664 results for "science"

Shredded and rolled non-profit and political solicitations, health care statements and spray varnish on cradled board. Jaynie Crimmins fabricates objects ...

Bronze figural grouping of a Génie and Science, a woman guided by an angel with outstretched wings by Mathurin Moreau, a celebrated and decorated French sculptor whose talents most f...

Artist Commentary: Steel, powder coated. Keywords: abstract, illusion, white, steel, metal, swirl, circle Artist Biography: After earning a Master's degree in teaching and working...

Of course, the Science is settled with regards to the connection between tobacco and lung cancer. In response to the impact this had on the tobacco industry, big corporations began v...

Nature unveiling in front of Science by Louis-Ernest BARRIAS (1841-1905) Bronze sculpture with triple patina, old-gilt, light brown and dark brown patina. Signed on the side of the...

La Nature se dévoilant devant la Science (Nature revealing herself before Science) Nature unsheathes herself from a golden cloak to reveal her chest with a beetle resting on her ribs. Artist : LOUIS-ERNEST BARRIAS (FRENCH, 1841-1905) inscribed 'E. Barrias' (to right side of base), Susse Frères foundry cachet (to reverse) and with inscription 'Susse Fres...

Nature unveiling in front of Science by Louis-Ernest BARRIAS (1841-1905) Bronze sculpture with triple patina, gilded, old-gilt and dark brown patina. Signed on the side of the base...

Houston Problem (2022) by Gary Sczerbaniewicz. Foam, cast plastic, spray paint, and steel.

mounted, framed and glazed Adele Moreau is a London based artist. She constructs sculpted books from a variety of found media mainly 19th Century encyclopaedias and Natural History books...

In this contemporary encaustic sculpture, colorful layers of pigmented beeswax suggest a meteorite and geological formations. Handmade wood pedestal included in the price. Laura Mor...

Positive street signs and mindful messages characterize the work of multidisciplinary artist Scott Froschauer. Froschauer utilizes a practice called "cultural jamming," which appropr...

The elegant abstract sculptures of Stefan Duerst are characterized by clean, flowing lines and minimal form hand forged from steel. This piece is a single ‘ribbon’—a contemporary tow...

Nature-Inspired Minimalist Abstract Color Field painting on three wood panels in shades of light brown, beige, and gray Acrylic on 3 panels Each panel is 8 x 24 x 2 inches Panels can be oriented or stacked horizontally or vertically, recommended spacing between panels is 1-2 inches Overall measurement for vertical install with 1 inch spacing: 28 x 24 x 2 inches We are amazed by this artist's ability to achieve multiple flawless layers of acrylic paint, wiping it on and off with cotton cloth, to create a subtle yet distinctive woven texture on a smooth surface. The artist's work is inspired by patterns found in nature such as tree rings, rock lines, ethereal horizons, or water ripples. It appears as though a light source is originating behind the panel, glowing softly in a pale, dreamy green palette. This unique surface spreads all the way to the very edge of each panel. The 2 inch deep sides are cleanly painted white for a seamless finish. These panels hang flush to the wall by resting on two nails on either side of the panel, and can be arranged in any number of ways, highlighting the work's sculptural element. Artist's Statement: My paintings merge the detailed textures and colors found in the natural world with the linear and geometric patterns visible in industrial and architectural structures. The interplay of these elements drives the work and provides a platform for constant change and narrative. By simultaneously layering and removing paint with rags instead of brushes, my hand is directly involved with the process. Each piece contains multiple panels that evoke a nuanced and evolving universe. Ginny Fox builds up each non-representational piece with overlapping streaks of paint that frequently span two or three panels. Working with rags instead of brushes, Fox’s hand moves along parallel paths, emergent colors cascading gently towards the edges of the composition's plane. There’s something vaporous to the outer layers of the work, the interwoven strands of color offering glimpses at the painting’s earthy base and hinting at the artist’s gradual process. Having received her education from New York University in the 1970s, Fox has since exhibited throughout the United States, especially in New York City and the northeastern U.S. RESUME Solo Exhibits 2019 Winterscape Soho20 Bushwick, New York 2017 Perpetual Earth Soho20 Bushwick, New York 2015 Intimate Universe Soho20 Chelsea New York...

