Washington DC - Abstract Sculptures

Mathias Goeritz (German Mexican, 1915-1990) Bronze sculpture Signed and numbered Dimensions: (approximate) Height: 10 inches, Width: 4 inches, Depth: 2 inches. This is a cast bronze sculpture in an amorphous figure shape, quite heavy. Reminiscent of the biomorphic sculpture of Hans Jean Arp. This came from an estate and bears his signature It is not dated. there is no accompanying documentation. it is priced accordingly. Werner Mathias Goeritz Brunner (Danzig, Germany, April 4th, 1915/ now Gdansk, Poland – Mexico City, Mexico; August 4th, 1990). Mathias Goeritz has had several gallery and museum exhibitions, including at the Museo Nacional Centro de Arte Reina Sofía and at the Museo Experimental El Eco. Numerous works by the artist have been sold at auction, including 'MENSAJE' sold at Sotheby's New York 'Latin American Modern Art' in 2015 for $466,000. There have been Several articles about Mathias Goeritz, including 'LACMA remaps Latin America' written by Suzanne Muchnic for the Los Angeles Times. Painter, sculptor and Mexican architect associated with the trend of constructive abstraction. He studied medicine at the University of Berlin, but this only lasted a year. The concerns of the young student were aesthetic in nature so he he studied figurative drawing at the Berlin Charlottenburg School of Art. Some of his friends and colleagues were the sculptor Ernst Barlach, painter George Grosz and draughtsman Kaethe Kollwitz. Goeritz studied philosophy and history of art, discipline in which earned a doctorate. He travelled in France, Switzerland, Czechoslovakia, Poland, Austria and Italy, among other countries. It is known that he left Germany to live in Tetuan, Morocco in 1941 and then Granada, Spain in 1945. In 1946 he had a large exhibition in the Sala Clan in Madrid under the pseudonym "Mago". Two years later, living in Santilla del Mar, Spain he was a founder of the Escuela de Altamira. The following year he married Marianne Gast, writer and his companion for more than fifteen years. In Spain followed his artistic work by important artists of the avant-garde. Of Jewish descent, he found refuge from the Second World War in Mexico where in 1949 he was invited by Ignacio Diaz Morales to be a part of the faculty of the School of Architecture at the Universidad de Jalisco. In 1953 he wrote the "Manifiesto de la Arquitectura Emocional" (The Emotional Architecture Manifesto), where he points out that only achieving true emotions from architecture can it then be considered an art form. In Mexico he entered controversy with the artistic stablishment of that country; in an open letter, Diego Rivera and David Alfaro Siqueiros described him as "an impostor without the most insignificant talent and preparation" to be an artist. Despite this, in 1957 he was elected director of visual design of the National School of architecture This same year he founded the Museo del Eco in Mexico City. In 1961 Goeritz participated at the Galería Antonio Souza in a group exhibition, Los hartos, for which he published another manifesto. Other participants included Jose Luis Cuevas and Pedro Friedeberg, with whom he was instrumental in establishing abstraction and other modern trends in Mexico.His work is included in the Gelman Collection of modern and contemporary Mexican art based in Cuernavaca, Mexico. Established by Jacques and Natasha Gelman in 1943 as a private collection. it includes many iconic works by major Mexican Modernists including Frida Kahlo, Diego Rivera, David Alfaro Siqueiros, Leonora Carrington, Rufino Tamayo and Francisco Toledo, Lola Alvarez...

Young Woman in bronze, abstract nude figurative bronze sculpture, limited edition of 24, height 64 cm including base, Sandstone base: approx 17 cm x 15 cm x 5 cm. Cast bronze using t...

Kinetic Bronze Sculpture by Gianfranco Meggiato. In his work, Meggiato gets inspiration from the most mysterious city on Earth, city where he was born, lives and works - Venice. Spa...

Beautiful abstract sculpture depicting a guitar player. Bronze on wood base measuring 15 x 9 x 4 inches. Actual cast piece without base measuring 17 x 7 x 3 inches. Signed indistinct...

Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculptors of our time. He is a living master whose work is considered to be both personal a...

W. R. Stevenson's abstract bronze sculpture titled "Bird". The unique sculpture stands on a sleek wooden base and has a plaque that includes the artist and title. Artist Biography: William Robert Stevenson was born in 20 May 1925 in Eugene, Oregon. His family moved to Minneapolis, MN but he promptly returned to Oregon and Washington during the Great Depression to work in the Works Progress Administration (WPA). Hoping to study Art, his future was sidetracked when he was drafted into the United States Army at age 17 years old in early 1942. Being a strong swimmer, and having worked at stables as a child, he initially served in the last US Cavalry Corps, and also as a Swimming Instructor for the United States Army. Upon the abolition of the Cavalry Corps, he was trained as a Gunnar and Tank Commander for the M-4 Sherman Tank under General Patton...

