419 results for "chuck close"

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: E...

Nancy Graves Calibrate, 1981 16 color etching, aquatint, engraving and lithograph. Printed from 5 copper plates, 1 zinc plate and 1 stone Hand signed, numbered 12/30 dated on the fro...

Dome, Red, 2017 Archival pigment inks on Crane Museo Max 365 gsm fine art paper 37 x 34 inches (94 x 86 cm) Edition of 40 Suite of 3 also available for $7500 Ross Bleckner is an in...

A suite of four holograms by Chuck Close. "Self Portrait" is a contemporary artwork in a palette of blacks and blues by Chuck Close. Each piece measures 14 x 11 in. The work is editioned 16/23 with 2 PPs and is numbered CC(16)2. Chuck Close is an American painter and photographer who achieved fame as a photorealist, through his massive-scale portraits. Though a catastrophic spinal artery collapse in 1988 left him severely paralyzed, he has continued to paint and produce work that remains sought after by museums and collectors. Throughout his career, Close has endeavored to expand his contribution to portraiture through the mastery of such varied drawing and painting techniques as ink, graphite, pastel, watercolor, conte´ crayon, finger painting, and stamp-pad ink on paper; printmaking techniques, such as Mezzotint, etching, woodcuts, linocuts, and silkscreens; as well as handmade paper collage, Polaroid photographs, Daguerreotypes, and Jacquard tapestries. His early airbrush techniques inspired the development of the ink jet printer. Working from a gridded photograph, Close builds his images by applying one careful stroke after another in multi-colors or grayscale. He works methodically, starting his loose but regular grid from the left hand corner of the canvas. His works are generally larger than life and highly focused. Close has been a printmaker throughout his career, with most of his prints published by Pace Editions, New York. He made his first serious foray into print making in 1972, when he moved himself and family to San Francisco to work on a mezzotint at Crown Point Press for a three-month residency. In 1986 he went to Kyoto to work with Tadashi Toda, a highly respected woodblock printer. In 1995, curator Colin Westerbeck used a grant from the Lannan Foundation to bring Close together with Grant Romer, director of conservation at the George Eastman House. The artist has also continued to explore difficult photographic processes such as daguerreotype in collaboration with Jerry Spagnoli and sophisticated modular/cell-based forms such as tapestry. Close’s photogravure portrait of artist Robert Rauschenberg, “Robert” (1998), appeared in a 2009 exhibition at the Heckscher Museum of Art in Huntington, New York, featuring prints from Universal Limited Art Editions. In the daguerreotype photographs, the background defines the limit of the image plane as well as the outline of the subject, with the inky pitch-black setting off the light, reflective quality of the subject’s face. Close’s wall- size tapestry portraits...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Gabriel’s Pavilion: Variation #2, was executed in 1979. The masterfully conceived composition exemplifies Hornak’s c...

Sylvia Plimack Mangold Six Inches Four Ways 1976 Rubber stamp print on Kilmurray paper Stamp made by Unity Engraving Company, Inc. Printed by A. Colish Press Paper size: 8 x 8 inches...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1964 Medium: Charcoal on vélin paper Size: 18 x 23 inches Condition: Good Provenance: Estate of...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1964 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: E...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin Strathmore paper Size: 23 x 18 inches Condition: Good Prov...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Hand Figure Study Year: circa 1964 Medium: Charcoal on vélin paper Size: 18 x 23 inches Condition: Good Provenance: Estate of I...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Primeval Landscape, was executed in 1985. The masterfully conceived composition belongs to a pivotal and highly sign...

On deckle edged watermarked Arches French paper. hand signed in pencil, dated and numbered. the edition size is 175. there are three states of the same image image each with increas...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: E...

Artist: Ian Hornak (1944-2002) Title: (Abstract Tropical Landscape) Untitled Year: 2001 Medium: Ink on archival paper Size: 9 x 12 inches Condition: Good Provenance: Estate of Ian Ho...

Artist: Ian Hornak (1944-2002) Title: Still Life with Baroque Cauliflower, Artichokes and Radishes Year: 2002 Medium: Oil on Panel with artist painted frame Size: 42 x 31.5 inches Co...

Monumental Hyper Realist Still Life Painting Of Peppers, Hand Signed Oil on canvas 48 x 48 in, 58 x 58 in (framed) Perfect for a ki...

