Heinrich Siepmann 1986 Collage and Gouache on paper

Georg Karl Pfahler (1926 - 2002) “untitled” Color silkscreen on wove paper, versa signed, numbered and dated by hand Creation 1989 EX. 23/50 framed behind glass Dimensions: 70 x 70 cm Georg Karl Pfahler is considered the only important representative of the Hard Edge in Germany; he was a guest at the Biennales in Venice and São Paolo, taught in Nuremberg and Salzburg and was awarded numerous prizes. Georg Karl Pfahler was born on October 8, 1926 in Emetzheim, Bavaria. He spent his childhood and youth on his parents' farm, far away from any art. Nevertheless, he loved painting and drawing from an early age and cultivated it intensively as a childhood pastime. However, Georg Karl Pfahler only received the impetus to study art in 1948 when he met students from the Nuremberg Art Academy and accepted their invitation. His parents, good but simple country folk, had no interest in their son's newly awakened passion, and the young man was also met with incomprehension in his home village. However, Georg Karl Pfahler did not let this put him off, but attended the Academy of Fine Arts in Nuremberg for two years, where he came into contact with original art for the first time and became acquainted with the works of Marc Chagall and Paul Klee. After two semesters, he moved to Stuttgart to study under Willi Baumeister, Gerhard...

Sam Francis (1923 San Mateo - 1994 Santa Monica) "Jubilee" color lithograph, created 1964, edition of 50 copies, signed, numbered and dated, Ex.: e.a. Dimensions: 50.5 x 65.5 cm Sam Francis was an American painter and graphic artist. His work is classified as Abstract Expressionism or Color Field Painting Sam Francis is one of the most important American artists, born in San Mateo (California) in 1923, died in Santa Monica in 1994. After a plane crash during his service in the US Air Force, he began painting in 1944 during his convalescence and then studied under David Park at the California School of Fine Arts in San Francisco. His early abstractions, which are still reminiscent of Clyfford Still and Jackson Pollock, show spontaneous painterly gestures that led to the typically American "all over" structure: the canvas is completely covered with dots, spots, marks and other traces of the painter's brush. When Francis was in Paris from 1950 to 1957, he abandoned color and broke new ground with works such as "White Painting" (1950). But as early as the summer of 1951 in the south of France, he used pink and red again, only to return to the full palette later on. Sometimes he used all the colors and their variations in tone, sometimes he let one color dominate, as in "Blue Balls" (1960). Although Francis has been associated with Color Field painting, this must be seen as an aid to classification, to help one come to terms with a highly original visual language. When "fields" appear in Francis' work, they are almost never (if ever) color fields. Instead, they have an interplay of foreground and background. They often create depth, which makes the canvas more of a "color space". It is typical of Sam Francis' pictorial strategies that he often leaves the center of the picture free...

Donovan Davis is a Canadian based artist currently residing in Toronto. He has over two decades dedicated to deconstructing and reconstructing photo based images. His stunning photo...

Vincent Van Den Meersch was a belgian painter who played an important role in the Belgian contemporary art. Until the early 1950s, Vincent Van Den Meersch painted expressionist works...