{"title":"Paintings","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eOil, acrylic, watercolor and mixed media works\u003c\/p\u003e","products":[{"product_id":"original-painting-promises-tropical-jungle-painting-panthers-gustavo-novoa","title":"Original Painting \"Promises\" Tropical Jungle Painting Panthers, Gustavo Novoa","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Gustavo Novoa  |  \u003cstrong\u003ePeriod:\u003c\/strong\u003e 20th Century  |  \u003cstrong\u003eStyle:\u003c\/strong\u003e Contemporary  |  \u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 30.0, W: 30.0 IN\u003c\/p\u003e\u003cp\u003eGustavo Novoa, Born 1941 in Santiago, Chile, He attended the Academy of Fine Arts. Novoa made his debut as an artist in the early 1960¹s selling oil paintings, watercolors and crayon drawings on the streets of Paris, principally Montmartre. His first one-man show was sponsored by the Chilean Ambassador at the Maison de L¹Amerique Latin in 1961. The late Queen Victoria Eugenia of Spain sponsored his second show in Lausanne, Switzerland in 1962. Showing in galleries in the Faubourg St. Honore and the Salon de la Jeune Peinture. Novoa constructed a dream-like Naive new jungle where the lion lies down with the zebra. Panthers and pandas share the shade with African monkeys and American raccoons. Novoa became represented exclusively by the Wally Findlay Galleries in the early 1970s, and his one-man shows in New York, Paris, Palm Beach and Beverly Hills established him as a champion of ecology and wildlife preservation along with Henri Maik. His animals were primitive and painted in lush and colorful Folk Art backgrounds. Ringling Brothers, Barnum \u0026amp; Bailey commissioned him to do the poster and program for the circus that year. By 1971, Novoa¹s paintings had changed again. His show \"The Grand Tour\" sent his animals prowling the major cities of the world, from the Spanish Steps in Rome to the Left Bank in Paris, through the Great Pyramids and back to Park Avenue in New York. It was perhaps the most surrealistic of Novoa¹s shows. On April 3, 1988, Prince Charles of England set a new record for Novoa¹s sales by auctioning one of his paintings at a benefit sale in Palm Beach.Novoa was received at the White House by Mrs. George Bush. Miami¹s Art Deco District had chosen Novoa¹s painting \"The Carlyle Hotel\" to be presented to the First Lady. The painting hangs in the President¹s Library. The prestigious Gallery 1-2-3 of El Salvador introduced Novoa at their Latin American Biennale exhibition in June of 1992. The Instituto Cultural de Santiago presented an impressive one-man show in August, 1992. His first exhibition in Chile, where the press named him \"Painter of a Lost Paradise\". Sponsored by Avensa Airlines of Venezuela, Novoa opened his first one-man show in Caracas, with great success, at the Galeria Oscar Ascanio in June of 1993. The Wally Findlay Galleries in New York presented his latest paintings in their Summer Festival of 1996. His exhibition \"Art from Art\" at the Museum of Contemporary Art in Santiago, Chile, met with great success. Using elements from other artists ranging from Michelangelo to Picasso, but re-interpreted through his cats, Novoa has eased his way into surrealism. Oil or acrylic on canvas.