Viktor Mikhailovich Minko 1967 - Born in Smorgon, Belarus. 1996 - Graduated from the Belarusian Academy of Arts, Sculpture Department. 1996 - Soros Foundation Grand Prize. 2005 - "Go...

Viktor Mikhailovich Minko 1967 - Born in Smorgon, Belarus. 1996 - Graduated from the Belarusian Academy of Arts, Sculpture Department. 1996 - Soros Foundation Grand Prize. 2005 - "Go...

Salvador Dali (Spanish, 1904-1989) Alma del Quijote Bronze with marble base Edition: AB 52/100 Signed by Dalí This Surrealist sculpture depicts a dynamic and fragmented Don Quixote...

Karl-Heinz Deutsch (*1940 Karlsruhe), Helmet Head, around 2003. Polished and patinated bronze, 23.5 cm (height) x 25.5 cm (length) x 16 cm (depth), weight 4.9 kg. Monogrammed on the ...

This large contemporary clear acrylic sculpture of a piano was inspired by the artist’s love of music. This beautiful and magical piece of modern art is the unique vision of an award-winning author and music lover. Years ago, Ruth Kassinger noticed how sunlight streaming through her living room windows bounced off white walls, through a glass coffee table, and splashed rainbows around the room. When her eyes drifted to the black baby grand piano in the room, she had an epiphany. The idea for a full-scale, transparent piano sculpture filled with colors was born. To create the piano, she worked with a talented team of acrylic glass artisans who created the piano’s body and its keyboard. Using laser technology, thousands of holes were drilled both by computer and by hand to ensure that all of the threads are perfectly parallel. Then, using small acrylic boxes as models, Kassinger spent a year testing various threads to determine spacing and color combinations until they expressed her vision of music. “It takes me months to thread a piano. I use embroidery needles that I manipulate with long-handled surgical forceps. The highly polished, clear acrylic form allows light to flow through the sculpture, illuminating the thousands of multi-hued nylon and French silk threads. The threads change color as you move around the piano and, thanks to an optical phenomenon called moiré, they appear to move as if being played.” Kassinger is best known for her books about science, history, and gardening. As a science writer, she has studied and written about the concepts of transparency and color. As a music lover, Kassinger’s personal experience of listening to music is heightened by a form of synaesthesia where she actually sees colors when she hears music. And, having grown up in a family of craftsmen (her parents had a custom furniture business and she later designed several pieces for her own home), she has the skills to undertake her first sculptural piece: a ‘glass’ piano...

This Mixed Media piece titled "Blobflower Series 4" is an original artwork by Roxana Azar made of a digital print on acrylic. The piece measures approx. 5”h x...

Contemporary Figurative Ceramic Sculpture, Glazed, 23 x 20 x 18 in, Sunkoo Yuh The ceramic sculptures of SunKoo Yuh are composed of tight groupings of various forms including plants...

"Adorning Links 4" is an original piece by Roxana Azar made from digital print on acrylic, stainless steel. This pieces measures 23" x 2.5"w and comes with a signed Certificate of Au...

Salvador Dali (1904-1989) – The Two Nikes, Lilith, The Double Victory of Samothrace, Homage to Raymond Roussel Literature: Descharnes, Robert, Salvador Dalí, and Nicolas Descharnes....

Positive street signs and mindful messages characterize the work of multidisciplinary artist Scott Froschauer. Froschauer utilizes a practice called "cultural jamming," which appropr...

Mary T. Bowling (American, 1917-1995) Female Head Mosaic ceramic sculpture Head: 13 x 7 x 9.5 inches Overall: 59 inches tall Provenance: Fred Schmidt (American 1936-2001) Mary T. ...

This unique contemporary outdoor sculpture inspired by nature is interactive. Oeno Gallery is proud to host the North American debut of this extraordinary interactive sculpture, “wh...

