2011 Marcaccio received the "Bernhard Heiliger Award for Sculpture 2011" from the Mayor of Berlin, Klaus Wowereit. Bernhard Heiliger Award for Sculpture. Radical Shift: Political and Social Upheaval in Argentinean Art since the 1960s “Fabian Marcaccio” Interview by Shirley Kaneda BOMB 41/Fall 1992 2011 Pinta London, Featured Artist, Galerie Thomas Schulte, London, England “Corpse: Variant Paintants” Galerie Schmidt MacZollek, Cologne, Germany Bernhard Heiliger Award for Sculpture Exhibition, George Kolbe Museum, Berlin, Germany 2010 “Megan: Variant Paintants” Galeria Joan Prats, Barcelona, Spain SAPS, Sala Arte Publico Sigueiros, Mexico 2009 “Analytical Rage-Paintants” Galerie Thomas Schulte, Germany 2008 “Draftants,” Galerie Schmidt Maczollek, Koln, Germany 2007 BravinLee programs, New York City, NY, USA Ruth Benzacar, Galeria de Arte, Buenos Aires, Argentina Fabian Marcaccio, Galeria Joan Prats, Barcelona, Spain 2006 “Especial,” Galerie Maczollek, Cologne, Germany “Private Contractor and New Paintants,” Kevin Bruk Gallery, Miami, FL, USA SELECTED COLLECTIONS Whitney Museum of American Art, New York, NY MOMA, Museum of Modern Art New York, NY Margulies Collection, New York, NY Collezione Maramotti, Reggio Emilia, Italy Proje4L/Elgiz Museum of Contemporary Art, Istanbul, Turkey MIT List Visual Arts Center, Cambridge, MA MAM – Miami Art Museum, Miami, FL Philadelphia Museum of Art, Philadelphia, PA Museum für Moderne Kunst (MMK), Frankfurt/Main, Germany Museo de Arte Moderno, Buenos Aires, Argentina Fondacion La Caixa, Barcelona, Spain His three-dimensional paintings are included in the permanent collections of The Museum of Modern Art and the Whitney Museum of Art, both in New York, and in the Philadelphia Museum of Art. His work has been featured in exhibitions at the MoMA P.S.1 in Queens, the Daros Foundation in Rio de Janeiro, and the Havana Biennial, among others. Marcaccio lives and works in New York, NY. Muse X Editions. An (now defunct) LA based innovative publisher of limited-edition prints, Muse X has launched its first group of prints and is just beginning to make itself known to artists, curators, dealers and collectors. Among works just off the press are otherworldly landscapes by Barbara Kasten and Oliver Wasow, a sizzling sunset by Peter Alexander, abstract compositions by Pauline Stella Sanchez and Jennifer Steinkamp, text and photo combinations by Bill Barminski and Nancy Dwyer, and conceptual photographs by Kevin Hanley. Doug Aitken, Polly Apfelbaum, David Levinthal, Richard Long, Christian Marclay...

Recently graduated from Pasadena’s legendary Art Center College of Design, Tom Baldwin created the series of inkjet prints Japanese Gardens in 1996 on his computer, using then-nascent graphics technology to "paint" his images on the computer screen. Baldwin embraced this technology and its accompanying printing process not just for the speed and ease of their use, but because the artist could achieve the absolute flatness that the principles of modernism preached but ultimately--because of the limitations of their tools--never reached. These colorful, semi-abstracted views of Japanese temple landscapes subtly, but radically redefine picture space. Baldwin shifts fore and backgrounds, giving equal weight to skies and hillsides. Endowing a lowly bush with a vibrant purple or orange might cause it to pop out of proportion, but ultimately lends balance and stability to the work itself, in short, returning the composition to its original, harmonious whole in keeping with the subject matter. these original prints employ a color scheme that seems more reminiscent of 1980s Japanese pop art beer advertisements...

