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Item Ships From: Wyoming
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 Wyoming - 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 Wyoming - 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 Wyoming - 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 Wyoming - Figurative Paintings
Materials
Canvas, Oil
Pink Freud's Dream (Pink Freud and the Pleasant Horizon) Pink Colors Pop Art
By Andre Von Morisse
Located in Cody, WY
This painting is unframed and is made of two panels.
The project Pink Freud and the Pleasant Horizon stems from Andre von Morisse’s interest in the powerful influence of Freud, Darw...
Category
2010s Contemporary Wyoming - Figurative Paintings
Materials
Cotton Canvas, Oil
Explosion, Implosion (Piranhas in the Amazon River) (WildLife Art Animal)
By Andre Von Morisse
Located in Cody, WY
The painting is comprised of two horizontal canvases bolted together.
This work is part of earlier works done by the artist in the 1990's when he was...
Category
2010s Contemporary Wyoming - 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 Wyoming - 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 Wyoming - Figurative Paintings
Materials
Canvas, Oil
Swimmer Below (Man swimming in a green lake colors: green brown)
By Andre Von Morisse
Located in Cody, WY
With this painting von Morisse portrays a young man swimming peacefully in a green water Lake with his head above the water. It symbolizes the 90% of the ...
Category
2010s Naturalistic Wyoming - 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 Wyoming - Figurative Paintings
Materials
Canvas, Oil
Pink Freud with Train (Pink Freud & The Pleasant Horizon) Pop Art Pink & White
By Andre Von Morisse
Located in Cody, WY
The project Pink Freud and the Pleasant Horizon stems from Andre von Morisse’s interest in the powerful influence of Freud, Darwin, and Christ on ideas about psychological, scientific and spiritual motors of human life and on popular culture since the 20th century. The exhibition at ART 3 focuses on the impact of Sigmund Freud theories on contemporary society.
Von Morisse is particularly concerned with the moment when society ceased to treat shared responsibilities and values as fundaments of its organization, and became atomized by bringing needs of the individual to the fore. A pivotal figure in this transition was Freud’s nephew, Edward Bernays (1891-1995). An American born in Vienna, he became the father of public relations. Bernays combined the psychoanalytical ideas of his uncle with theories of crowd psychology to pioneer the PR industry's use of social sciences to design public persuasion campaigns. He developed techniques of manipulating public opinion while serving Woodrow Wilson during WWI and later worked for the biggest US companies. He was the one responsible for the 1920s smoking campaign targeted at women.
Born in Norway in an artistic family and educated in the US, von Morisse turns his acute insight rooted in the European tradition of intellectual irony to examination of American visual and popular culture. His imagery combines cartoon aesthetics with surrealism and pop-art, employing icons of mass culture and history of art for a playful exploration of the consumerist era.
ABOUT ANDRE VON MORISSE
ANDRE VON MORISSE
(Norwegian, b. 1966 in Oslo, Norway, lives and works in the US)
Von Morisse is a conceptual painter, interested in exploring aspects of human psychology and how we interact with the world. With his work End of a New Dawn, reviewed by Jonathan Goodman in Art in America (Oct. 2005, p.180), he was the Winner of the Best New Contemporary Artists Award 2005 at the Kunstnerenes Hus Museum in Oslo, Norway. End of a New Dawn explores relationship between painting and photography “reversing" the traditional roles of the two mediums by using paintings as the starting point for an elaborate and intricate photographic process.
Andre von Morisse was born in Oslo, Norway in 1966 and came to America in 1978. In 1990, he graduated cum laude from the Art Center College of Design in Pasadena, CA and moved to New York in 1991. His works were featured in many group shows in galleries and museums in the US: Kunstnerenes Hus Oslo, Norway; The Gibbes Museum of Art, Charleston, SC; Mobile Museum of Art, Mobile, AL; Leigh Yawkey Woodson Art Museum, Wausau, WI; Museum of Southwest Texas, Midland, TX ; Art Museum of South Texas, Corpus Christi, TX.
He had solo exhibitions with Silas Von Morisse Gallery (2016 & 2018), McKenzie Fine Art (2005 & 2003), and James Graham and Sons (2000, 1997) in New York, NY. His work was reviewed in: Artsy (2018), Artcritical (2018), Two Coats of Paint (2018), Artnet news (2017), The Vienna Psychoanalyst (2016), Photograph (2016), New York Times T Magazine (2014), ELLE Girl Japan (2014), Blouin Art Info (2014), Luxe Immo (2013), Art News (2007), The Morning News...