"Cell Colony " by Rogan Brown Laser and hand cut paper, framed Rogan Brown creates abstract and sculptural wall reliefs. The large, hand cut pieces are dissected from sheet after sh...

Nature-Inspired Minimalist Abstract Color Field painting on three wood panels in shades of Light Green and Blues Acrylic on 3 panels (2 panels are 24 x 18 x 2 inches each, center panel is 24 x 6 x 2 inches) Overall measurement for horizontal install with 1-2 inch recommended spacing, 24" X 43" X 2" inches horizontally Artist Ginny Fox achieves multiple flawless layers of acrylic paint, wiping it on and off with cotton cloth, to create a subtle yet distinctive woven texture on a smooth surface. The artist's work is inspired by patterns found in nature such as tree rings, rock lines, ethereal horizons, or water ripples. It appears as though a light source is originating behind the panel, glowing softly in a pale, dreamy green palette. This unique surface spreads all the way to the very edge of each panel with its delicate, cross hatched motif. The 2 inch deep sides are cleanly painted white for a seamless finish. These panels hang flush to the wall by resting on two nails on either side of the panel, and can be arranged in any number of ways, highlighting the work's sculptural element. Artist's Statement: My paintings merge the detailed textures and colors found in the natural world with the linear and geometric patterns visible in industrial and architectural structures. The interplay of these elements drives the work and provides a platform for constant change and narrative. By simultaneously layering and removing paint with rags instead of brushes, my hand is directly involved with the process. Each piece contains multiple panels that evoke a nuanced and evolving universe. Ginny Fox builds up each non-representational piece with overlapping streaks of paint that frequently span two or three panels. Working with rags instead of brushes, Fox’s hand moves along parallel paths, emergent colors cascading gently towards the edges of the composition's plane. There’s something vaporous to the outer layers of the work, the interwoven strands of color offering glimpses at the painting’s earthy base and hinting at the artist’s gradual process. Having received her education from New York University in the 1970s, Fox has since exhibited throughout the United States, especially in New York City and the northeastern U.S. RESUME Solo Exhibits 2019 Winterscape Soho20 Bushwick, New York 2017 Perpetual Earth Soho20 Bushwick, New York 2015 Intimate Universe Soho20 Chelsea New York...

Bronze plate construction. “It is my conviction that the conflicts of science and metaphysics can best be resolved through art. Art is not the domain of the elite, although some try...

In this contemporary encaustic sculpture, colorful layers of pigmented beeswax suggest geological formations. Laura Moriarty is engaged in a visual dialogue that finds equilibrium b...

This original hanging piece titled "Small Suncatchers 3" is an original artwork by Roxana Azar made of a digital print on acrylic. The piece measures approx. 24”h x 6”w x 0.5”d. Ro...

Hajime Sorayama (Japan, b. 1947) Medium: PVC (vinyl), silvered chrome resin Dimensions: 60 × 23 × 15 cm Approximately 23.5 x 9 x 6 inches. Produced by APPortfolio and Nanzuka A Tyra...

"Magic Circle Constellation" by Rogan Brown Laser and hand cut paper, framed Rogan Brown creates abstract and sculptural wall reliefs. The large, hand cut pieces are dissected from ...

This playful pop art-inspired large indoor sculpture is by Calgary’s Alexander Caldwell. Stainless steel balls in various sizes are welded to create...

Unique large scale mixed media assemblage featuring a three dimensional, textured handmade paper scroll unfurling to reveal an abstract expressionist watercolor painting with gold ac...

This Modern abstract piece by Stanley Bate is a wood panel sculpture that has been painted white. Three-dimensional that are reminiscent of architectural pieces are tightly stacked w...

Jose Margulis is a contemporary artist whose work explores the space where art, science, and philosophy meet. Best known for his three-dimensional geometric constructions, he works w...

"This indoor figurative pop art table top sculpture is made from resin. Playful, colourful and imaginative, Viktor Mitic’s latest series of unique sculptures appear to merge pop art...

CHROMA — “ARTURITO” Beaded R2D2 Figure (Huichol Technique) A sculptural reinterpretation of one of the most recognizable science-fiction forms through the CHROMA language—where futur...