Recently graduated from Pasadena’s legendary Art Center College of Design, Tom Baldwin created the series of inkjet prints Japanese Gardens in 1996 on his computer, using then-nascent graphics technology to "paint" his images on the computer screen. Baldwin embraced this technology and its accompanying printing process not just for the speed and ease of their use, but because the artist could achieve the absolute flatness that the principles of modernism preached but ultimately--because of the limitations of their tools--never reached. These colorful, semi-abstracted views of Japanese temple landscapes subtly, but radically redefine picture space. Baldwin shifts fore and backgrounds, giving equal weight to skies and hillsides. Endowing a lowly bush with a vibrant purple or orange might cause it to pop out of proportion, but ultimately lends balance and stability to the work itself, in short, returning the composition to its original, harmonious whole in keeping with the subject matter. these original prints employ a color scheme that seems more reminiscent of 1980s Japanese pop art beer advertisements...

Japanese Garden: Orange, 1996 Tom Baldwin created the series of inkjet prints "Japanese Gardens" in 1996 on his computer, using then-nascent graphics tech...

Reisinger was born in Kanjiža, Serbia, into a family of painters and decorators active in Austria-Hungary and the Balkans. Most family members died in the Holocaust, including his father. As a teenager, he became active in the Partisan Pioneer Brigade and, with his mother and stepfather, immigrated to Israel in 1949. Reisinger initially lived in a transit camp and then worked as a house painter in order to earn money from almost any source. In 1950 at age 16, he was accepted as a student—its youngest up to the time—at the Bezalel Academy of Art and Design in Jerusalem, there to 1954. During mandatory service in the Israeli Air Force from 1954, he was the art director of its books and other publications. While there, he attended a class on postage-stamp design taught by Abram Games, who became his mentor and friend. Subsequently, he traveled, studied, and worked in Europe: from 1957 in Brussels and then onto London where, 1964–66, studied stage and three-dimensional design at the Central School of Art and Design, designed posters for Britain's Royal Mail, and worked for other clients while making intermittent visits to Israel. Then in 1966, he returned permanently to Israel and established a studio in Tel Aviv and today in Giv'atayim. His work has been included in numerous international group and one-person exhibitions. A large number of social-, political-, and cultural-theme posters and other graphic design, such as calendars, packaging, and more than 150 logos are superior to much of his fine art. He designed a new logo for El Al airlines (1972), and the 50-meter-long aluminum-cast relief (1978) of a biblical quotation in Hebrew on the exterior of the Yad Vashem, Israel's official museum/memorial to Holocaust victims, in Jerusalem. He has also designed logos for the Tel Aviv Museum of Arts, Tefen Museum of Arts, and Habima Theater (הבימה - התיאטרון הלאומי) and the symbol and posters of the 9th-15th Maccabiah Games (מַכַּבִּיָּה). His widely published self-produced “Again?” poster (1993) features a Nazi swastika (which Reisinger incorrectly made to face left) breaks apart to 5 pointed red Star of soviet union in reference to the possible dreaded repeat of the Holocaust. The influences on his work—itself more widely focused than solely on social and political issues—have come from colorists, Minimalists, Constructivists, and humorists. He claims one of his more significant contributions has been to stretch the visual and communicative possibilities of Hebrew letters through his symbols and logos. Reisinger is one of Israel's most-accomplished graphic designers; the others include Franz Kraus...

Stephen Greene (September 19, 1917 – November 18, 1999) was an American artist known for his abstract paintings and in the 1940s his social realist figure paintings. Stephen Greene was born in New York City and he attended the National Academy School of Art and then the Art Students League. Mr. Greene taught at Princeton University for many years where he was teacher to many well-known figures in the art world including Frank Stella and art critic and historian Michael Fried. Mr. Greene had more than 2 dozen solo exhibitions of his work in leading art galleries in New York City. He also taught at the Art Students League of New York for several decades. After the mid-1950s and until his death Greene's mature work was related to abstract expressionism, color field painting and surrealism. His work is represented in numerous public collections, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the San Francisco Museum of Modern Art, the Brooklyn Museum, the Houston Museum of Fine Arts...

Katherine Porter is an American artist born in Cedar Rapids, Iowa in 1941. She received her BA from Colorado College in 1963. Katherine Porter received an honorary doctorate from Colby College. She has shown twice in the Whitney Biennial and solo exhibitions at the Knoedler Gallery in London, the Nina Nielsen Gallery in Boston, and the Andre Emmerich and Salander-O'Reilly Galleries in New York. Her work is in the collections of the Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, Museum of Fine Arts in Boston, and the Tel Aviv Museum in Jerusalem. Her exhibitions include biennials in 1976 and 1981 at the Whitney Museum of American Art in New York City; 1980 at the San Francisco Museum of Fine Arts; 1981, Dartmouth College...

