Miami - Sculptures

Mariko’s Fat Lady is an unique contemporary dark brown sandstone sculpture. The geishas collection of the artist expresses the various faces of the femininity...

Beautiful shades of green resembling fields of green grass are the inspiration for these undulating steel elements installation. There are 18 element of various sizes that can be arr...

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 ...

In the Greek mythology, Pegasus was a handsome white winged horse. He was in charge by Zeus to bring thunderstorms and lightenings upon the Olympus Mount, known to be the Home of the Gods. In more recent times, Pigasus turned into a 145 pounds domestic pig, nominated for President in the 1960's by the Youth International Party the Yippies. This movement became popular for their stands against war and political establishment. Patrick Schumacher was inspired by this symbolic animal as a memorial of the Peace and Love era. Born in 1953, Patrick Schumacher is a German contemporary sculptor based in Nice, France. Classically trained in the foundation of Art in Strasbourg, France, he specialises in restoring art antiquities. As a result of his training, Schumacher acquired an extensive range of technical knowledge which he applies to a broad spectrum of materials. Finding inspiration in cultural origins combined with his interests in both classical and Asiatic art...

We are putting this work on Sale for only a short period of time! Great Price. Monumental Wide Flared Casiform Vessel Le Verre Francais Art Glass...

Part of Zammy Migdal's newest works these abstract unique square framed installtions are white on white with mounted three dimensional elements on French linen and framed to hang on ...

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...

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 ...

Bronze sculpture. Incised signature by the artist and numbered. Artwork is in excellent condition. Edition of 10. Certificate of authenticity included. All reasonable offers will be ...

Icare is a tall abstract sculpture with a black patina, made by Patrice Breteau, a French contemporary artist. Very slender shape, this bronze ...

Bellino’s Cocatrix is a unique contemporary bronze sculpture representing a gold dragon made of antique bronze ornaments that are welded together in a meticulous fashion. With heav...

Great price! Wonderfully intricate grape and vine motif. It creates a dominant presence in person. This is a statement piece It's on sale for a limited time only. Incredible v...

Mariko’s Geisha Memories is an unique contemporary dark brown sandstone sculpture. The geishas collection of the artist expresses the various faces of the femininity. Mariko gre...

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...

Wonderful deep rich green patina, signed and dated on base lower right Alexia Rudier Foundry

Twin Bird V is a resin sculpture made by Patrice Breteau, a French contemporary artist. This piece is available in eight different colors, all resistant to ...

This installation is made up of individual metal and polyurethane painted elements that can also be purchased individually and create any design scheme. Influenced by the waters of ...

Mariko’s Gouvernante is an unique contemporary sandstone sculpture painted with red, purple, black and white enamel. The geishas collection of the artist expresses the various faces ...

A wild and colorful indoor or outdoor work, this interactive installation gets the collector involved in the work. The colors of turquoise, green, yellow, with pop accents of red an...

Rhinoceros adorned with a zebra skin - Rhinozebros is a resin sculpture made by Patrick Schumacher, a French contemporary artist. This sculpture represents a rhinoceros adorned with a zebra skin. "Through my artistic work, I try to highlight the possible parallels between animals and human beings, at the crossroads of humor and mockery." P. Schumacher Enlargements or reductions - Edition of 8 Equipped with a portfolio of internationally renowned artists, Gauchet Fine Art...

The Panda (WWF logo) on a can of nuclear waste subtitled “You want to fuck my life”. While remaining humorous and aesthetically attractive, his messages become more powerful reflecting current environmental and humanitarian issues. Born in 1953, Patrick Schumacher is a German contemporary sculptor based in Nice, France. Classically trained in the foundation of Art in Strasbourg, France, he specialises in restoring art antiquities. As a result of his training, Schumacher acquired an extensive range of technical knowledge which he applies to a broad spectrum of materials. Finding inspiration in cultural origins combined with his interests in both classical and Asiatic art...