Artful one-of-a-kind long shelf or sculpture by artist Ben Darby. Made of various pieces of wood and accented with multi-color acrylic paint. We selected this piece soon after it was...

This brown and beige wall-hanging artwork titled "KNTS" is an original mixed media artwork by Jim Houser. This piece measures 6"h x 6"w. Jim Houser wa...

Signed bronze from small edition of 8. plus 4 artists proofs Dominik Albiński (born 1975, South Africa) He started carving at the age of twelve. When he was eighteen he went to Pari...

This figurative sculpture titled "Orchid Star" is an original artwork by Roxana Azar made of UV print on acrylic. The piece measures approximately 8"h x 7.5"w. Roxana Azar uses a com...

JENNY DAY earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Alaska Fairbanks and a BA in Environmental Studies from the U...

Waylande Gregory (1905-1971). Nude Reclining, ca. 1950's. Painted composite cast from original sculpted in 1930's. Casting sanctioned and approved by the artist during his lifetime in partnership with MPI, Museum Pieces Incorporated. Very few examples were produced and even fewer survive. Waylande Gregory was considered a major American sculptor during the 1930's, although he worked in ceramics, rather than in the more traditional bronze or marble. Exhibiting his ceramic works at such significant American venues for sculpture as the Whitney Museum of American Art in New York City and at the venerable Pennsylvania Academy of the Fine Arts in Philadelphia, he also showed his ceramic sculptures at leading New York City galleries. Gregory was the first modern ceramist to create large scale ceramic sculptures, some measuring more than 70 inches in height. Similar to the technique developed by the ancient Etruscans, he fired his monumental ceramic sculptures only once. Gregory was born in 1905 in Baxter Springs, Kansas and was something of a prodigy. Growing up on a ranch near a Cherokee reservation, Gregory first became interested in ceramics as a child during a native American burial that he had witnessed. He was also musically inclined. In fact, his mother had been a concert pianist and had given her son lessons. At eleven, he was enrolled as a student at the Kansas State Teacher's College, where he studied carpentry and crafts, including ceramics. Gregory's early development as a sculptor was shaped by the encouragement and instruction of Lorado Taft, who was considered both a major American sculptor as well as a leading American sculpture instructor. In fact, Taft's earlier students included such significant sculptors as Bessie Potter Vonnoh and Janet Scudder. But, Taft and his students had primarily worked in bronze or stone, not in clay; and, Gregory's earliest sculptural works were also not in ceramics. In 1924, Gregory moved to Chicago where he caught the attention of Taft. Gregory was invited by Taft to study with him privately for 18 months and to live and work with him at his famed "Midway Studios." The elegant studio was a complex of 13 rooms that overlooked a courtyard. Taft may have been responsible for getting the young man interested in creating large scale sculpture. However, by the 1920's, Taft's brand of academic sculpture was no longer considered progressive. Instead, Gregory was attracted to the latest trends appearing in the United States and Europe. In 1928 he visited Europe with Taft and other students. "Kid Gregory," as he was called, was soon hired by Guy Cowan, the founder of the Cowan Pottery in Cleveland, Ohio, to become the company's only full time employee. From 1928 to 1932, Gregory served as the chief designer and sculptor at the Cowan Pottery. Just as Gregory learned about the process of creating sculpture from Taft, he literally learned about ceramics from Cowan. Cowan was one of the first graduates of Alfred, the New York School of Clayworking and Ceramics. Alfred had one of the first programs in production pottery. Cowan may have known about pottery production, but he had limited sculptural skills, as he was lacking training in sculpture. The focus of the Cowan Pottery would be on limited edition, table top or mantle sculptures. Two of the most successful of these were Gregory's Nautch Dancer, and his Burlesque Dancer. He based both sculptures on the dancing of Gilda Gray, a Ziegfield Follies girl. Gilda Gray was of Polish origin and came to the United States as a child. By 1922, she would become one of the most popular stars in the Follies. After losing her assets in the stock market crash of 1929, she accepted other bookings outside of New York, including Cleveland, which was where Gregory first saw her onstage. She allowed Gregory to make sketches of her performances from the wings of the theatre. She explained to Gregory, "I'm too restless to pose." Gray became noted for her nautch dance, an East Indian folk dance. A nautch is a tight, fitted dress that would curl at the bottom and act like a hoop. This sculpture does not focus on Gray's face at all, but is more of a portrait of her nautch dance. It is very curvilinear, really made of a series of arches that connect in a most feminine way. Gregory created his Burlesque Dancer at about the same time as Nautch Dancer. As with the Nautch Dancer, he focused on the movements of the body rather than on a facial portrait of Gray. Although Gregory never revealed the identity of his model for Burlesque Dancer, a clue to her identity is revealed in the sculpture's earlier title, Shimmy Dance. The dancer who was credited for creating the shimmy dance was also Gilda Gray. According to dance legend, Gray introduced the shimmy when she sang the Star Spangled Banner and forgot some of the lyrics, so, in her embarrassment, started shaking her shoulders and hips but she did not move her legs. Such movement seems to relate to the Burlesque Dancer sculpture, where repeated triangular forms extend from the upper torso and hips. This rapid movement suggests the influence of Italian Futurism, as well as the planar motion of Alexander Archipenko, a sculptor whom Gregory much admired. The Cowan Pottery was a victim of the great depression, and in 1932, Gregory changed careers as a sculptor in the ceramics industry to that of an instructor at the Cranbrook Academy in Bloomfield Hills, Michigan. Cranbrook was perhaps the most prestigious place to study modern design in America. Its faculty included the architect Eliel Saarinen and sculptor Carl Milles. Although Gregory was only at Cranbrook for one and one half years, he created some of his finest works there, including his Kansas Madonna. But, after arriving at Cranbrook, the Gregory's had to face emerging financial pressures. Although Gregory and his wife were provided with complimentary lodgings, all other income had to stem from the sale of artworks and tuition from students that he, himself, had to solicit. Gregory had many people assisting him with production methods at the Cowan Pottery, but now worked largely by himself. And although he still used molds, especially in creating porcelain works, many of his major new sculptures would be unique and sculpted by hand, as is true of Kansas Madonna. The scale of Gregory's works were getting notably larger at Cranbrook than at Cowan. Gregory left the surface of Kansas Madonna totally unglazed. Although some might object to using a religious title to depict a horse nursing its colt, it was considered one of Gregory's most successful works. In fact, it had a whole color page illustration in an article about ceramic sculpture titled, "The Art with the Inferiority Complex," Fortune Magazine, December, 1937. The article notes the sculpture was romantic and expressive and the sculpture was priced at $1,500.00; the most expensive sculpture...

