Miami - Sculptures

Spinning-top is a tall abstract resin sculpture made by Patrice Breteau, a French contemporary artist.This sculpture is available in eight different colors, all resistant to UV expos...

TECHNICAL INFORMATION: Claes Oldenburg Geometric Mouse Scale E 'Desktop' 2013 Painted aluminum sculpture on painted aluminum base 6 1/2 x 8 1/4 x 6 1/...

Kim Seungwoo is a contemporary Korean sculptor, lives in Seoul, South Korea. Seungwoo is famous for his sculptures made from coins and buttons. He creates hyper-realistic, life-size sculptures of human figures and spinning objects. The Artist uses coins to build complex, surprisingly detailed, three-dimensional sculptures. Each sculpture consists of as few as hundreds of thousands of coins, up into the thousands. Assembled in flowing, swirling patterns, the coins make up Kim's sculptured human...

The self-taught artist Roberto Perez Crespo, born in 1969 in Cuba and based in Miami, has been working on sculptures for nearly three decades, following his artistic call after abandoning a completed technical education in auto mechanical service. Pérez Crespo's practice moves between modernity and contemporaneity, pursuing his creative impulse from an emotional starting point. His religious approach partly directs these dynamic positions to classic Judeo-Christian sculptural themes such as maternity, the female body, and romantic love. Over the years, his interests have shifted from academic figurative representation toward a stylized abstraction of the human body. Formally he has explored the creation of less defined anthropomorphic forms while displaying a deft ability to work in various marble types. Perez Crespo's talent working in marble is evidenced by his ability to sculpt the stone into endlessly fluid shapes and contours. He is able, instinctively and organically, to materialize and bring to life an anthropological world that blossoms out of his manual skills. Perez Crespo's sculptures can be approached sensuously as tactile provocations that draw viewers into an intense, supple universe. Perez Crespo creates an imaginary ethos with metaphysical forms while taking significant steps toward an organic abstraction. He uses this type of abstraction that retains a solid figurative reference while outsourcing modernist elements from artists such as Henry Moore, Maria Martins...

Since 1974, Oliva has had individual and collective exhibitions in Cuba as well as internationally. His works can be seen at the National Museum of Fine Arts of Cuba and in collections in Canada, France, Italy, Spain, Brazil, Switzerland, Mexico, Germany and United States. In 1998 Oliva founded and funded the House-Workshop of Pedro Pablo Oliva...

Original stainless steel sculpture. Incised "Leon Ferrari 1981" on a metal plaque affixed to the lower area of the sculpture. Please do not hesitate to ask us any further questions...

This large indoor outdoor contemporary sculpture is painted in car paints and is impervious to all weather conditions. It is a striking contemporary statement of geometric abstracti...

This large monumental white sculpture is actually painted in three colors of white. The outdoor/indoor work is suited for any environment as it is fabricated from aluminum and poly...

The aluminum and polyurethane painted outdoor sculpture undulates and flows with three red bands each in a different shade of red. From the artist's Levitation series, this sculptu...

Mixed media sculpture

This interactive installation allows the collector to plan their own design using these sophisticated elements made of steel or aluminum painted in polyurethane. This indoor or outdo...

From the newest original works by Zammy Migdal, these wall objects hang as sculpture on the wall, each one unique, forming its own fluid story. This dark gray work is from a series ...

This cut out aluminum hand painted sculpture hangs on the wall functioning as both a painting, with the wall as a see through background, and a sculpture. It hangs on several small ...

Undulating on the wall in any pattern desired, this colorful installation of various shades of Caribbean blue is a multi element installation that can be arranged in any way you like...

Eleven Minors and You high polished Chrome metal elements Zammy Migdal 2018- Comprised of 11 high polished stainless steel elements, this interactive installation can be displayed i...

Two marble pieces converge on one point in this perfectly balanced sculpture of warm marble and steel. It is a beautiful abstract work that hold both inte...

An installation work of photos on aluminum, these hexagonal elements inference the hexagon of the Pentagon. The artist is telling a story of what ma...

This interactive work can fit in any format the collector desires and can contain as many elements, both big and small, that the space requires. From the artist's Levitation series...

“Cromovela A serie 21” 2018 Polychrome ceramic stele Ed 2/20 24 x 8 x 6 in

Michelangelo Bastiani (1979, Italy) uses technology in his representations of water to illustrate its dynamic nature and facilitate a direct connection and tangible interaction with ...

This cut out aluminum hand painted sculpture hangs on the wall functioning as both a painting, with the wall as a see through background, and a sculpture. It hangs on several small ...

Hyun Ae Kang (South Korea, 1965) combines traditional Korean painting with Western abstract imagery using natural materials to create innovate mixed-media works that are rich in both...