\u003c\/p\u003e","brand":"Gustavo Novoa","offers":[{"title":"Default Title","offer_id":51628027445546,"sku":"a_11573692S1","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_2C0ADEDF55DA4728A059BE2D713EBB42_master.jpg?v=1780505562"},{"product_id":"cascade-large-scale-modernist-oil-painting","title":"Cascade, Large Scale Modernist Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Gustavo Novoa  |  \u003cstrong\u003ePeriod:\u003c\/strong\u003e Late 20th Century  |  \u003cstrong\u003eStyle:\u003c\/strong\u003e Modern  |  \u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 48.0, W: 36.0 IN\u003c\/p\u003e\u003cp\u003eGustavo Novoa, Born 1941 in Santiago, Chile, He attended the Academy of Fine Arts. Novoa made his debut as an artist in the early 1960¹s selling oil paintings,watercolors and crayon drawings on the streets of Paris, principally Montmartre. His first one-man show was sponsored by the Chilean Ambassador at the Maison de L¹Amerique Latin in 1961. The late Queen Victoria Eugenia of Spain sponsored his second show in Lausanne, Switzerland in 1962. Showing in galleries in the Faubourg St. Honore and the Salon de la Jeune Peinture. Novoa constructed a dream-like Naive new jungle where the lion lies down with the zebra. Panthers and pandas share the shade with African monkeys and American raccoons. Novoa became represented exclusively by the Wally Findlay Galleries in the early 1970s, and his one-man shows in New York, Paris, Palm Beach and Beverly Hills established him as a champion of ecology and wildlife preservation along with Henri Maik. His animals were primitive and painted in lush and colorful Folk Art backgrounds. Ringling Brothers, Barnum \u0026amp; Bailey commissioned him to do the poster and program for the circus that year. By 1971, Novoa¹s paintings had changed again. His show \"The Grand Tour\" sent his animals prowling the major cities of the world, from the Spanish Steps in Rome to the Left Bank in Paris, through the Great Pyramids and back to Park Avenue in New York. It was perhaps the most surrealistic of Novoa¹s shows. On April 3, 1988, Prince Charles of England set a new record for Novoa¹s sales by auctioning one of his paintings at a benefit sale in Palm Beach.Novoa was received at the White House by Mrs. George Bush. Miami¹s Art Deco District had chosen Novoa¹s painting \"The Carlyle Hotel\" to be presented to the First Lady. The painting hangs in the President¹s Library. The prestigious Gallery 1-2-3 of El Salvador introduced Novoa at their Latin American Biennale exhibition in June of 1992. The Instituto Cultural de Santiago presented an impressive one-man show in August, 1992. His first exhibition in Chile, where the press named him \"Painter of a Lost Paradise\". Sponsored by Avensa Airlines of Venezuela, Novoa opened his first one-man show in Caracas, with great success, at the Galeria Oscar Ascanio in June of 1993. The Wally Findlay Galleries in New York presented his latest paintings in their Summer Festival of 1996. His exhibition \"Art from Art\" at the Museum of Contemporary Art in Santiago, Chile, met with great success. Using elements from other artists ranging from Michelangelo to Picasso, but re-interpreted through his cats, Novoa has eased his way into surrealism. Oil or acrylic on canvas.\u003c\/p\u003e","brand":"Gustavo Novoa","offers":[{"title":"Default Title","offer_id":51628059001130,"sku":"a_11802442S1","price":7000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/10001979_e_fnf_main_master.jpg?v=1780505893"},{"product_id":"abstract-oil-painting-gold-leaf-stars-1-of-2","title":"Abstract Oil Painting Gold Leaf Stars 1 of 2","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 14.0, W: 24.0 IN\u003c\/p\u003e\u003cp\u003eThis one is signed. the second one is unsigned.\u003c\/p\u003e\u003cp\u003eBorn in Paris in 1946 and raised in the heart of an idyllic French countryside near the Loire Valley, Jacques Lamy began painting at a very early age. Jacques completed his formal artistic training at the prestigious Ecole Nationale Superieur des Arts Decoratifs (Paris) in 1971. While there, he received the highest peer recognition in European Arts; the coveted Prix de Rome award for painting. Jacques Lamy’s career as an artist, designer and art teacher took him from his native France to life abroad in Spain, Africa, and the United States. His broad artistic interests and his classic training in art and