This reflective sculpture titled "Frazzled" is an original artwork by Roxana Azar made of UV print on acrylic. This piece measures 15”h x 18.5”w. ...

This Mixed Media piece titled "Starflower Series 3" is an original artwork by Roxana Azar made of a digital print on acrylic. The piece measures approx. 5.25”h x 5”w. Roxana Azar’s...

This Mixed Media piece titled "Lick" is an original artwork by Roxana Azar made of a laser-cut acrylic. The piece measures approx. 27”h x 22”w x 1”d. Rox...

After completing his studies at the Royal Catalan Academy of Fine Arts in Sant Jordi, Barcelona, Jorge Borrás moved to France1. His works, especially his bronzes, are sold in major auctions mainly in France (Versailles, Drouot, Saint Germain En Laye, Enghien Les Bains, etc. June 30, 1992, two bronzes were sold at Christie's in London) 2. They are exhibited in Parisian salons such as the Salon d'automne3, the Salon des artistes français, the Salon des Independents the exhibitions of the National Society of Fine Arts, the Salon de l'école française [ref. necessary]. He received the Arts-Sciences-Lettresn 1 Medal and is a member of the International Association of Visual Arts (affiliated with UNESCO). In addition, he produced a series of medals and sculptures for the Monnaie de Paris, and various achievements such as the bust of Dr. Coll Colomé, a monument erected in Benicarlo (Spain) and publishing covers including the novel by Jean-Marc Roberts Vincent's friend. The work of Jorge Borrás is a tribute to the woman [ref. necessary]. Her favorite themes are ballerinas and bathers as well as women in everyday attitudes. Wild animals, some endangered, are also very present in the work of Jorge Borrás, especially in recent years where he takes great pleasure in capturing the wild moment of his attitudes. Passionate about drawing, he began painting at the age of ten and made his first exhibition at the age of twenty. At the School of Fine Arts in Barcelona, he discovered sculpture with Luisa Granero and studied painting and sculpture. The students the drawing section, of the great master of Spanish painting and portrait painter Francisco Ribera Gomez...