Will Petersen, a painter, master printer and a poet, was born in Chicago. (Amer. 1928-1994) Will's formal art education began with classes at the Chicago Academy of Fine Arts. As a student at the city's Steinmetz High School, Petersen succeeded Hugh Hefner (of Playboy magazine fame) as the HS newspaper cartoonist, the Steinmetz Star. During this time, Petersen recovered from polio. In 1947 Petersen enrolled at Chicago's Wilbur Wright College. While there, he painted with oils for the first time. Two years later he enrolled at Michigan State University where he developed a strong interest in literature and writing and began printmaking. By 1951 he had begun to exhibit paintings and prints nationally. A year later he completed his master's degree. Petersen served in the United States Army from 1952-54, spending one year as an education specialist in Japan. This encounter with the Japanese culture affected his entire life. He became interested in calligraphy and Noh, classical Japanese Buddhist performance that combines elements of drama, music and poetry. Upon completion of his military service in Japan in 1955, Will Petersen settled in Oakland, California, where he met some of the most active poets of the Beat Generation: Gary Snyder, Allen Ginsberg, Jack Kerouac, Phil Whalen, Mike McClure and others. Petersen was attracted to the group by their intelligence and belief in Zen Buddhism. In 1956 in his small studio in Oakland, he printed the poems of Jack Kerouac. He attended for the first time, the reading of Ginsberg's Howl at Six Gallery. His relationship with Gary Snyder had begun when both were in Kyoto, Japan; later Snyder wrote for the Plucked Chicken. Petersen returned to Japan in 1957, pursuing painting, printmaking and writing for eight years while living in Kyoto. In 1965 he accepted a faculty appointment at Ohio State University, teaching drawing, painting and printmaking. Four years later Petersen took his teaching skills to West Virginia University in Morgantown, where he concentrated on printmaking. He taught there until 1977 when he began publishing Plucked Chicken, a journal of art and poetry. In 1978 in Morgantown, Petersen and his wife, Cynthia Archer, established Plucked Chicken Press, which they later moved to Chicago and then Evanston. Petersen operated the Press until his death on April 1, 1994. 1956 In storefront studio in Oakland, California, creates signed serigraphs and lithographs. Prints poems of Jack Kerouac. 1961 Back in Japan, acquires a lithography press and stones and resumes printing lithographs. Exhibits regularly with Kyoto Printmakers. 1969 Resident lithographer at the Lakeside Studio, Lakeside, Michigan. Prints for the first time Richard Hunt lithographs. 1978 Establishes Plucked Chicken Press in Morgantown, West Virginia. Resident lithographer at Lakeside Studio in Michigan. 1980 Plucked Chicken Press moves to Chicago. Publishes lithographs by Don Crouch and Art Kleinman. 1982 Publishes Blossom, a lithograph/collage by Tom Nakashima. 1983 Series I of Plucked Chicken Press is published with work by Archer, Duckworth, Godfrey, Heagstedt, Himmelfarb, Hoff, Hunt, Martyl, Miller, Nakashima and Petersen. 1984 Plucked Chicken Press moves to Evanston. Series II of Plucked Chicken Press is published with works by Croydon, Ho, Archer, Torn, Osver, Middaugh, Roseberry, Petersen, Spiess-Ferris and Hoppock. 1985 Series III of Plucked Chicken Press is published with works by Driesbach, Hunt, Trupp, Gregor, Pattison, Conger, Evans, Weygandt, Archer, Ho and Petersen. Prints Suite I, Northern Illinois University Collectors Series, with lithographs by Renie Adams, David Bower, David Driesbach, Carl Hayano and Ben Mahmoud, all faculty members of the art department at Northern Illinois University. 1986 Publishes Richard Hunt s Over Wisdom Bridge. 1987 Series IV of Plucked Chicken Press is published with works by Bustos, Archer, Martyl, Petersen, Smith, Gordon, Gadomski and Godfrey. 1990 Series V of Plucked Chicken Press is published with four floral lithographs by Winifred Godfrey...