If you love spices, you will love this original oil painting by renowned photorealist Mark Schiff. One cannot appreciate this painting on a computer screen; in real life, it is absolutely amazing. Because you cannot appreciate it on a computer screen, our gallery has a unique policy. When purchasing from us, the buyer has sixty days to determine if they want to keep the artwork. If not, the buyer returns to piece to us for full refund, and we pay the shipping both ways! A collector should consider several factors when deciding from whom to purchase artwork online. Check the location of the seller. When one buys from a foreign seller, one also has to consider the problems of getting the piece through Customs. There are often delays and considerable fees to pay in order to import the item. When purchasing from us, we ship the same day and you receive it via FedEx the next day, no problems or hassles. When one purchases from an auction house, one pays a buyer’s premium of anywhere from 23% to 28% over the “hammer price”. So when one “wins” an auction for $20,000, the actual price paid is more like $25,000. By contrast, when purchasing from us, the price agreed to is the price paid by the buyer, no hidden fees. Secondly, when one purchases from an auction house, the buyer pays the packing and shipping fee, which are usually exorbitant. By contrast, when purchasing from us, the price includes packing and shipping. Thirdly, when one purchases from an auction house, the sale is final. If one receives the piece and is not 100% satisfied with it, there is nothing the buyer can do about it. They are stuck with it. By contrast, when purchasing from us, the buyer has sixty days to determine if they want to keep it. If not, the buyer returns to piece to us for full refund, and we pay the shipping both ways. About Mark Schiff -- Animated by photographs that reflect his personal life, Mark Schiff’s paintings are fueled by what makes him happy. Through his open touch and signature blending method, he lends his artistic perception to the original photographic compositions captured on his Leica. Mark’s creative vision has been alive since he was a boy. As a child he spent his summers observing life as he rode the trolley back and forth to art classes at the Pratt Institute. During his future travels to Europe, Mark’s eye for light and photography merged with his passion for painting at the Jeu de Paume in Paris; which triggered his career in photorealism. Mark is well known for painting objects that people can identify and emotionally connect with. His work is distinctly marked by a rich palette and the luminous range of light he paints into his compositions. Each painting is a true extension of his vision and can take up to 200 hours to complete. Mark Schiff’s work has been commissioned by the well-known brands The Hershey Company and Tropicana. His private collectors include A-list celebrities and also corporate collectors in the US and abroad. Possessing a strong philanthropic nature, Mark donates both his time and works to charitable organizations such as Big Brothers Big Sisters, The Ronald McDonald House, Make-A-Wish Foundation, The Humane Society and the Special Olympics. Photorealism is widely viewed as one of this century’s most exciting genres of art. When a photorealistic painting is viewed from afar, it looks like a photograph. Only when getting very close to the art does the viewer realize that it is in fact not a photo, but rather an oil painting. Photorealism can also refer to sculptures. Duane Hanson is known as the greatest photorealistic sculptor of all time. Some of the greatest photorealistic painters include Mark Schiff, Richard Estes, Ralph Goings, Charles Bell and Audrey Flack. Photorealist Mark Schiff was born in Bedford Stuyvesant, Brooklyn, in a neighborhood known as a kuchalane, a Yiddish word which Schiff defines as a place where everyone (from the Old Country) ended up living on the same street, and most likely knowing each other’s business. His Russian grandfather came to the US before the revolution and both his parents were first generation American. Even at five years of age, Mark showed exceptional talent. In the summer, his mother permitted him to travel by himself on the trolley for art classes at the Pratt institute. He continued studying there until he was eleven and the family moved to Great Neck. Except for a few art classes in high school and playing baritone horn in the band, Mark focused on other things besides art, especially when his mother worried for his financial future, kept insisting “that Jewish boys don’t starve to death.” His father made a good living as a production man in textiles so Mark, who had spent years doing the rounds of knitting mills with his father, decided to major in textile chemistry at North Carolina State. ROTC was mandatory on his campus and he did two years in order to be eligible for officer status. He won the Armed Forces Chemical Association award and thought for sure that he would be assigned chemical work, but instead was made a tank commander and stationed at Fort Knox. Not exactly what his heart yearned for, but a good job awaited him at Sandoz, a Swiss company that made dyestuff. What perfect training for someone who would soon be working in wonderful rich colors on canvas. He went on to receive his MBA degree from Hofstra University, left Sandoz and was hired to sell at a spinning mill. He liked it. In 1976 he joined Bennett Berman Associates and had an opportunity to buy the spinning mill Spun Fibers. But what of art? In the early days, Elsie, his wife of fifty-two years, had a problem with the large amount of space his canvases occupied in their one bedroom apartment. Mark took up photography instead, which only required a small darkroom. Photography was a natural ally for his eventual return to painting in the photorealistic style. It was on his second trip to Europe that Mark fell in love with painting all over again. The impressionistic museum, Jeu de Paume in Paris, renewed his passion and it’s been non-stop since then. Out came the brushes, but this time, he used his love and skill of photography, and built a style based on the photographs he had taken, bringing them to life with paint. Mark was still not painting to sell until in 1990 when someone discovered and desperately wanted his candy bar (Sweet Series) painting. Mark didn’t want to let go of that particular piece, but was finally convinced to sell it and a second candy painting to this ardent art and candy lover. Two years later, Mark was commissioned to make three paintings of this man’s new Ferrari. Some of the artists who have inspired his work are Richard Estes, Sandy Scott, Chuck Close, and Charles Bell. He appreciates the work of Ken Keeley, but unlike Keeley’s hard-lined/tape and ruler style, Mark prefers an open touch, using the blending method. Mark’s subject matters range from candy bars to spice racks to soda cans and soda bottles. He photographs with a Leica M-7 and each painting can take up to 200 or more hours to complete. His palette is rich; his subjects, be it a fire engine or a pretzel cart, take on a luminous quality, always photoreal, but even more beautiful. Mark developed his own technique for working with bottles by painting a canvas all black, so that the transparency of the bottles allows a wonderful range of light to filter through. The same light and reflection can be seen in the black rotary phone...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Study Year: circa 1963 Medium: Original drawing on vélin Strathmore paper Size: 18 x 23 inches Condition: Good Provenance:...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: E...