Mariko’s Minotaure is an unique contemporary dark brown sandstone sculpture inspired from the greek mythology, the african culture and the cubist movement. Mariko grew up in Afric...

Icare is a tall abstract resin sculpture made by Patrice Breteau, a French contemporary artist. Very slender shape, this resin sculpture is available in eight different colors, all r...

Arabesques Horse is a resin sculpture made by Patrick Schumacher, a French contemporary artist. This white Horse sculpture with blue "arabesques...

High Polished Stainless Steel Untitled #3 standing chrome sculpture -A high polished stainless steel sculpture which sets a very contemporary tone in any environment. This accent wo...

Atlantis Egg "Zen" is a resin sculpture made by Patrice Breteau, a French contemporary artist. This piece is available in eight different colors, all resistant to UV exposure and out...

A high polished stainless steel abstract sculpture which sets a very contemporary tone in any home placement. Can be turned and viewed from multiple angles.

Mariko’s Sentinelle is an unique contemporary sandstone sculpture painted with orange, red, purple, black and white enamel. The geishas collection of the artist expresses the vario...

Follow Me is a resin sculpture made by Patrice Breteau, a French contemporary artist. This piece is available in eight different colors, all resistant to UV ...

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...

Mariko’s Eiffel is an unique contemporary sandstone sculpture painted with orange, red, purple, black and white enamel. The geishas collection of the artist expresses the various f...

Christopher Schulz Great Hammerhead Marine-grade stainless steel Edition of 38

Painted aluminum sculpture. Measures 36 x 36 x 18 inches. Stamped 'R. Indiana' with edition and date. Edition VIII/VIII. Artwork is in excellent condition. All reasonable offe...

South Korean Artist, with Master of Fine Art degree from the University of Paris I Pantheon Sorbonne, France. Jeon Kang Ok currently lives and works in So...

This three dimensional work is brightly colored and constructed on three layers of aluminum hand painted with oil paints. This work is an indoor or an outdoor work, under an awning ...

Paul Rousso The Gold Standard Mixed media on hand-sculpted acrylic Piece unique

Paul Rousso Pool Party Mixed media on hand-sculpted acrylic Piece unique

Paul Rousso The Devil's Handkerchief Mixed media on hand-sculpted acrylic Piece unique

Paul Rousso The Rippling Water Mixed media on hand-sculpted acrylic Piece unique

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...

Version sobre un caballo de tropa mongol No 4. sin cresta, 2013 Edition 6/8 Bronze 52 x 74 x 19 cm 20.4 x 29.1 x 7.4 in About The Artist Alirio Palacios (1928-2015) was one of the ...

Escena de recolección de frutas BRY-002, 1937 Edition 1/8 Bronze 200 x 113 x 11.5 cm 78.7 x 44.4 x 4.5 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...

Bardula Hommage à Vasarely Pigments on plexiglass, glass, LED lights, aluminum 85 x 85 x 12 cm 33.5 x 33.5 x 4.7 inches

Nicholas Biddle Solar Mirror 10 Acrylic, urethane and pigment Diameter 17 inches (43.2 cm)

Anna Kruhelska Constant Change 50 Painted wood panels Unique wall sculpture

Anna Kruhelska Constant Change 73 Painted wood panels Unique wall sculpture

Anna Kruhelska Constant Change 74 Painted wood panels Unique wall sculpture

Anna Kruhelska Constant Change 72 Painted wood panels Unique wall sculpture

Anna Kruhelska Painted wood panels Wall sculpture ready to hang

Anna Kruhelska Untitled 219 Hand-folded, light-resistant and acid-free archival paper Unique wall sculpture framed and ready to hang

Anna Kruhelska Untitled 218 Hand-folded, light-resistant and acid-free archival paper Unique wall sculpture framed and ready to hang

Anna Kruhelska Untitled 217 Hand-folded, light-resistant and acid-free archival paper Unique wall sculpture framed and ready to hang

Anna Kruhelska Untitled 216 Hand-folded, light-resistant and acid-free archival paper Unique wall sculpture framed and ready to hang.