A great addition to any collection and conversation starter. This genuine metal fire extinguisher re-designed into a Dom Perignon bottle, with gold leaf in a custom wooden case with ...

The modern Sculpture " El Menguante ” is a unique Sculpture made from a burnout mold and recycled wood by David Marshall in 2014, sand cast in aluminium in our foundry, handcrafted ...

Bronze sculpture signed in Hebrew and numbered from small edition of 6 BIOGRAPHY "I was born in Czechoslovakia in the year 1925, of traditional parents. I spent my youth partly in a little town on the Moravian border, and to a greater part in Bratislava, the capital of Slovakia. Having been attracted by the arts from early childhood on, I studied functional art at a school in Bratislava, as long as this was still possible under the Nuremberg Laws which, at that time, were also in force in Slovakia. In 1942 I was taken to a concentration camp in Poland and at the beginning of 1945 I succeeded in escaping together with a friend of mine. Until our liberation by the Russians we were hiding in the forests of Northern Poland. At the end of the War I found myself wandering about Europe, together with thousands of survivors from the Holocaust, until, in 1948 I came to Israel via the Camps of Cyprus. From 1954 onwards I have been a permanent resident of the Artists Village at Ein-Hod, together with my family. In the course of that time I studied and worked in most of the creative techniques of the arts. During various periods of my life at Ein-Hod I taught painting and handicraft at different schools. In 1965 I gave up teaching and have since devoted myself exclusively to pure art." Gedalia Ben Zvi. Exhibitions 1962-1963 Design Exhibition, Tel Aviv 1964 Middle East Fair, Tel Aviv 1965 Ceramic Mural for school in Kiryat Gat a the Housing Exhibition in Tel Aviv 1966 Israel Fair and Exhibition, Paris One man show, Ein Hod International Symposium on “Ceramics in Architecture” Tel Aviv Ceramic Museum Museum or Modern Arts, Heavy Museum of Acre 1968 Painters Israeliens dans I’Art de Gobelins, Jerusalem Ein Hod Artists Village - Tenths Year Anniversary Exhibition 1963, Artists: Zvi Aldouby, Marcel Janco, Rudi Lehmann, Moshe Mokady, Aviva Margalit Mambush, Yohanan Simon, Dov Feigin, Ovadia Alkara, Mark Tochilkin...

William King (1925-2015). Reclining figure, ca. 1965. Cast and welded bronze, 7 x 9.5 x 5 inches. Unsigned. William King, a sculptor in a variety of materials whose human figures traced social attitudes through the last half of the 20th century, often poking sly and poignant fun at human follies and foibles, died on March 4 at his home in East Hampton, N.Y. He was 90. His death was confirmed by Scott Chaskey, who is married to Mr. King's stepdaughter, Megan Chaskey. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses -- a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. But for all its variation, what unified his work was a wry observer's arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. Mr. King's work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. But the comic element of his work probably caused his reputation to suffer. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder. and Elie Nadelman. The critic Hilton Kramer, one of Mr. King's most ardent advocates, wrote in a 1970 essay accompanying a New York gallery exhibit that he was, "among other things, an amusing artist, and nowadays this can, at times, be almost as much a liability as an asset." A "preoccupation with gesture is the focus of King's sculptural imagination," Mr. Kramer wrote. "Everything that one admires in his work - the virtuoso carving, the deft handling of a wide variety of materials, the shrewd observation and resourceful invention - all this is secondary to the concentration on gesture. The physical stance of the human animal as it negotiates the social arena, the unconscious gait that the body assumes in making its way in the social medium, the emotion traced by the course of a limb, a torso, a head, the features of a face, a coiffure or a costume - from a keen observation of these materials King has garnered a large stock of sculptural images notable for their wit, empathy, simplicity and psychological precision." William Dickey King...

"Wrestlers" 1936 Olympic Porcelain Gay Mid 20th Century Art Deco WPA Modern LGBT Hungarian porcelain sculpture designed by Bela Pankotai Farkas for the 1936 Berlin Olympics...

Luminosité changeante II is a unique medium size contemporary modern sculpture painting relief by French-Dutch artist Olivier Julia. The relief is made f...