Bruce Conner

Bruce Conner (November 18, 1933 – July 7, 2008) was an American artist renowned for his work in assemblage, film, drawing, sculpture, painting, collage, and photography, among other disciplines.
Conner produced work in a variety of forms from the 1960s forward. He was an active force in the San Francisco counterculture of the mid-1960s as a collaborator in light shows at the legendary Family Dog at the Avalon Ballroom. He also made—using the new-at-the-the-time felt-tip pens—intricate black-and-white mandala-like drawings, many of which he subsequently (in the very early 1970s) lithographed into prints. One of Conner's drawings was used (in boldly colored variations) on the cover of the August, 1967 issue (#9) of the San Francisco Oracle. He also made collages made from 19th-century engraving images, which he first exhibited as THE DENNIS HOPPER ONE MAN SHOW.






During the 1970s Conner focused on drawing and photography, including many photos of the late 1970s West Coast punk rock scene. A 1978 film used Devo's "Mongoloid" as a soundtrack. Conner in the 1970s also created along with photographer Edmund Shea a series of life-size photograms called ANGELS. Conner would pose in front of large pieces of photo paper, which after being exposed to light and then developed produced images of Conner's body in white against a dark background. Throne Angel, in the collection of the Honolulu Museum of Art, is an example with the artist crouching on a stool. Conner also began to draw elaborately-folded inkblots.




 In the 1980s and 1990s Conner continued to work on collages, including ones using religious imagery, and inkblot drawings that have been shown in numerous exhibitions, including the 1997 Whitney Biennial. Throughout Conner's entire body of work, the recurrence of religious imagery and symbology continues to underscore the essentially visionary nature of his work. 'May the Heart of the Tin Woodsman be with You from 1981, in the collection of the Honolulu Museum of Art, is an example of the artist's collages that are both mystical and symbolic. It is an engraving collage, with glue, melted plastic and charred wood.





In 1999, to accompany a traveling exhibition, a major monograph of his work was published by the Walker Art Center, titled 2000 BC: The Bruce Conner Story, Part II. The exhibition, which featured specially built in-gallery screening rooms for Conner's films as well as selected assemblages, felt-tip pen and inkblot drawings, engraving collages, photograms, and conceptual pieces, was seen at the Walker, the Modern Art Museum in Fort Worth, the de Young in San Francisco, and the Museum of Contemporary Art in Los Angeles.
Late career (c. 2000 to 2008)




 Conner announced his retirement at the time of the "2000 BC" exhibition, but in fact continued to make art until shortly before his death. However, much of this work, including in particular the many inkblot drawings he made, including a series responding to 9/11, were presented using pseudonyms or the name "Anonymous." Conner also made collages from old engravings, and completed (depending on how they are counted) three or four experimental films. He also used computer-based graphics programs to translate older engraving collages into large-sized woven tapestries, and made paper-based prints in that way as well. Various other artistic projects were completed as well, including in the year of his death a large assemblage titled KING. Conner also in late 2007 directed and approved an outdoor installation of a large painting, resulting in what one observer suggested is a final work-in-progress.Wikipedia




Art for Sale Georgia Brushhandle


Artist: Georgia Doyle (Brushhandle)




Title: Surreal Crimson and Silk
Medium: Oils on stretched canvas
size: 8 X 10 inches
Price: $760.00 USD  shipping and insurance is extra.
  



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Charles Daudelin

Charles Daudelin,(October 1, 1920 – April 2, 2001)was a Canadian sculptor and painter, a major Quebec artist.
 
 






 

Marek Oberlander

Born 1922 in Szczerzec near Lvov, died 1978 in Nice, France.
Oberländer - along with Jan Dziedziora, Jacek Sienicki, and Elżbieta Grabska - was an initiator and among the most active organizers of the "Against War, Against Fascism" Polish National Exhibition of Young Visual Arts, held in July of 1955 at Warsaw's Arsenal just before the political "thaw" of 1956. The idea for the exhibition was first put forward at a social gathering held at his small apartment in the Okolnik district of Warsaw. Stalin had died two years earlier and hopes were high for ideological change. It was in this atmosphere that a group of young painters, supported by an equally young art historian and critic, decided to organize an exhibition made up of works created during outside of the official art world during the Socialist Realist period and subsequently hidden away in private studios for years. Once assembled, the exhibition was viewed as a protest against both Socialist Realism and Colorism - a movement that had ruled Polish art after World War II, reigning especially strong in academic circles.
In 1939 Oberländer was pressed into the Soviet Army and remained a soldier through 1946, serving within the borders of the Soviet Union. After the war he enrolled at the Visual Arts College in Warsaw (1946-48) and went on to study at the city's Academy of Fine Arts from 1948 to 1953.