This figurative sculpture titled "Date Palm" is an original artwork by Roxana Azar made of UV print on acrylic. The piece measures approximately 16.25"h x 9"...

This piece titled "Refugio o Trampa I, Knife Drawing" is an original piece by Lucha Rodríguez and is made from hand scoring giclée print on metallic paper. This piece measure 7"h x 7...

Waylande Gregory (American, 1905-1971) Polo Player, c. 1930s Ceramic Inscribed signature on bottom 11 x 8.5 inches Waylande Gregory was considered a major American sculptor during the 1930's, although he worked in ceramics, rather than in the more traditional bronze or marble. Exhibiting his ceramic works at such significant American venues for sculpture as the Whitney Museum of American Art in New York City and at the venerable Pennsylvania Academy of the Fine Arts in Philadelphia, he also showed his ceramic sculptures at leading New York City galleries. Gregory was the first modern ceramist to create large scale ceramic sculptures, some measuring more than 70 inches in height. Similar to the technique developed by the ancient Etruscans, he fired his monumental ceramic sculptures only once. Gregory was born in 1905 in Baxter Springs, Kansas and was something of a prodigy. Growing up on a ranch near a Cherokee reservation, Gregory first became interested in ceramics as a child during a native American burial that he had witnessed. He was also musically inclined. In fact, his mother had been a concert pianist and had given her son lessons. At eleven, he was enrolled as a student at the Kansas State Teacher's College, where he studied carpentry and crafts, including ceramics. Gregory's early development as a sculptor was shaped by the encouragement and instruction of Lorado Taft, who was considered both a major American sculptor as well as a leading American sculpture instructor. In fact, Taft's earlier students included such significant sculptors as Bessie Potter Vonnoh and Janet Scudder. But, Taft and his students had primarily worked in bronze or stone, not in clay; and, Gregory's earliest sculptural works were also not in ceramics. In 1924, Gregory moved to Chicago where he caught the attention of Taft. Gregory was invited by Taft to study with him privately for 18 months and to live and work with him at his famed "Midway Studios." The elegant studio was a complex of 13 rooms that overlooked a courtyard. Taft may have been responsible for getting the young man interested in creating large scale sculpture. However, by the 1920's, Taft's brand of academic sculpture was no longer considered progressive. Instead, Gregory was attracted to the latest trends appearing in the United States and Europe. In 1928 he visited Europe with Taft and other students. "Kid Gregory," as he was called, was soon hired by Guy Cowan, the founder of the Cowan Pottery in Cleveland, Ohio, to become the company's only full time employee. From 1928 to 1932, Gregory served as the chief designer and sculptor at the Cowan Pottery. Just as Gregory learned about the process of creating sculpture from Taft, he literally learned about ceramics from Cowan. Cowan was one of the first graduates of Alfred, the New York School of Clayworking and Ceramics. Alfred had one of the first programs in production pottery. Cowan may have known about pottery production, but he had limited sculptural skills, as he was lacking training in sculpture. The focus of the Cowan Pottery would be on limited edition, table top or mantle sculptures. Two of the most successful of these were Gregory's "Nautch Dancer," (fig. 1) and his "Burlesque Dancer," (fig. 2). He based both sculptures on the dancing of Gilda Gray, a Ziegfield Follies girl. Gilda Gray was of Polish origin and came to the United States as a child. By 1922, she would become one of the most popular stars in the Follies. After losing her assets in the stock market crash of 1929, she accepted other bookings outside of New York, including Cleveland, which was where Gregory first saw her onstage. She allowed Gregory to make sketches of her performances from the wings of the theatre. She explained to Gregory, "I'm too restless to pose." Gray became noted for her nautch dance, an East Indian folk dance. A nautch is a tight, fitted dress that would curl at the bottom and act like a hoop. This sculpture does not focus on Gray's face at all, but is more of a portrait of her nautch dance. It is very curvilinear, really made of a series of arches that connect in a most feminine way. Gregory created his "Burlesque Dancer" at about the same time as "Nautch Dancer." As with the "Nautch Dancer," he focused on the movements of the body rather than on a facial portrait of Gray. Although Gregory never revealed the identity of his model for "Burlesque Dancer," a clue to her identity is revealed in the sculpture's earlier title, "Shimmy Dance." The dancer who was credited for creating the shimmy dance was also Gilda Gray. According to dance legend, Gray introduced the shimmy when she sang the "Star Spangled Banner" and forgot some of the lyrics, so, in her embarrassment, started shaking her shoulders and hips but she did not move her legs. Such movement seems to relate to the "Burlesque Dancer" sculpture, where repeated triangular forms extend from the upper torso and hips. This rapid movement suggests the influence of Italian Futurism, as well as the planar motion of Alexander Archipenko, a sculptor whom Gregory much admired. The Cowan Pottery was a victim of the great depression, and in 1932, Gregory changed careers as a sculptor in the ceramics industry to that of an instructor at the Cranbrook Academy in Bloomfield Hills, Michigan. Cranbrook was perhaps