Monumental Hyper Realist Still Life Painting Of Apples Hand Signed Oil on canvas 72 X 36.5 canvas. 76.5 X 41 inches framed Photo Realist Still Life Painting Of Apples, Dragonfly, Bird, with Chinese or Asian Porcelain Ceramic pieces on a floral tablecloth. Rene Chavelle was born in Brussels, Belgium in 1953. His first love was music, in particular the cello, which he studied as a child in Paris...

Celebrity Photography - Black & White Hand Signed by Lynn Goldsmith About the Artist: Lynn Goldsmith's imagery is in numerous collections: The Smithsonian, The Polaroid Collection, The Museum of Modern Art, the Chicago Museum of Contemporary Photography, and the permanent collection of Museum Folkwang. She is a multi-awarded portrait photographer whose work has appeared on and between the covers of Life, Newsweek, Time, Rolling Stone, People, Elle, The New Yorker, etc. Her subjects have varied from entertainment personalities to sports stars, from film directors to authors, from the extra-ordinary to the ordinary man on the street. Her forty years of photography have not only been an investigation into the nature of the human spirit, but also into the natural wonders of our planet. Twelve books of her photography have been published. She has been on The New York Times Best Seller list...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 18 x 23 inches Condition: Good Provenance: E...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Nocturne I: White Peacock, Black Cockatoo, was executed in 1990. The masterfully conceived composition exemplifies H...

Kathan Brown Evening Moon, 1962 Color etching on wove paper Hand signed, titled, dated and numbered 30/100 by Kathan Brown on the front 18 3/4 × 27 3/4 inches De-accessioned from the...

Artist: Ian Hornak (1944-2002) Title: Renaissance Fish Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 18 x 23 inches Condition: Good Provenance: Estate of Ian H...

This exquisite oil painting by Ian Hornak (1944–2002), titled Les fleurs à la Manière de Redon #8: delphiniums and poppies (Flowers in the Manner of Redon #8: Delphiniums and Poppies...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Est...

Artist: Ian Hornak (1944-2002) Title: Gabriel’s Pavilion Variation II Year: 1980 Medium: Pencil on Arches paper Size: 29 x 41 inches Condition: Good Provenance: Fischbach Gallery, Ne...