COA by the artist. Manuel Mendive is an eminent Afro-Cuban painter, sculptor, and performance artist. His colorful, evocative paintings and carvings—as well as his dynamic performan...

Humberto Castro was born in Havana, Cuba, in 1957. He graduated from the Academy of Fine Arts San Alejandro and Instituto Superior de Arte (ISA) in Havana. He works in painting, draw...

Technical Information: Claes Oldenburg Miniature Soft Drum Set 1969 The complete set of 9 sewn screenprinted elements on canvas, some with washline, wood, plastic buttons, rope, metal eye screws and spray enamel with wood base covered with screenprinted paper in colors 9 3/4 x 19 x 13 3/4 in. Artist's Proof - A.P. XVI Initialed and numbered in black ink on the bass drum...

Sculpture by the Spanish artist AMANCIO GONZALEZ Artist well known for his large format works on the street. Iron and bronze. 7 copies AMANCIO Gonzalez ( Leon 1965 ) Amancio Gonzále...

Luis Miguel Valdes (Cuba, 1949) "Ceramic #42", 2017 Ceramic in Uriarte's Talavera, Puebla, Mexico 34.5 x 34.5 x 3.6 cm. (13.6 x 13.6 x 1.5 in.) Hand-signed by author ________________...

Luis Miguel Valdes (Cuba, 1949) "Ceramic #16", 2017 Ceramic in Uriarte's Talavera, Puebla, Mexico 32.5 x 32.5 x 3.8 cm. (12.8 x 12.8 x 1.5 in.) Hand-signed by author ________________...

Luis Miguel Valdes (Cuba, 1949) "Ceramic #41", 2017 Ceramic in Uriarte's Talavera, Puebla, Mexico 34.5 x 34.5 x 4.2 cm. (13.6 x 13.6 x 1.7 in.). Hand-signed by author _______________...

Luis Miguel Valdes (Cuba, 1949) "Ceramic #30", 2017 Ceramic in Uriarte's Talavera, Puebla, Mexico 44.5 x 44.5 x 6.5 cm. (17.5 x 17.5 x 2.6 in.) Hand-signed by author ________________...

Luis Miguel Valdes (Cuba, 1949) "Ceramic #13", 2017 Ceramic in Uriarte's Talavera 22 × 22 × 2 2/5 in (55.9 × 55.9 × 6.1 cm) Hand-signed by author ____________________________________...

From the newest original works by Zammy Migdal, these wall objects hang as sculpture on the wall, each one unique, forming its own fluid story. This light gray work is from a series...

Las obras del maestro Atchugarry vienen de la naturaleza, es una piedra de marmol forjada por siglos, unica he irrepetible, luego son esculpidas a mano usando las tecnicas originales...

Las obras del maestro Atchugarry vienen de la naturaleza, es una piedra de marmol forjada por siglos, unica he irrepetible, luego son esculpidas a mano usando las tecnicas originales...

Esta es una obra de arte hecha 100% a mano en piedra “Cumarebo” este es un tipo de material muy poroso y delicado de trabajar, lo que hace que su elaboracion y logro sea una faena pr...

This unique piece by Margulis is from his latest body of works and is a unique piece. After assembling the Plexiglas sheets onto the aluminium core, he uses acrylic paints to cover s...

This unique piece by Margulis is from his latest body of works and is a unique piece. After assembling the Plexiglas sheets onto the aluminium core, he uses acrylic paints to cover s...

This unique piece by Margulis is from his latest body of works and is part of an edition of 3. After assembling the Plexiglas sheets onto the aluminium core, he uses acrylic paints t...

VMA-012, 2015 Edition / Talla directa sobre marmol blanco de Carrara 36 x 16 x 10,5 cm 14.1 x 6.2 x 41.3 in. The "Tu y Yo" (You and Me) series is based on complementary opposites and contain revealing elements of male and female symbology. As a tribute to his teacher Jesús Soto he introduces direct references to the work of the kinetics in hatched backgrounds of lines to produce the optical vibrations characteristic of that movement. JORGE SALAS...

Volumen VPC-038, 1970 Unique Piece Direct carving on Cumarebo stone 40 x 32 x 20 cm 15.7 x 12.5 x 7.8 in ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Volumen VPC-062, 1972 Unique Piece Direct carving on Cumarebo stone 67 x 38 x 20 cm 26.3 x 14.9 x 7.8 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Maqueta Armonía de Volúmenes y Espacios -La Hoyada- BMPC-002, 1980(1982) Edition /25 Bronze 48 x 37 x 26 cm 18.8 x 14.5 x 10.2 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

05.enero.2013 41 Black, 2013 Unique Piece Aluminum, Enamel 105 x 85 x 25 cm 41.3 x 33.4 x 9.8 in. About The Artist Born in 1970 in Pamplona, Spain. Madrid and New York-based artist...