the most prestigious place to study modern design in America. Its faculty included the architect Eliel Saarinen and sculptor Carl Milles. Although Gregory was only at Cranbrook for one and one half years, he created some of his finest works there, including his "Kansas Madonna" (fig. 3). But, after arriving at Cranbrook, the Gregory's had to face emerging financial pressures. Although Gregory and his wife were provided with complimentary lodgings, all other income had to stem from the sale of artworks and tuition from students that he, himself, had to solicit. Gregory had many people assisting him with production methods at the Cowan Pottery, but now worked largely by himself. And although he still used molds, especially in creating porcelain works, many of his major new sculptures would be unique and sculpted by hand, as is true of "Kansas Madonna." The scale of Gregory's works were getting notably larger at Cranbrook than at Cowan. Gregory left the surface of "Kansas Madonna" totally unglazed. Although some might object to using a religious title to depict a horse nursing its colt, it was considered one of Gregory's most successful works. In fact, it had a whole color page illustration in an article about ceramic sculpture titled, "The Art with the Inferiority Complex," Fortune Magazine, December, 1937. The article notes the sculpture was romantic and expressive and the sculpture was priced at $1,500.00; the most expensive sculpture in the article. Gregory was from Kansas, and "Kansas Madonna" should be considered a major sculptural document of Regionalism. Gregory and his wife Yolande moved to New Jersey in the summer of 1933. And the artist began construction on his new home in the Watchung Mountains of Bound Brook (Warren today) in 1938. His enormous, custom kiln was probably constructed at the start of 1938. Gregory's new sculptures were the largest ceramic sculptures in western art, in modern times. To create these works of ceramic virtuosity, the artist developed a "honeycomb" technique, in which an infrastructure of compartments was covered by a ceramic "skin." Science and atomic energy were a theme in Gregory's most significant work, the "Fountain of the Atom" (fig. 4), at the 1939 New York's World Fair. This major work included twelve monumental ceramic figures at the fairground entrance from the newly constructed railway entrance, giving the work great visibility and prominence. The framework of the fountain itself was of steel and glass bricks. It consisted of a bluish green pool which was sixty five feet in diameter. Above it were two concentric circular tiers, or terraces, as Gregory called them; the first wider than the second. On the first terrace were eight "Electrons," comprised of four male and four female terra cotta figures, each approximately 48 inches high. These relate to the valance shell of the atom. Above them on a narrower terrace, were the much larger and heavier terra cotta figures depicting the four elements, each averaging about 78 inches in height and weighing about a ton and a half. Of the four, "Water" and "Air" were male, while "Earth" and "Fire" were female. This terrace represents the nucleus of the atom. In the center of the fountain, above the "Elements," was a central shaft comprised of sixteen glass tubes from which water tumbled down from tier to tier. At the top, a colorful flame burned constantly. The glass block tiers were lit from within, the whole creating a glowing and gurgling effect. Since the fair was temporary, the figures could be removed after its closing. But the credit for the design of the structure of the fountain belongs to collaborator Nembhard Culin, who was responsible for several other structures on the fair grounds as well. Although Gregory created a figure of "Fire" for the "Fountain of the Atom," he also executed a second, slightly smaller but more defined version which he exhibited at various locations (including Cranbrook, Baltimore Museum, etc.) in 1940-1941, during the second year of the fair (fig.5). Measuring 61 inches in height, "Fire" may be a metaphor for sexual energy, as well as atomic energy. Gregory stated, "Fire is represented by an aquiline female figure being consumed in endless arabesques of flame." Portraiture was also a significant focus of Gregory's sculpture. Gregory produced many commissioned portraits of local people as well as celebrities. He created Albert Einstein's portrait from life (fig. 6, ca. 1940) after Einstein had seen Gregory's "Fountain of the Atom." He also sculpted some of the leading figures in entertainment, including 2 sculptures of Henry Fonda, who became a personal friend. Gregory also sculpted a series of idealized female heads, both in terra cotta and in porcelain. These include "Girl with Olive" (ca. 1932) and "Cretan Girl;"(ca. 1937) both are very reductive and almost abstract works that call to mind Constantine Brancusi's "Mademoiselle Pogany" (1912, Philadelphia Museum of Art). But perhaps one of his most original female heads is "Head of a Child" (fig. 7, ca. 1933), a sensitive white glazed terra cotta portrayal with elaborately crafted braded hair, was originally created as one of a pair. Gregory also produced sculptural works for the Works Progress Administration. The WPA was a work relief project that greatly helped artists during the great depression. Founded by the Federal Government in 1935, an estimated 2500 murals were produced. Among these public works were the iconic post office murals. But, among the painted murals were also sculptural relief murals including Gregory's "R.F.D.," 1938, for the Columbus, Kansas Post Office. But, Gregory's largest WPA relief...

