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Item Ships From: Jackson
In the Wheatfield (Girl Standing in a Wheat Field)
By Winslow Homer
Located in Palm Desert, CA
"In the Wheatfield (Girl Standing in a Wheat Field)" is a painting by Winslow Homer. The painting is signed, lower left, "Homer 1873". The framed piece measures 29 3/4 x 21 5/8 x 2 7/8 in.
During the early 1870s, Winslow Homer frequently painted scenes of country living near a small farm hamlet renowned for generations for its remarkable stands of wheat, situated between the Hudson River and the Catskills in New York state. Today Hurley is far more famous for inspiring one of Homer’s greatest works, Snap the Whip...
Category
1870s Realist Jackson - Figurative Paintings
Materials
Canvas, Oil
Nude Stepping from the Carpet
By Nathan Oliveira
Located in Palm Desert, CA
A painting by Nathan Oliveira. "Nude Stepping from the Carpet" is a contemporary painting, oil on canvas in a palette of reds, greens, and beiges by Bay Area figurative artist Nathan Oliveira. The artwork is signed in the lower right, "N Oliveira 62".
During the early years, Oliveira’s lone figures often suggest an existential angst similar to that of Giacometti, but there is also a weightlessness and a transcendent aura that envelopes these figures; they appear as elemental, universal and eternal projections of selfless consciousness better understood within the bodiless realm of metaphysics. These qualities would remain in his work throughout his long career, yet he would find other themes to explore — the natural world where the essential nature of birds and animals exist in equal profundity with their human counterparts, the transient world of evanescent perception when memory must reconstruct momentary experience, and later, the ‘site’ paintings and monoprints that suggest the abandoned remnants of a long-lost civilization or tribe uncovered at an archeological dig.
Nathan Oliveira has left us with a legacy of art that will surely remain untarnished by time or changing trends. His work exists within a realm rarely achieved by artists striving in a similar mode of expression. Unclouded by ego or wayward sentiment, it is also in the warmth and humble nature...
Category
Mid-20th Century Contemporary Jackson - Figurative Paintings
Materials
Canvas, Oil
Parisian Model
By Max Weber
Located in Palm Desert, CA
"Parisian Model" is an oil on canvas painting by Max Weber painted in 1908. The work is signed and dated, lower right, "Max Weber Paris 1908". The painting size is 35 1/2 x 19 5/8 inches. The framed size is 43 x 27 x 2 1/4 inches.
"Parisian Model" was painted in 1908, when Weber participated in a life class in Matisse's studio in Paris and painted several nudes. Weber was influenced toward a more Cubist styler after seeing Cezanne's work in the 1906-07 Salon in Paris, and he consorted within avant-garde circles in Paris as early as 1905. After returning to the US in 1909, Weber was credited with showing American audiences Cubism based on his firsthand knowledge of the key players and the style.
Several drawings of Weber's from this time are in museum collections at The Met, the Smithsonian, and MoMA and show a similar style and stocatto gesture. Parisian paintings by Max Weber are extremely rare as there are hardly any that have sold publicly.
Provenance:
Estate of the Artist
Gerald Peters Gallery...
Category
Early 20th Century American Modern Jackson - Figurative Paintings
Materials
Canvas, Oil
Untitled
By David Smith
Located in Palm Desert, CA
"Untitled" is a painting by American artist David Smith.
David Smith’s paintings from the 1930s rarely come to market, and when Untitled (Billiard Players) surfaced at a Christie’s auction in 2018, it created quite a stir, realizing an impressive price of $1.15 million. Painted around the same time, Untitled shares many similarities with Untitled (Billiard Players). Both paintings affirm Smith’s place among the American artists when ideas and style began to intermingle and coalesce around Picasso’s innovations.
Uniquely positioned in temperament and ability, Smith was a man of considerable ambition whose direct-metal configurations would have much to do with achieving new ideas about abstraction. Yet all along, he insisted he was a painter, not a sculptor who painted.
Paintings by Smith...
Category
1930s Abstract Jackson - Figurative Paintings
Materials
Canvas, Oil
American Street Scene
By Irving Norman
Located in Palm Desert, CA
A painting by Irving Norman. "American Street Scene" is a macabre social surrealism city scape, oil on canvas in a bold palette of reds, blues, and yellows by artist Irving Norman. T...
Category
Mid-20th Century Post-War Jackson - Figurative Paintings
Materials
Canvas, Oil
Bacchanal
By Irving Norman
Located in Palm Desert, CA
A painting by Irving Norman. "Bacchanal" is a macabre social surrealism painting, oil on canvas in a dark palette of reds, blues, and blacks by artist Irving Norman. The artwork is u...
Category
Mid-20th Century Post-War Jackson - Figurative Paintings
Materials
Canvas, Oil
Untitled
By Nathan Oliveira
Located in Palm Desert, CA
A painting by Nathan Oliveira. "Untitled" is a Bay Area Figurative Painting, oil on canvas in a brown and tan palette by American artist Nathan Oliveira. The artwork is signed in the lower right, "Oliveira 64".
