Manuel Felguérez Barra

 

 Manuel Felguérez Barra (1928 – 2020) was a Mexican abstract artist, part of the Generación de la Ruptura that broke with the muralist movement of Diego Rivera and others in the mid 20th century.
"Painter and sculptor. In the late forties, he studied at the San Carlos Academy in Mexico City. At the beginning of the fifties, thanks to a scholarship from the French government he traveled to Paris where he studied at the Academy de la Grande Chaumier and at the Colarossi Academy. There he perfected his sculptural work with the master Ossip Zadkine, whose work will influence the young Felguérez. In the mid-fifties he became one of the pioneers of the Abstract trend, provoking a true renewal of the Mexican visual arts landscape in the second half of the XX century. Between 1965 and 1990 he developed an intense teaching and research work that took him to Cornell University and Harvard University in the United States. He tought Composition Classes in the National School of Plastic Arts and 1977 he became a researcher at the Institute of Aesthetic Research at UNAM. The work of Felguérez poses a dialectic between abstraction and expression. His paintings articulate geometric figures as squares, triangles, circles or rectangles, that collides with the imprint of an expressive Informalism charged with gestural spontaneity."(durbansegnini.com)

Pietro Cascella

Pietro Cascella ( 1921– 2008) was an Italian sculptor. His principal work consisted of large monumental sculptures, including the International Monument to the Victims of Fascism in the Auschwitz II-Birkenau death camp in Poland (1957–1967), and an underground mausoleum for Silvio Berlusconi at his villa in Arcore in the 1980s

 

Andrea Cascella

  

Andrea Cascella was a sculptor, painter and ceramist. He was the son of Thomas and nephew of Michael. Like his brother Peter, he established himself as a sculptor, at first thanks to a collaboration with Domenico Rambelli, although at first he dabbled in painting and ceramics. Among his positions include the direction of the Academy of Brera.

During the war years he was active in the Resistance in Garibaldi Ossola formations as a training commander. He attended the Osteria Brothers' Menghi, a known meeting place for painters, directors, screenwriters, writers and poets from the '40s and' 70s. In 1949 he exhibited his works at his first, at the Obelisk Gallery in Rome, then attend the Biennale, the Grosvenor Gallery in London, the New York Guggenheim museum and many Milanese personal.In the early sixties his high reliefs date back to the Olivetti structure of Dusseldorf and the bas-relief to that of Buenos Aires. European exponent of abstract art, among his finest works include the War Memorial of Auschwitz, which he designed with his brother Peter, after winning the competition for the Monument to the Unknown Political Prisoner in 1958. He made various appearances at the Venice Biennale, in which he was awarded in 1964, and commissioner in 1972. 

 

 

 

 

 

 

 

Wild Flowers

 

 Milena Olesinska - Wild Flowers - Camomiles,Poppies,Lupine

oil paintings on canvas 40cm 30cm

My Website 

 

 

 

Carel Nicolaas Visser

  

Carel Nicolaas Visser ( 1928 - 2015) was a Dutch sculptor. He is considered an important representative of Dutch abstract-minimalist constructivism in sculpture.From 1948 until 1949 Visser studied architecture at the Technical University in Delft and subsequently from 1949 until 1951 sculpture at the Royal Academy of Arts, The Hague. After study in England and France, he settled as an independent artist in 1952 in Amsterdam.
Carel Visser is seen as one of the most important constructivist sculptors of the Netherlands. His later work is characterized by the assembly of a variety of materials, such as tires, oil drums, car windows, leather, sheepskin, eggs and so on. He made organized connections, a kind of assemblages, with this so-called great and sometimes small objets trouvés (found objects). Some of his work has been compared to a musical composition in which repetition and variation play an important role.
Around 1960, Visser was focussed on massive closed cube of iron and "slack" cube wire. Visser, among other things, was inspired by nature (plants and animals) which also explains his use of natural materials such as wood, wool, sand, feathers, bones, rope and leather.His works from the period 1975-1985 could be called environments, as opposed to the more sculptural work as the dying horse (about 1949).Wikipedia