Original oil painting by Steve Smulka. Steve Smulka (b. 1949, Detroit, Michigan) attended the School of Visual Arts in New York City, studying with Chuck Close, among others. Upon c...

Michael Mazur "The Artist" Hand signed and editioned from the edition of 50 1967 Michael Burton Mazur (1935-August 18, 2009) was an American artist who was described by William Grim...

Artist: Ian Hornak (1944-2002) Title: Renaissance Hand Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good...

Victor Schrager Title: Olympia Date: 1980 Original Polaroid Large Format Print (Photo-Internal dye diffusion transfer) Location: Cambridge Massachusett...

Artist: Ian Hornak (1944-2002) Title: Renaissance Hand Figure Study Year: circa 1963 Medium: Original drawing on vélin Strathmore paper Size: 18 x 23 inches Condition: Good Provenanc...

Nancy Graves 5745, for the Jewish Museum, 1984 Silkscreen on paper Signed, numbered 5/90 and dated in graphite pencil on the front; bears publishers' blind stamp front left corner 3...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Primeval Landscape, was executed in 1985. This masterfully conceived composition belongs to a pivotal and highly sig...

Arie Azene, Israeli painter, born in Germany, 1934 Arie (Eisman) Azene was born in Hamburg, Germany. He immigrated to the Land of Israel with his parents soon after birth. In 1958, after studying art in Paris, he settled on Kibbutz Tzova in the Judean Hills, where he lived for 28 years. He spent 1968-1970 in France, England and Germany. In 1984, he moved to Jerusalem. Stylistically, Azene was influenced by the New Horizons group to which he was exposed during his studies at the Avni Institute in Tel Aviv. Other influences were Joseph Zaritsky, Avigdor Stematsky and Yehezkel Streichman. Azene works in oil paint, pencil and aquarelle. His early work was abstract, but over the years, it has become more figurative and realistic. His colour palette is often based on two complementary hues, with a predominance of various combinations of gray. Education 1948-51 Avni Institute, Tel Aviv 1951-52 Bezalel Academy of Arts and Design, Jerusalem 1957-58 Academie de la Grande Chaumiere, Paris, France, Advanced Studies Select Exhibitions Autumn Exhibition Autumn Exhibition Yad Lebanim Museum, Petach Tikva 1974 Artists: Shimon Avni, Mordechai Avniel, Azene, Arie, Eli Ilan, Michael Argov, Naftali Bezem, Nachum Gutman, Shraga Weil, Boaz Vaadia, Shmuel Katz, Ruth Schloss. Zaritsky Artists House, Tel Aviv 1976 Artists: Yitzhak Danziger, Menashe Kadishman, Osvaldo Romberg, Michal Wolman, Raffi Lavie The Kadishman Connection Israel Museum, Jerusalem 1979 Artists: Larry Abramson, Jacob El Hanani, Ovadia Alkara, Yosl Bergner, Marcel Janco, Lea Nikel, George Chemeche, Igael Tumarkin. Israeli Prints...

This exquisite watercolor by Ian Hornak (1944–2002), titled Woman Arranging Flowers in an Interior, was executed circa 1963 during the artist’s undergraduate studies. Created during ...

Ross Bleckner (American, b. 1949) Untitled Watercolor 13 3/4 x 11 in. Signed: Ross Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware ...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Pastoral Landscape (Pastoral Landscape), was executed circa 1971. The masterfully conceived composition belongs to H...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Sorcerer Series: Beast Head, Spider Web, was executed in 1969. The masterfully conceived composition exemplifies Hor...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Echo Loses Narcissus, was executed in 1978. The masterfully conceived composition exemplifies Hornak’s mature synthe...

This exquisite watercolor by Ian Hornak (1944–2002), titled Still Life with Yellow Flowers and Blue Drapery, was executed circa 1963 during the artist’s undergraduate studies. Create...

Jim Dine (American, b. 1935) Tool Box 1966 Medium: Photo Screen Print and collage Dimensions: Framed 26.5 X 21.5 sheet 24 X 19 Printed by Christopher Prater; Kelpra Studios ltd, Lon...

This exquisite oil painting by Ian Hornak (1944–2002), titled Les fleurs a la Maniere de Redon #7: Anemones (Flowers in the Manner of Redon #7: Anemones), was executed in 1998. The r...

