Karim Loberg

"My works are mainly inspired by dreams 
and are attempts at portraying parts of the self."(Karim Loberg)

My contact information is:
E-mail: Jakalohamoja@outlook.com 

Telephone: 004551880615

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"Uso" acrylics on 120x100 cm canvas: 3650,- USD

"Uzito" acrylics on 80x80 cm canvas: 1470 ,- USD

"Kijani" Mixed media  (acrylics and ballpoint pens)
on simple 21x30 cm sketch paper: 100,- USD

"Damu" acrylics on 80x100 cm canvas: 1220,- USD

"Hatari" oil on 40x50 cm canvas: 485,- USD

"Meditation upon darkness" acrylics on 100x140 cm
paper: 1100,- USD

"Moto" acrylics on 80x60 cm canvas: 620,- USD

"Usiku" acrylics on 80x60 cm canvas: 915,- USD

Nancy Wilmot Borlase

Nancy Wilmot Borlase AM (24 March 1914 – 11 September 2006) was a New Zealand-born Australian artist, well known for her landscape-based abstract paintings and portraits, and as an art critic and commentator. Her work is displayed in the National Gallery of Australia and other major galleries.
Born in Taihape, New Zealand, in 1914, Borlase was 16 when she decided that art was her calling and shifted to Christchurch, where she studied at Canterbury College School of Art under Francis Shurrock.

Borlase moved to Australia in 1937, at age 22, where she studied life drawing and sculpture at East Sydney Technical College under Frank Medworth and Lynden Dadswell (1937–1940)and also life drawing under Rah Fizelle and Grace Crowley before switching to painting. In 1939 she joined the Contemporary Art Society, NSW branch and was an active committee member of the Society between 1952—1970.

She lived for a while next to Sidney Nolan in Melbourne, was befriended by his benefactor John Reed, and worked as an artist's model. She married trade union figure Laurie Short in 1941.
Borlase started as a figurative painter before moving to abstract impressionism. Her work was influenced by a study tour to New York in 1956, where she encountered Jackson Pollock, Willem de Kooning and Mark Rothko.[2] Other study tours included tours to the USA 1960; Europe 1956, 1969, 1972, 1973; China 1976 (as one of three art writers).She worked as an art critic at The Bulletin, Sydney between 1972–1973[1] and the Sydney Morning Herald from 1973.Wikipedia

Rufino Tamayo

Rufino Tamayo, in full Rufino Arellanes Tamayo   (born August 26, 1899, Oaxaca, Mexico—died June 24, 1991, Mexico City),  Mexican painter who combined modern European painting styles with Mexican folk themes.

Tamayo attended the School of Fine Arts in Mexico City from 1917 to 1921, but he was dissatisfied with the traditional art program and thereafter studied independently. He became head of the department of ethnographic drawing at the National Museum of Archaeology (1921–26) in Mexico City, where he developed an interest in pre-Columbian art.

Tamayo spent many years of his career in New York City, first settling there from 1926 to 1928. He retained his ties to Mexico and returned there often, but the modern art he encountered in New York—especially the paintings of European artists Pablo Picasso, Georges Braque, and Henri Matisse—profoundly influenced his work. Tamayo reacted against the epic proportions and political rhetoric of the paintings of the Mexican muralists, who had dominated the country’s art production since the Mexican Revolution. Instead, he chose to address formal and aesthetic issues in easel paintings, fusing European styles such as Cubism and Surrealism with subject matter that often involved Mexican culture.

By the 1930s Tamayo had become a well-known figure in the Mexican art scene. He lived in New York again from 1936 to 1950. During this period the various styles of his paintings ranged from the stolid figures in Women of Tehuantepec (1939) to the expressive violence of the barking mongrels in Animals (1941). He often used vibrant colours and textured surfaces to depict his subjects in symbolic, stylized, or semiabstract modes.“Sandias”Tamayo exhibited his paintings at the Venice Biennale in 1950, and the success of his work there led to international recognition. He went on to design murals for the National Palace of Fine Arts in Mexico City (Birth of Nationality and Mexico Today, both 1952–53) and for UNESCO in Paris (Prometheus Bringing Fire to Man, 1958). Tamayo was a prolific printmaker, and he also experimented with bronze and iron sculpture.

After living in Paris from 1957 to 1964, Tamayo settled in Mexico. In 1974 he donated his large collection of pre-Columbian art to the city of Oaxaca, founding the Rufino Tamayo Museum of Pre-Hispanic Art. In 1981 Tamayo and his wife donated to the people of Mexico their collection of international art, which formed the basis for the Rufino Tamayo Museum of Contemporary Art in Mexico City.(Encyclopædia Britannica)

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