Shipping will be a bit longer as this piece is located in Israel Michail Grobman, Israeli, born in Soviet Union, 1939. Michail Grobman was born in Moscow. He grew up writing poetry, essays and literary prose. In the 1960s, he was active in the Second Russian Avant-garde movement in the Soviet Union. In 1971, he immigrated to Israel. In 1975, he established the Leviathan school together with Avraham Ofek and Shmuel Ackerman, seeking to combine symbolism, metaphysics and Judaism in an all-inclusive “national style.” Grobman’s work employs images and symbols from Jewish mysticism and Kabbalah. His paintings incorporate texts in Russian and Hebrew. In addition to his artistic endeavors, he writes about art and aesthetics. The group combined conceptual art and "land art" with Jewish symbolism. Of the three of them Avraham Ofek had the deepest interest in sculpture and its relationship to religious symbolism and images. In one series of his works Ofek used mirrors to project Hebrew letters, words with religious or cabbalistic significance, and other images onto soil or man-made structures. In his work "Letters of Light" (1979), for example, the letters were projected onto people and fabrics and the soil of the Judean Desert. In another work Ofek screened the words "America", "Africa", and "Green card" on the walls of the Tel Hai courtyard during a symposium on sculpture Date of Birth: 1939, Moscow 1960s Active member of The Second Russian Avantgarde 1967 Member of the Moscow Painters Association 1971 Immigrated to Israel and settled in Jerusalem 1975 Founded the Leviathan group and art periodical (in Russian) Since 1983 Lives and works in Tel Aviv . Selected Solo Exhibitions: 2002 Pavilion Zveta Zuzovich, "The Last Sky", Belgrad (cat: Irena Subotitch) 1999 The State Russian Museum, ST. Petersburg 1998 "Picture = Symbol + Concept", Herzliya Museum of Art, Herzliya 1995 "Password and Image", University Gallery, Haifa University 1990 Tova Osman Gallery, Tel Aviv 1989 "The Beautiful Sixties in Moscow", The Genia Schreiber University Art Gallery, Tel Aviv University (with llya Kabakov; cat. text: Mordechai Omer] Spertus Museum, Chicago Beit Rami and Uri Nechushtan, Ashdot Yaacov (leaflet) 1972 Nora Gallery, Jerusalem 1973 - Negev Museum, Beer Sheva 1971 Tel Aviv Museum of Art (cat. text: Haim Gamzu) 1966 Mos-lng-Projekt, Moscow 1965 Artist's House, Moscow Energy Institute, Moscow History Institute, Moscow Usti-nad-Orlicy Theatre,Czechoslovakia (leaflet text: Dushan Konetchni) 1959 Mukhina Art Institute, Leningrad . Selected Group Exhibitions: 2003 "Yes do yourself...", Regeneration of Judaism in Israeli art, Zman Omanut Tel Aviv (cat: Gideon Ofrat) 1999 "Russian post-war avantgarde", The Trajsman Collection in the State Russian Museum, St. Petersburg Tretjakov National Gallery, Moscow (cat. text: Yevgenij Barabanov, John Bolt...

Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen ...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Actual image size is 10.5 x 13.5. Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a set of 32 hand-s...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Richard Lindner was born in Hamburg, Germany. In 1905 the family moved to Nuremberg, where Lindners mother was owner of a custom-fitting corset business and Richard Lindner grew up and studied at the Kunstgewerbeschule (Arts and Crafts School since 1940 Academy of Fine Arts). From 1924 to 1927 he lived in Munich and studied there from 1925 at the Kunstakademie. In 1927 he moved to Berlin and stayed there until 1928, when he returned to Munich to become art director of a publishing firm. He remained there until 1933, when he was forced to flee to Paris, where he became politically engaged, sought contact with French artists and earned his living as a commercial artist. He was interned when the war broke out in 1939 and later served in the French Army. In 1941 he went to the United States and worked in New York City as an illustrator of books and magazines (Vogue, Fortune and Harper's Bazaar). He began painting seriously in 1952, holding his first one-man exhibit in 1954. His style blends a mechanistic cubism with personal images and haunting symbolism. LIndner maintained contact with the emigre community including New York artists and German emigrants (Albert Einstein, Marlene Dietrich, Saul Steinberg). Though he became a United States citizen in 1948, Lindner considered himself a New Yorker, but not a true American. However, over the course of time, his continental circus women became New York City streetwalkers. New York police uniforms replaced European military uniforms as symbols of authority.At a time when Abstract Expressionism was all the rage, Lindner’s painting went against the current and always kept its distance. His pictorial language of vibrant colours and broad planes of colour and his urban themes make him a forerunner of American Pop Art. At the same time, he owes the critical tone of his paintings to the influence of European art movements such as Neue Sachlichkeit and Dada. His first exhibition did not take place until 1954, by which time he was over fifty, and, interestingly, it was held at the Betty Parsons Gallery in New York, a venue associated with the American Expressionists. From 1952 he taught at the Pratt Institute, Brooklyn, from 1967 at Yale University School of Art and Architecture, New Haven. In 1957 Lindner got the William and Norma Copley Foundation-Award. In 1965 he became Guest Professor at the Akademie für Bildende Künste, Hamburg. His Ice (1966, Whitney Museum of American Art) established a connection between the metaphysical tradition and pop art. The painting shows harsh, flat geometric shapes framing an erotic but mechanical robot-woman.His paintings used the sexual symbolism of advertising and investigated definitions of gender roles in the media. While influencing Pop Art (Tom Wesselman and Claes Oldenburg amongst others) his highly colourful, hard-edge style seems to have brought him close to Pop Art, which he rejected. Nevertheless, he is immortalised on the cover of the Beatles record...