A Californian whose work is of preeminent importance during the post war period, Oliveira is most often associated with Park, Diebenkorn and the other artists with whom he sketched early in his career. Yet it was not an oversight when Oakland Museum director Paul Mills chose not to include Oliveira in the 1957 exhibition “Contemporary Bay Area Figurative Painting.” All came to figuration by initiating a sophisticated dialogue with abstraction, yet it is Oliveira, the often characterized ambivalent loner among Bay Area artists whose work is most often compared to Alberto Giacometti, Francis Bacon, or Willem de Kooning with whom he shared walls and space at The Images of Man exhibition held in New York at the Museum of Modern Art in 1959.
During the early years, Oliveira’s lone figures often suggested an existential angst similar to that of Giacometti, but there was also a weightlessness and a transcendent aura that envelopes these figures; they appear as elemental, universal and eternal projections of selfless consciousness better understood within the bodiless realm of metaphysics. These qualities would remain in his work throughout his long career, yet he would find other themes to explore — the natural world where the essential nature of birds and animals exist in equal profundity with their human counterparts, the transient world of evanescent perception when memory must reconstruct momentary experience, and later, the ‘site’ paintings and monoprints that suggest the abandoned remnants of a long-lost civilization or tribe uncovered at an archeological dig.
Through and through, flesh to bones, and bones to dust Nathan Oliveira has left us with a legacy of art that will surely remain untarnished by time or changing trends. His work exists within a realm rarely achieved by artists striving in a similar mode of expression. Unclouded by ego or wayward sentiment, it is also in the warmth and humble nature...
Category
Late 20th Century Post-War Jackson - Figurative Paintings
Materials
Canvas, Oil
Stelae No. 5
By Nathan Oliveira
Located in Palm Desert, CA
"Stelae No. 5" is a painting by Bay Area Figurative artist Nathan Oliveira. The painting is signed and dated lower right, "Oliveira 98". The framed piece measures 67 1/2 x 55 3/4 x 2 in.
A Californian whose work is of preeminent importance during the post war period, Oliveira is most often associated with Park, Diebenkorn and the other artists with whom he sketched early in his career. Yet it was not an oversight when Oakland Museum director Paul Mills chose not to include Oliveira in the 1957 exhibition “Contemporary Bay Area Figurative Painting.” All came to figuration by initiating a sophisticated dialogue with abstraction, yet it is Oliveira, the often characterized ambivalent loner among Bay Area artists whose work is most often compared to Alberto Giacometti, Francis Bacon, or Willem de Kooning with whom he shared walls and space at The Images of Man exhibition held in New York at the Museum of Modern Art in 1959.
During the early years, Oliveira’s lone figures often suggested an existential angst similar to that of Giacometti, but there was also a weightlessness and a transcendent aura that envelopes these figures; they appear as elemental, universal and eternal projections of selfless consciousness better understood within the bodiless realm of metaphysics. These qualities would remain in his work throughout his long career, yet he would find other themes to explore — the natural world where the essential nature of birds and animals exist in equal profundity with their human counterparts, the transient world of evanescent perception when memory must reconstruct momentary experience, and later, the ‘site’ paintings and monoprints that suggest the abandoned remnants of a long-lost civilization or tribe uncovered at an archeological dig.
Through and through, flesh to bones, and bones to dust Nathan Oliveira has left us with a legacy of art that will surely remain untarnished by time or changing trends. His work exists within a realm rarely achieved by artists striving in a similar mode of expression. Unclouded by ego or wayward sentiment, it is also in the warmth and humble nature...
Category
1990s Jackson - Figurative Paintings
Materials
Oil, Canvas
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Signed and dated on verso
Provenance: Purchased as part of larger collection of artist's work
Unframed.
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Leonor Fini (1907 – 1996) was born in Argentina, grew up in Italy, and spent much of her adult life in Paris working alongside such modern masters as Max Ernst, Andre Breton, Henri Cartier-Bresson, and George Balanchine. A self-taught artist, Fini’s work spans many mediums, including drawing, printmaking, costume design, and theatrical sets. As a painter, Fini is typically grouped with European surrealism, although she rejected what she considered the reductive labels of art movements. Nonetheless, Fini’s work engages with the unconscious and includes fantastical scenes with jarring, other-worldly juxtapositions and symbolism. Unlike many surrealists, however, Fini engages deeply with the corporeality of the human body in a way that often subverts gender norms. Fini’s female figures are typically dominant and stoic, while her male figures are eroticized. In other cases, the figures are highly androgynous and eroticized, complicating the way human sexuality is normally presented.
Described by many to be particularly tall and commanding in physical appearance with very unusual cat-like eyes, in many ways she was more creaturely than human. Taking the artistic interest in the motif of an animal/human hybrid somewhat literally, she stood as an embodiment of feline transformation and metamorphosis, and came to accurately identify herself with the ancient figure of a Sphinx. Deadly in Greek tradition, whilst benevolent but ferocious in Egyptian stories, the appearance of the mythical creature is symbolic of Fini's love for artifice and nature combined.
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