Myron Stout Untitled (from Rubber Stamp Portfolio), 1976 Rubber Stamp Print on Buckeye Paper 8 × 8 inches Limited Edition of 1000 Stamped with a...

Jim Dine, Monotypes et Gravures, Galerie Maeght, Paris, 1983. Vintage Offset Lithograph Poster American contemporary pop art. A colorful heart quilt in a rainbow of colors. Jim Dine...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Domain of Asmodeus, was executed in 1985. The painting belongs to one of the most fascinating transitional periods o...

Attributed to Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Watercolor and graphite on paper Largest: 24 x 18 in. Smallest: 22 3/4 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Est...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Primeval Landscape, was executed in 1985. The work belongs to one of the most fascinating transitional periods of Ho...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Study Year: circa 1963 Medium: Original drawing on vélin Strathmore paper Size: 23 x 18 inches Condition: Good Provenanc...

Ross Bleckner (American, b. 1949) Untitled Graphite on Paper 13 3/4 x 11 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that o...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Light from the Past, 1st Version, was executed in 1985. The work belongs to one of the most compelling transitional ...

This richly-hued screenprint depicts the ripped-open box packaging for Andre Champagne Cellars. On the side of the box is printed "Cold Duck," referri...

Ross Bleckner (American, b. 1949) Untitled, c. 1970 Watercolor on paper Sight size: 21 x 15 in. Framed: 31 2/3 x 25 3/4 in. Signed verso: Ross B/ho Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

Attributed to Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Ink and graphite on paper Largest: 23 1/2 x 17 1/4 in. Smallest: 22 7/8 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