 Oberländer's first significant experience as an artist was his participation in the Arsenal show, at which he exhibited works that depicted the martyrdom of the Jewish nation during the war. These included his dramatic lithographs Nigdy wiecej getta / No More Ghettos and Reportaz spod szubienicy / Report from the Gallows (before 1955) and paintings titled Napietnowani / Branded and Cebule / Onions (1955). These works (the paintings in particular) were described as "expressive realist", were brutally austere in expressive means and characterized by an economy of color and a simplified representation of tarnished figures and decaying, ugly objects. Oberländer was consciously, ostentatiously, and "barbarically" anti-aesthetic. This approach, derived from his choice of motifs, was directed against the aesthetics of Colorism and simultaneously increased the expressive power of his compositions. Critics today identify the artist's two paintings as exemplifying the attitudes and poetics characteristic "Arsenal" art. Although overlooked by the jury, Oberländer did receive a special prize from the editors of "Po Prostu" / "Simply" weekly for these works, developing a long-term relationship that resulted in the opening of the "Po Prostu" Exhibition Salon in 1956, where the artist his first solo exhibition in 1959 and which he managed throughout its existence (1961). This was followed by similar relationships with the magazines "Nowa Kultura" / "New Culture" and "Współczesność" / "Contemporary Times", which helped the artist to his second solo exhibition in 1960. Oberländer continued to be publicly active and through his efforts brought about the creation of one of the first contemporary art galleries in Warsaw, prompting others to seek the same.





 Throughout this time he was also painting and drawing, creating numerous works in which he gradually cast off his original brutality and focused on creating a more intimate mood. These were largely portraits that emphasized the psyche of his models, though he also painted genre scenes and still lifes and at times turned towards abstraction. In general, his works of this period were more variegated than previously. With time he began to deform the human figure more and more radically, though he retained it as a clear symbol of individual experience (evident in his ink and gouache portraits of 1957-58, among them, the Garbate / Hunchbacks series). Through constant modification of the human silhouette, he consistently and (what is more important) successfully strived towards a maximal synthesis of form. He drew inspiration from the world of nature; the unreal, sometimes stylized, elongated shapes of insects became a model for his approximately drawn, over-simplified, highly condensed, vertically oriented female figures (Sylwetki / Silhouettes, 1961-63). The vibrating, unsettled components of these compositions (a spider web-like tangle of thin lines, unrestrained splashes and drippings of semi-translucent paint) strengthened their disquieting, angst-ridden aura. Oberländer's "torsos" and "skeletons" were often compared to Jan Lebenstein's Figury hieratyczne / Hieratic Figures and Figury osiowe / Axial Figures, though this seems somewhat unjustified. Lebenstein's compositions seem more ostentatiously and tangibly aggressive, while the drama in Oberländer's figures derives from their hidden, inner life. In spite of this, the works of both artists evoke associations with Wols's Tachiste drawings of seemingly anatomical assemblages.




 In 1963 the painter left for France and his contacts with Poland loosened. While abroad he exhibited widely (Stockholm, 1963, 1965; Paris, 1964; St-Paul de Vence, 1965; Berlin, 1967; Amsterdam, 1970; Antibes, 1973). After a bout with serious illness, his art changed (for example, see the gouache Zawał serca / Heart Attack, 1964). He began creating mostly abstract works filled with dissolving shapes, their stratified textures bisected by sharp rays of light. Shortly thereafter all allusions to the human figure disappeared from his work, and in the end, Oberländer focused almost entirely on "impressionistic" landscapes (Lato / Summer, 1964; Noc / Night, 1967), which he sought to imbue with a more optimistic air. The compositions he created in the last years of his life, however, no longer had the electrifying inner tension that lent so much integrity to his earlier works.




 Oberländer donated a large section of his legacy to the National Museum in Wroclaw in 1977; his other works remain dispersed throughout Poland and the world. The artist remained committed to Arsenal exhibition ideas and traditions and lent his full support to Jacek A. Zieliński, who in the late 1970s initiated an effort to create the "Arsenal Circle" collection at the Regional Museum (known today as the Jan Dekert Lubuski Region Museum) in the city of Gorzów Wielkopolski. This collection, made up of works embodying Arsenal themes, is on permanent display at one of the museum's branches and was presented in 1992 at Warsaw's Zachęta Contemporary Art Gallery. A larger selection of the artist's works was presented at posthumous exhibitions organized in Warsaw and Wroclaw in 1980, the catalogue for which contains extensive information about the artist's oeuvre.
(Author: Małgorzata Kitowska-Łysiak, Art History Institute of the Catholic University of Lublin, Faculty of Art Theory and the History of Artistic Doctrines, December 2001. culture.p )