27 mayo 2011 48 Purple, 2011 Unique Piece Aluminium, Enamel 100 x 91 x 31 cm 39.3 x 35.8 x 12.2 in. About The Artist Born in 1970 in Pamplona, Spain. Madrid and New York-based art...

This unique piece by Margulis is from his latest body of works and is part of an edition of 9. After assembling the Plexiglas sheets onto the aluminium core, he uses acrylic paints t...

This unique piece by Margulis is from his latest body of works and is part of an edition of 9. After assembling the Plexiglas sheets onto the aluminium core, he uses acrylic paints t...

TECHNICAL INFORMATION: Larry Rivers Webster Cigar Box 1964-66 Multiple of wood, canvas, paper, and plexiglass, with screen print, paint, and collage additions 13 3/16 x 15 15/16 x 1...

This unique piece by Margulis is from his latest body of works and is part of an edition of 9. After assembling the Plexiglas sheets onto the aluminium core, he uses acrylic paints t...

This unique piece by Margulis is from his latest body of works and is part of an edition of 9. After assembling the Plexiglas sheets onto the aluminium core, he uses acrylic paints t...

This unique piece by Margulis is from his latest body of works and is part of an edition of 9. After assembling the Plexiglas sheets onto the aluminium core, he uses acrylic paints t...

TECHNICAL INFORMATION: Jesus Rafael Soto (June 5, 1923 - January 14, 2005, Venezuelan) Vibrations Metalliques 1969 painted metal with metal rod with nylon string 10 3/4 x 11 3/4 x 5...

Rafael Barrios Movil Espiral Fractal (Código M597), 2019 Edition 3/3 Hand Fabricated Lacquered Aluminum 178 x 80 cm 70 x 31.4 in. This artwork is accompanied by a certificate of authenticity directly from the artist. RAFAEL BARRIOS is a Venezuelan artist born in 1947 in Baton Rouge, Louisiana, US. He studied Fine Arts in Canada, the United States, and Venezuela. His artistic trajectory dates back to a very early age. He studied drawing and painting at the Museo de Bellas Artes in Caracas, Venezuela, achieving his first recognition with the award “National Youth Painting” in 1963. Upon completing his basic studies in Venezuela and Canada, he received a scholarship from J. Walter Thompson International to attend the Ontario College of Art in Toronto, Canada, graduating with honors in “Pure Art” and “Communication and Design”. He received a scholarship from New York University (US) to attend its Graduate Program for “Fine Arts” and “Monumental Sculpture Techniques”. He was granted several national and international awards: “The Sculpture Award”, Ernesto Avellán Exhibition; the McLean Foundation Scholarship, the highest award offered by the Ontario College of Art, Canada; the “Excelentísima Diputado Pronvicial de la Frontera” Decoration, for his Monumental Sculpture titled “Tercer Horizonte”, to commemorate 500 years of America’s Discovery, in Palos de la Frontera, Huelva, Spain; “Second Prize” at the Sofia Imber Caracas Contemporary Museum’s Biennial of Visual Arts, in Venezuela; the “Conferry Award”, First Sculpture Biennial, Francisco Narváez...

Edgar Negret Mascara, 1994 Painted Aluminum 87 x 87 x 32 cm 34.2 x 34.2 x 12.5 in. The artwork is signed and dated on the back and illustrated as follows...

Edgar Negret El Sol Rojo, 1985 Painted Aluminum 250 x 244 x 80 cm 98.4 x 96.1 x 31.5 in. Carlos Jiménez Moreno, Negret Escultor: Homenaje. Villegas Edito...

Felipe Castañeda Desnudo, 1984 Marble 52 x 32 x 35 cm 20.4 x 12.5 x 13.7 in. Felipe Castañeda (Mexican, b.1933) began his artistic career working at...

Felipe Castañeda Mujer con Flores, 1982 Black Marble 52 x 32 x 35 cm 20.4 x 12.5 x 13.7 in. Felipe Castañeda (Mexican, b.1933) began his artistic ca...

Agustín Cárdenas El Violinista, 1989 Bronze. Ed. 4/6 54 x 36 x 22 cm 21.2 x 14.1 x 8.6 in. AGUSTIN CARDENAS (b. 1927, Matanzas, Cuba; d. 2001 Havana,...

Cornelis Zitman Divertimiento, 1973 Bronze, AP 72 x 34 x 45 cm 28.3 x 13.3 x 17.7 in. Cornelis Zitman (1926-2016) Born in Leiden in a family of builders, he enters the Fine Arts ...