Two Paintings by Roberto Floreani

Roland Alf (1929-2020): Model by the window, signed and dated alf 2011, oil on canvas. Approx. 64.5x53.5 cm ( 25" x 21" ). Unframed. History: Roland Alf was born in 1929 in Hö...

GUNNAR ÅNGER ( 1952- 2019) abstract painting. Acrylic on perforated galvanized metal. Unsigned.

"Petite Annotation" by James Coignard ( 1925- 2008) . France. Oil on canvas. Signed, Framed.

Cityscape oil on canvas painting by James Coignard, France (1925-2008). Signed and framed. Early period. Canvas size 28.5" x 23.5. Size with frame 35" x 30".

Set of 5 colored Lithographs by Swedish artist Harald Lyth ( born 1937). Signed and numbered by pencil. Size with out frame 16" x11' each. Framed. One fr...

Edward Armfield (1817-189) British. Oil on canvas, signed. Circa late 19th Century. Framed.

Art Nouveau painting lady at the well by Roberto Rasinelli. Oil on canvas. Contemporary silver leaf frame. Italy ca. 1890. Roberto Rasinelli, Rome, 1840–1910 Italian painter, mainly painting landscapes and genre scenes, in oil and watercolor. He often painted his landscapes on site, outdoors. Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs E. Benezit. Gründ. Roberto Rasinelli: He was for many years a resident of Bologna. 
He completed his studies in Rome at the Academy of Fine Arts of St Luke. 
He displayed in 1877 at the National Exhibition: Buon consiglio and L'età delle rose. 
In 1880 at Turin, he displayed: 
La conca del pranzo; 
and in 1883 at Rome and 1884 at Turin: Lo Stabilimento dei bagni a Ripetta (I Bagni nel Tevere). 
He painted rural scenes from the Lazio. He painted Aqueduct of Claudius, exhibited in 1886 at Florence. Moving to Bologna, he painted the bolognese countryside: Giornata d' inverno. Other paintings of this artist are: L' ora del pasto; Ruderi; Lungo il Tevere; Giovinezza; Ora triste.
In later years, he lost his sight, and after he died he...

Subdued in palette but gorgeous in subtle detail, this painting of a seated male nude from behind captures the sensuality and beauty of the human figure. The painter, Roberto Lupetti...

Two geometric abstraction paintings by Jeff Hudson. Signed Jeff Hudson, 2014. Available Individually. Jeff Hudson's paintings come from his life experiences, and trust in the power and beauty of color harmonies and fragile structure to make a visual statement of pleasure for the mind and soul. Hudson went to The School of the Museum of Fine Arts in Boston 1968-1973 where he studied all mediums and focused on large color field painting. He also had access to video equipment and made video Art. In 1974 he was hired along with Jane Hudson to start the Video Performance department at the Museum School and taught for 30 years and was always involved in fine art everyday. Hudson's works embraced the modern and Postmodern. Jeff played in a Punk band The Rentals and a New Wave band Jeff and Jane Hudson. They played all the venues in NYC and Boston and released a number of records. (they have been re- released and are on ITunes.) He directed music videos for Pat Metheny...

Striking pair of acrylic paintings on canvas of traditional Peruvian figures executed in a modernist minimalist folk style. Signed Roberto Benites and presented in wood frames.

Serving, perhaps, as a commentary on the futility and horror of war, this allegorical painting of "Two Philosophers" was made by Arthur Kampf in 1948-49, shortly after the end of World War II and toward the end of his long life. Kampf was known for his historical and allegorical paintings, including a large scene showing a group of nude soldiers...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...