etching & aquatint (hand-signed in English and numbered in pencil. Ed 99) Paper size: 15X11 inches Image size: 6X6 inches Condition: work is in excellent condition and is...

Enrico Baj (1924-2003) Italian, limited edition print. Hand signed and numbered Signature on the corner. Edition 44 of 45. metallic silver aluminum. Baj was an Italian artist best known for his political collages, prints, paintings, and sculptures. He was close to the surrealist and dada movements, and was later associated with CoBrA. Italian artist Enrico Baj (1924-2003) was born in Milan into a wealthy family, but left Italy in 1944 having upset the authorities and to avoid conscription. He studied at the Milan University law faculty and the Brera Academy of Art. Italian Surrealist Pop Art. Artist, attorney, ironist, writer, sharp critic, and political dissenter, Enrico Baj brought an urgent, refreshing and unique voice to the art of his time. In 1951 he founded the Movimento d'Arte Nuclear...

Silkscreen on paper. with some sort of experimental poured stuff on it. there is some loss to the margin but the image is strong. edition 2/6. During the 1930s, Lawrence Edward Kupferman was employed by the WPA Works Progress Administration, making a series of etchings and dry points, mostly of the facades of houses. His style changed completely in the 1940s, becoming first political and expressionist, and later abstract expressionist. He served as chairman of the department of painting at the Massachusetts College of Arts.He studied at the Boston Museum School with Philip Leslie Hale and H. Alden Ripley (1929-1931); Massachusetts School of Art with Ernest L. Majors and Otis Philbrick (1931-1935). Kupferman took motifs from tangible and sensed realities. His atmospheres symbolize cosmic space. Existence is spiritualized as a connected covenant with all of creation. Veil-like, mysterious lines move like vapors over washes of opaque translucent colors that blend, erupt or fade into seas of time-like space and souls become one with an ever-moving, deepening milieu. He admitted, "My figures journey to greet an eternal fellowship with nature’s every particle. . . . "Around 1941, I started to pour paint onto canvases in Provincetown. Jackson Pollock came into my studio to observe how I let paint take on a liquid life or path of its own. Those ethereal poured paintings may have stimulated Pollock's more frantic splashed-on techniques” Kupferman said thoughtfully.Some critics gave him credit for having been one of the pioneering fathers of the poured painting technique. As early as 1943, the Museum of Modern Art, the Whitney Museum of American Art and various publications acknowledged him as a humanistic innovator whose work bluntly exposes humans to themselves. Kupferman, Jack Levine (b. 1915), Hyman Bloom (b. 1913) and David Aronson (b. 1923) founded the "The Boston Urban Jewish School," whose roots ran deep into traditional Hebraic scholarship."Throughout my career," Kupferman admitted, "Boston was a mental and physical prison in which genuineness and spontaneity in art was absent. I summered in Provincetown for artistic sanity. Mark Rothko, Hans Hofmann, Adolph Gottlieb, William Baziotes, Leo Manzu, Byron Brown...