"Rose Bouquet (Tenor) (2002)" by Aaron Fink (American, b. 1955) Signed, titled, and dated verso. Born in Boston, Fink received his BFA from the Maryland Institute College of Art and his MFA from the Yale University School of Art. His work has been exhibited widely throughout the U.S., Europe, Japan and Australia. He has been the subject of solo exhibitions at the Massachusetts Institute of Technology, the Muskegon Museum of Art, Michigan, the Rockford Art Museum, Illinois, and Colorado State University, Fort Collins. In 2002 a monograph on Fink’s work, Out of the Ordinary, was published, with text by Eleanor Heartney. In 1983 Fink met the collector John Powers, who remained a strong supporter of his work until his death in 1999. Fink’s work is represented in the collections of the Art Institute of Chicago, the Hara Museum, Tokyo, the Metropolitan Museum of Art, New York, the Museum of Modern Art, New York and the National Gallery of Art, Washington, DC, among many others. Fink currently divides his time between Boston and Rockport, Massachusetts. Selected Group Exhibitions Contemporary Responses to Modernism: A New England Perspective, University of Southern Maine, Gorham, 2019, with Martha Armstrong, Ben Aronson, Gideon Bok, Sascha Braunig, Bernard Chaet, Susanna Coffey, Aaron Fink, Jon Imber, Dinorá Justice, David Kapp, György Kepes, Kayla Mohammadi, Jim Ritchie, Ann Weber Color and Line: Expressive Tradition in Boston, Endicott College, Beverly, MA, 2017 Boston’s unique approach to Expressionism by uniting works from the late 1930s to the present day through an examination of subject, process, and materials. Influenced by the teachings of German Expressionist Karl Zerbe, and the early work of Hyman Bloom and Jack Levine. Summertime 16: The Big Annual Group Show, Galerie Christoffer Egelund, Copenhagen, Denmark, 2016 Beautiful Decay, Danforth Art Museum, Framingham, MA, 2016 MICA Then and Now, Ethan Cohen Gallery, Beacon, New York, 2013 Stuart Abarbanel, Donald Baechler, Brock Enright, Aaron Fink, Frank Hyder, Peter Greaves, Morris Louis, Herman Maril The Expressive Voice, Danforth Museum, Framingham, MA, 2012 Bon Appetit, Concord Art Association (curated by Meredyth Hyatt Moses), 2010 Celebrating Ten Years, Galerie D’Avignon, Montreal, Canada, 2008 New England Impressions II: Exploring the Woodcut, Concord Art, Concord, MA, 2008 with artists: Doug Andersen, Leonard Baskin, Aaron Fink, Don Govett, Peik Larsen, Michael Mazur, Barry Moser, Brian Shure, Heidi Siebel, Annie Silverman, Andrew Stevovitch, James Stroud. Right to Print: Segura Publishing Company, Scottsdale Museum of Contemporary Art, Go Figure: The Figure in Contemporary Art – A Response to Art History, McIninch Art Gallery, Southern New Hampshire University, 2007 Fourteen Artists/Fourteen Years: Mahaffey Fine Art, Portland Art Museum, Portland, OR, 2006-2007 More Than One: Prints and Portfolios from the Center Street Studio, Boston Painting in Boston: 1950-2000, DeCordova Museum and Sculpture Park, Lincoln, MA, 2002 A Tribute to John Powers, Hatton Gallery, Colorado State University, Fort Collins, CO, 2000 A Salute to Boston, Wiggin Gallery, Boston Public Library, Boston, MA, 1998 Be Still Dear Art, New England School of Art and Design, Boston, MA, 1998 Attributes of the Artist, The Art Complex Museum, Duxbury, MA, 1997 Working Sources: The Painter and the Photographic Image, Alpha Gallery, Boston, MA, 1997 The Unique Print: Six Innovative Approaches to the Monotype, Starr Gallery, Newton, MA, 1997 Face and Figure, Museum of Fine Arts, Boston, MA, 1996 Grand Illusions: Four Centuries of Still Life Painting, Museum of Fine Arts, Boston, MA, 1994 The Label Show, Museum of Fine Arts, Boston, MA, 1994 Selections from Atelier Mourlot, Hankyu Department Store, Tokyo, Japan, 1993 Yale Collects Yale, Yale University Art Gallery, New Haven, CT, 1993 Includes works by Thomas Bang, Jennifer Bartlett, Jonathan Borofsky, Chuck Close, Steve Currie, Rackstraw Downes, Aaron Fink, Audrey Flack, Nancy Graves, Eva Hesse, Brice Marden, Claes Oldenburg, and more. Fast Forward: Six Years of Collecting for a New Museum, Samuel P. Harn Museum of Art, Gainesville, FL, 1993 A Decade of Print Publishing, Neuberger Museum of Art, Purchase, NY, 1993 The Art Collection of the Federal Reserve Board: Five Years of Accessions, Board of Governors Building, Washington, DC, 1992 The Object: Found, Observed, Imagined, Fitchburg Art Museum, Fitchburg, MA, 1991 The Unique Print, Museum of Fine Arts, Boston, MA, 1990 8 Artists/8 Visions, DeCordova Museum, Lincoln, MA, 1990 The 1980s: Prints from the Collection of Joshua P. Smith, National Gallery of Art, Washington, DC, 1989-1990 The Age of Pluralism, Centro di Cultura Ausoni, Rome, Italy, 1989 Award Candidates Show, American Academy and Institute of Arts and Letters, New York, NY, 1987 70’s into 80’s: Printmaking Now, Museum of Fine Arts, Boston, MA Skowhegan Alumni, Leo Castelli Gallery, New York, and Portland Museum of Art, Portland, Maine, 1986 Public and Private: American Prints Today, Brooklyn Museum, Brooklyn, NY, 1986 Highlights: Selections from the Bank of America Headquarters, San Francisco, CA, 1984 Local Visions IV: Portraits, Hayden Gallery, MIT, Cambridge, 1984 Contemporary Miami Collectors, Metropolitan Museum, Coral Gables, FL, 1984 The Modern Art of the Print: Selections from the Lois and Michael Torf Collection, Museum of Fine Arts, Boston, and Williams College Museum of Art, 1984 Painting and Sculpture Today, Indianapolis Museum of Art, 1984 The New Portrait, Institute of Art and Urban Resources, Project Studio One, Long Island City, New York, 1984 The American Artist as Printmaker, Brooklyn Museum, Brooklyn, NY, 1983-84 Boston Now: Part II, Institute of Contemporary Art, Boston, MA, 1983 Jon Abbot, Aaron Fink, Tom Lieber, Chris Wool, Delahunty Gallery, New York, NY, 1983 The Figure Beside Itself: Contemporary Figurative Prints, University of Massachusetts, Amherst, MA, 1982 Art of the State, Rose Art Museum, Brandeis University, Waltham, MA, 1982 Boston Now: Figuration, Institute of Contemporary Art, Boston, MA, 1982 A Private Vision: Contemporary Art from the Graham Gund Collection, Museum of Fine Arts, Boston, MA, 1982 Boston Printmakers 32nd National Exhibition, DeCordova Museum, Lincoln, MA, 1979-1980 Works on Paper from the Yale School of Art, Victorian College of the Arts Gallery, Melbourne, Australia, 1978 S E L E C T E D C O L L E C T I O N S Art Institute of Chicago Bank of America Boston Public Library Bouwfonds Nederlandse Gemeenten, The Netherlands Brooklyn Museum of Art Castelli Collection, New York Chase Manhattan Bank Chemical Bank Children's Hospital, Chicago Choate Rosemary Hall...