John Hoyland

John Hoyland RA (12 October 1934 – 31 July 2011)was a London-based British artist. He was one of the country's leading abstract painters
John Hoyland was born on 12 October 1934, in Sheffield, Yorkshire, to a working-class family, and educated at Sheffield School of Art and Crafts within the junior art department (1946–51) before progressing to Sheffield College of Art (1951–56), and the Royal Academy Schools, London (1956–60), where Sir Charles Wheeler, the then President of the Royal Academy famously ordered that Hoyland's paintings – all abstracts – be removed from the walls of the Diploma Galleries. It was only the intervention of Peter Greenham, Acting Keeper of the Schools, that saved the day when he reminded Sir Charles Wheeler that Hoyland also painted landscapes – evidence that he could 'paint properly'.






In 1953 Hoyland went abroad for the first time, hitch-hiking with a friend to the South of France. After the bleakness of Sheffield it was a revelation: 'To me it was like landing in Tahiti. There was still rationing here. Down there were all these brown girls, swimming and diving, and all these grapes.'[8] Hoyland visited again in 1957 with David Smith when he was at the Royal Academy and got what he referred to as 'The Gauguin syndrome', a life-long romance with travel and the south..Wikipedia





Milena Olesinska




Oil on canvas

Marcel Janco

Marcel Janco ( May 24, 1895 – April 21, 1984) was a Romanian and Israeli visual artist, architect and art theorist. He was the co-inventor of Dadaism and a leading exponent of Constructivism in Eastern Europe. In the 1910s, he co-edited, with Ion Vinea and Tristan Tzara, the Romanian art magazine Simbolul. Janco was a practitioner of Art Nouveau, Futurism and Expressionism before contributing his painting and stage design to Tzara's literary Dadaism. He parted with Dada in 1919, when he and painter Hans Arp founded a Constructivist circle, Das Neue Leben.
Reunited with Vinea, he founded Contimporanul, the influential tribune of the Romanian avant-garde, advocating a mix of Constructivism, Futurism and Cubism. At Contimporanul, Janco expounded a "revolutionary" vision of urban planning. He designed some of the most innovative landmarks of downtown Bucharest. He worked in many art forms, including illustration, sculpture and oil painting.







Janco was one of the leading Romanian Jewish intellectuals of his generation. Targeted by antisemitic persecution before and during World War II, he emigrated to British Palestine in 1941. He won the Dizengoff Prize and Israel Prize, and was a founder of Ein Hod, a utopian art colony, controversially built over a depopulated Palestinian Arab village (itself relocated to Ein Hawd).Marcel Janco was the brother of Georges and Jules Janco, who were his artistic partners during and after the Dada episode. His brother-in-law and fellow Constructivist promoter was the writer Jacques G. Costin, known as a survivor of 1940s antisemitism.Wikipedia






Inga Leitasa

Riga, Latvia


  Il mare dolce, acrylic on canvas board, 30x40cm, 265eur


 Sunflowers, acrylic on board, 51.6x27.6cm, 265eur



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Rémy Verneuil

A mon avis, un peintre, de nos jours, se doit non seulement de faire avec un héritage diversifié et multi-séculaire, pictural et plus largement culturel, c'est à dire y prendre ce qui lui convient et se positionner par rapport à tout ça en y associant son propre fonds personnel, le perpétuer, le bousculer ou le traiter d'une quelconque manière située entre les deux, mais parallèlement il se doit d'interroger la peinture en tant que matière et couleur ainsi que leur support, réceptacle dirais-je, et les liens qui unissent l'artiste, l'humain à eux.
C'est ce que je fais, me semble-t-il.





Seymour Lipton

Seymour Lipton, (born Nov. 6, 1903, New York City—died Dec. 5, 1986, Glen Cove, N.Y., U.S.) American sculptor known for his forceful metal sculptures of abstract organic forms.Lipton attended City College of New York, studied dentistry at Columbia University (1923–27), and had no formal art training. He embarked on his artistic career in 1932 as a figurative sculptor, primarily in wood; when he shifted to abstract work after 1945, his major material became sheet metal.
The play between external and internal forms dominates Lipton’s later work. His characteristically massive, textured pieces twist, curve, and seem frozen on the verge of opening. They are frequently suggestive of and titled after animals and plants.
His commissioned works include sculptures at Philharmonic Hall at Lincoln Center, New York City (1964), and Dulles International Airport, Washington, D.C. (1964).(Encyclopædia Britannica)







Seymour Lipton adopted the surrealist technique of free association, making numerous rough drawings in crayon to explore different combinations of shapes without a coherent plan. These shapes were then cut from sheet steel or Monel, a type of white bronze, and welded into place. The rough metal, sharp corners, and visible welds give the piece a raw, unfinished appearance.(americanart.si.edu)