Category
2010s Contemporary Wyoming - 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 Wyoming - Figurative Paintings
Materials
Oil, Canvas
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Original unique piece
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signed on reverse by artist.
Unique work.
About the artist :
Katherine Russell is a London based Painter.
Her current body of work seeks to deconstruct our daily encounter with media images. From war zones to deserts, from solitary figures to candle-lit night markets, her choice of source material is indiscriminate of specific content, yet resonant with the unfamiliar and unsettling nature of our media-driven age.
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99-02: BA (Hons) Fine Art Degree; University of Northumbria at Newcastle
98-99: BTEC Diploma Foundation Studies in Art and Design; Wimbledon School of Art and Design
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2019
Made In Britain 82 Painters of the 21st Century, The National Museum Gdańsk, Poland, 14 March - 2 June
Contemporary British Painting An Exhibition of 34 Painters, The Hostry, Norwich Cathedral, Norwich, 25 April - 16 May
Disposition Summer Salon 1, Bermondsey Project Space, London, March
2018
Contemporary Masters From Britain, Tianjin Academy of Fine Arts Museum, China
2017
Contemporary Masters From Britain, Jiangsu Provincial Art Museum, Nanjing, China
Anything Goes Contemporary British Painting, Art Bermondsey Project Space, London July - August
Contemporary Masters From Britain, Yantai Art Museum, China
Contemporary Masters From Britain, Jiangsu Museum of Arts and Crafts (Artall), Nanjing, China
'Why Not Art' Launch Event, The Clock, Marylebone, London, March 2017
2016
30x30x34, Contemporary British Painting, The Crypt, St Marylebone church, November 2016- January 2017
Highly Commended Artist; The Ashurst Emerging Artist Prize 2016, Showcase Exhibition July – December 2016
Contemporary British Painting Summer Exhibition, Quay Arts, Isle of Wight, July – October 2016
Shortlisted Artists; The Ashurst Emerging Artist Prize 2016, London, May- June
Rising Stars 2016, Lloyds Register, 71 Fenchurch Street, London, Feb- March
2015
Contemporary British Painting, The Crypt, St Marylebone Church, London, Nov- Jan 2016
Recent Graduates 2015, Affordable Art Fair, Battersea Park, London, October
MA Show, City & Guilds London Art School, September
Summer Salon, Lubomirov/ Angus Hughes Gallery, August.
Documentary Realism: Painting in the Digital Age, St Marylebone Crypt, London, March
16/15, Group Exhibition, The Muse, Portobello road, London, February
Priseman Seabrook Collection of 21st Century Painting, Huddersfield Art Gallery, November- March
@ Paint Britain, Ipswich Museum, November 2014 - March 15
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'The Girl Who Wasn't There.' Solo Show, A&D Gallery, 51 Chiltern Street Marylebone, London, June
'Home,' The Crossley Gallery, Dean Clough, Halifax, June - September
2013
Group Show, Contemporary British Painting, The Crypt, St Marylebone church, London, December-January
'Passing Through.' Solo show, Contemporary British Painting, The Crypt,
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Press/Print Literature:
Made In Britain 82 Painters of the 21st Century, Catalogue
Contemporary Masters from Britain, China Touring Show, Catalogue
MA Show, City & Guilds London Art School, Catalogue
Documentary Realism: Painting in the Digital Age Accompanying Catalogue & Essay Collection, 2015
@PaintBritain, Ipswich Art Gallery, Artlyst review, 2015
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The sitter, Pao Ying (spelled in catalogue raisonne Pao Weng), was a close friend of Leonor Fini. Pao was also an artist, a jewelry designer. This is the only known painting by Fini of a Chinese woman. The frame is original.
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.
During her lifetime, Fini’s work was regularly well received and moderately successful. She enjoyed inclusion in the 1936 landmark MOMA exhibition Fantastic, Dada, Surrealism and a show at the Julien Levy gallery in New York. More recently, her art has enjoyed considerably more attention as she undergoes a critical and scholarly re-evaluation. She has been the subject of recent solo exhibitions at the Museum of Sex, New York (2018); the Weinstein Gallery...
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