A cast acrylic sculpture titled Chin Up by American artist Marc Sijan. This sculpture is made from acrylic and portrays the upper torso of a clothed woman wearing a bandana over her ...

From the Series Maestro Jean Michel Basquiat, 2017 Watercolor, pencil on paper Size: 50 H x 45 W cm framed size 70 H x 62 W x 4 D cm Unique Wood frame ______ Emerson Cáceres, artis...

This exquisite watercolor by Ian Hornak (1944–2002), titled Abstract Floral Still Life in Crimson and Blue, was executed circa 1963 during the artist’s undergraduate studies. Created during the formative years of Hornak’s artistic development, the composition provides a compelling glimpse into the emerging vision of an artist who would later become one of the pioneering figures of American Photorealism and Hyperrealism. Depicting an atmospheric arrangement of blossoms, vessels, and organic forms rendered in luminous washes of color, the watercolor reveals Hornak’s early fascination with still life subjects and the expressive possibilities of watercolor. Rich passages of crimson, magenta, blue, violet, orange, and earth tones combine with fluid brushwork and transparent layers to create a composition that balances abstraction with observation. The work demonstrates the confidence and spontaneity characteristic of Hornak’s student years, when he explored color relationships and compositional structure through increasingly ambitious watercolor studies. Although created decades before the highly detailed paintings that brought him international recognition, the watercolor already reveals his sensitivity to atmosphere, his ability to orchestrate complex arrangements, and his lifelong interest in transforming familiar subjects into emotionally resonant images. As a rare surviving example from his undergraduate years, the work offers valuable insight into the artistic foundations that ultimately led to the symbolic still lifes and botanical masterpieces of his mature career. Executed in watercolor on wove paper, this work measures 21 x 29.5 inches (53.34 x 74.93 cm). Unsigned; estate stamped, verso. Artwork Details: Artist: Ian Hornak (1944–2002) Title: Abstract Floral Still Life in Crimson and Blue Medium: Watercolor on wove paper Dimensions: 21 x 29.5 inches (53.34 x 74.93 cm) Inscription: Unsigned; estate stamped, verso Date: Circa 1963 Condition: Well preserved, consistent with age and medium Provenance: Estate of Ian Hornak, East Hampton, New York About the Artist: Ian Hornak (1944–2002) was an American painter, draughtsman, printmaker, and pioneering force in Photorealism and Hyperrealism whose extraordinary technical mastery, visionary imagination, and innovative approach to realism established him as one of the most distinctive and original artists of the late twentieth century. Widely recognized as a founding member of both the Photorealist and Hyperrealist movements, Hornak helped redefine the possibilities of contemporary realism by combining photographic precision with symbolism, romanticism, mythology, environmental awareness, art historical references, and metaphysical inquiry, creating a body of work that stands apart within postwar American art for both its visual brilliance and intellectual ambition. Born in Philadelphia and raised in Michigan before establishing his career in New York and East Hampton, Hornak emerged during one of the most transformative periods in modern art and developed a highly individual visual language that transcended conventional artistic categories. While many of his contemporaries focused on strict photographic transcription, urban imagery, or detached observation, Hornak utilized realism as a foundation for exploring profound themes of memory, beauty, mortality, spirituality, environmental fragility, and humanity’s relationship with nature, producing works that operate simultaneously as visual spectacles and philosophical meditations. His artistic vision reflects an awareness of the revolutionary innovations introduced by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, while simultaneously drawing inspiration from the Hudson River School, particularly Frederic Edwin Church, Martin Johnson Heade, Thomas Cole, and Albert Bierstadt, as well as the spiritual landscapes of Caspar David Friedrich and the botanical precision of Dutch Golden Age masters such as Jan van Huysum and Rachel Ruysch. Through this extraordinary synthesis of influences, Hornak created a visual language that united scientific observation, photographic realism, romantic grandeur, allegorical symbolism, and philosophical reflection into a form entirely his own. During the late 1960s and early 1970s, Hornak emerged as one of the earliest artists