Worn White 01 46.13 x 46.13 x 3.38, 25.0 lbs Plaster Hand signed by artist Artist's Commentary: "Made of plaster, gypsum, water, wood, sand, salt, and crushed gold glass, this ar...

Tupuna Series #2, ancestors cloak, Maori ceramic sculptor Wi Taepa, leather ties unique ceramic sculpture depicting a cloak typically worn by Maori Wi Te Tau Pirika Taepa (born 1946,...

Bronze, hand-patinated and partially polished cast in 1982 using the lost-wax (""à cire perdue"") technique bearing the foundry stamp ""Strehle Kunstguss"" height (including base): 5...

Nine elegantly curved aquamarine glass pieces are suspended on fine steel cables in this stunning wall sculpture by Canadian artist John Paul Robinson. His glass work is inspired by ...

This abstract blue and white artwork titled "WARM AND DRY" is an original assemblage artwork by Jim Houser. This piece measures 10”h x 10”w. Jim Houser was born in 1973 in Philadelp...

"This indoor figurative pop art table top sculpture is made from resin. Playful, colourful and imaginative, Viktor Mitic’s latest series of unique sculptures appear to merge pop art...

This hand-blown glass, modern, indoor sculpture was created by artist John Paul Robinson. The light shines through and reflects off the surface of the graceful wave-like form of this...

This piece titled "Refugio o Trampa III, Knife Drawing" is an original piece by Lucha Rodríguez and is made from manipulated giclée print on metallic paper. This piece measure 7"h x ...

John Paul Robinson arrays a sequence of feather-like forms in a spiral formation to symbolize the interrelationship between the earth and the galaxy to which we belong. Feather forms...