associated with the newly developing Photorealist movement, producing panoramic landscapes of astonishing complexity and technical sophistication that challenged prevailing assumptions regarding realism and representation. These groundbreaking paintings incorporated the visual effects of multiple-exposure photography, allowing Hornak to present numerous viewpoints, shifting perspectives, and compressed moments in time within a single composition, years before such approaches became commonplace in contemporary art. He was also among the first contemporary artists to extend pictorial imagery beyond the edges of the canvas and onto elaborately painted frames, dissolving the boundary between artwork and object and anticipating later developments in installation art and expanded-field painting. These innovations earned widespread critical acclaim and positioned Hornak alongside major contemporaries such as Chuck Close, Richard Estes, Audrey Flack, Ralph Goings, Robert Bechtle, Malcolm Morley, Richard McLean, and Don Eddy, yet his work remained distinguished by its emotional resonance, romantic sensibility, and deep engagement with both art history and the natural world. As his career evolved, Hornak increasingly moved beyond the concerns of mainstream Photorealism and developed a more personal and ambitious artistic vision, culminating in the monumental botanical, allegorical, and symbolic masterpieces of the 1980s and 1990s that many scholars regard as the pinnacle of his achievement. These extraordinary paintings combined hyperreal floral imagery, celestial phenomena, rare minerals, birds, insects, architectural motifs, mythological references, and complex still-life arrangements into dazzling visual orchestrations that reward prolonged viewing and intellectual engagement. Major works such as Raphael’s Stairway, Echo Loses Narcissus, Hannah’s Mirror, Very Baroque Flowerpiece, and the celebrated Last Song series transformed traditional genres into contemporary meditations on beauty, mortality, history, science, religion, art history, and the cosmos. Unlike many photorealists whose work remained rooted primarily in observation, Hornak elevated realism into a vehicle for symbolic and philosophical exploration, creating paintings that function simultaneously as technical masterpieces, visual narratives, intellectual puzzles, and poetic reflections on existence itself. Throughout his career, Hornak was represented by influential galleries including Tibor de Nagy Gallery, Fischbach Gallery, Katharina Rich Perlow Gallery, and Armstrong Gallery, exhibiting extensively in New York and internationally. His work received praise from leading critics and publications, including The New York Times, which described him as being “right at the top of romantically descriptive painters today.” His paintings entered important private, corporate, and institutional collections, and his reputation has continued to grow through significant posthumous exhibitions at institutions including the Forest Lawn Museum, the Board of Governors of the Federal Reserve System in Washington, D.C., the Washington County Museum of Fine Arts, the Anton Art Center, and the Moss-Thorns Gallery of Art. Hornak’s influence extends far beyond Photorealism into later generations of realist, hyperrealist, symbolic, environmental, and representational painters who continue to explore the intersection of photography, illusion, narrative, environmental awareness, and metaphysical content. Today, his paintings, drawings, and prints remain highly sought after by collectors who recognize their rarity, beauty, technical excellence, and historical importance, while his personal papers are preserved in the Smithsonian Institution’s Archives of American Art, affirming his place within the broader narrative of twentieth-century American art. As international interest in museum-quality realism continues to expand and collectors increasingly seek historically significant artists whose scholarly importance exceeds their current market valuations, Hornak’s work has attracted growing attention for its originality, ambition, and uniqueness within American art. His highest recorded sale was achieved in 2017, when Large Orchid Bouquet (1988) was sold in a private transaction conducted in association with the heir of the Ian Hornak estate to the Van Andel family, co-owners of Amway, for US$165,000 ($219,168.11 USD, calculated for inflation in 2025), underscoring the growing recognition of an artist whose significance within the history of American realism continues to expand. Ian Hornak watercolor, Ian Hornak student work, Ian Hornak undergraduate studies, abstract floral watercolor...