design have enabled him to enjoy a wide variety of artistic experiences from designing furniture, lamps, tapestries, and elegant garden statuary to creating large scale murals for public viewing and enjoyment. in addition to his renowned mural work, Jacques received international recognition for his\u003c\/p\u003e\u003cp\u003edecorative fresco paintings. Jacques personal artistic style is very much a melding of old and new – a merging of a classically trained artist with a modern artistic vision. The medium is multi-media and the composition has a modern, abstract quality but the Old World training in design and composition lends the whole an air of classical grace. Examples can be seen in his studio-gallery in Dallas, Texas.\u003c\/p\u003e\u003cp\u003e​Art Education\u003c\/p\u003e\u003cp\u003eEcole National Superieure des Arts Decoratifs – Paris Art Teaching\u003c\/p\u003e\u003cp\u003eCasa de Velasquez – Madrid, Spain.\u003c\/p\u003e\u003cp\u003eNational Institute of Art, Dakar, Senegal.\u003c\/p\u003e\u003cp\u003eHas taught\u003c\/p\u003e\u003cp\u003eart in France, Spain, and Africa\u003c\/p\u003e\u003cp\u003eArt Awards\u003c\/p\u003e\u003cp\u003ePrix de Rome de Peinture – Casa de Velasquez - 1971\u003c\/p\u003e\u003cp\u003eSilver Medal for Industrial Creation - 1981\u003c\/p\u003e\u003cp\u003e​Museums\u003c\/p\u003e\u003cp\u003eMusee D'Art Roger Quillot, Clermont-Ferrand, France\u003c\/p\u003e\u003cp\u003eJesuit Art Museum – Dallas, TX\u003c\/p\u003e\u003cp\u003eExhibits 2012-current\u003c\/p\u003e\u003cp\u003eRepresented by Wall Gallery – Dallas, TX, USA 2004\u003c\/p\u003e\u003cp\u003eJesuit Art Museum – Dallas, TX, USA ​ 2001-current\u003c\/p\u003e\u003cp\u003eGalerie Fine Art – Nantes,\u003c\/p\u003e\u003cp\u003eFrance 2000\u003c\/p\u003e\u003cp\u003eCity Hall, Chamalieres – France 1998\u003c\/p\u003e\u003cp\u003eIvanffy – Uhler Gallery – Dallas, TX 1994-1996\u003c\/p\u003e\u003cp\u003eJacques Lamy Fine Art Gallery 1995\u003c\/p\u003e\u003cp\u003eNeiman Marcus- Dallas and Atlanta 1981-1984\u003c\/p\u003e\u003cp\u003eGallery Frederic Mechiche – Paris 1979-1980\u003c\/p\u003e\u003cp\u003eGallery Philippe Freignac – Paris 1977\u003c\/p\u003e\u003cp\u003eGallery Teranga – Dakar, Senegal 1976\u003c\/p\u003e\u003cp\u003eGallery Renaudot – Dakar, Senegal 1975\u003c\/p\u003e\u003cp\u003ePalais Des Eveques – Alan, France 1974\u003c\/p\u003e\u003cp\u003eNational Institute of Art – Dakar Senegal 1973\u003c\/p\u003e\u003cp\u003eSalon de La Principaute – De Monaco – Monaco 1972\u003c\/p\u003e\u003cp\u003eSalon of Segovia – Spain 1971- 1972\u003c\/p\u003e\u003cp\u003eCasa de Velasquez – Madrid, Spain\u003c\/p\u003e\u003cp\u003eInstitute of France – Paris 1968 – 1970\u003c\/p\u003e\u003cp\u003eSalon D’Automne – Paris\u003c\/p\u003e\u003cp\u003eSalon De Mai – Paris\u003c\/p\u003e\u003cp\u003eMajor Art Installations\u003c\/p\u003e\u003cp\u003eOld Course Hotel – St. Andrews, Scotland\u003c\/p\u003e\u003cp\u003eRitz Carlton Hotel – Pasadena, CA\u003c\/p\u003e\u003cp\u003eHyatt Regency Hotel - Reston, VA\u003c\/p\u003e\u003cp\u003e​\u003c\/p\u003e\u003cp\u003e​\u003c\/p\u003e\u003cp\u003e​\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628201836842,"sku":"a_12773702S1","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_1525279293023_master.jpg?v=1780507146"},{"product_id":"a-glazing-medley-abstract-expressionist-oil-on-canvas-painting","title":"A Glazing Medley, Abstract Expressionist Oil on Canvas Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 23.0, W: 27.0 IN\u003c\/p\u003e\u003cp\u003eInn the manner of the Hans Hofmann School. A great older Abstract Expressionist painting.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628202361130,"sku":"a_12779782S1","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_E60DA573BD67498BBAABEE5B0B97D572_master.jpg?v=1780507148"},{"product_id":"modernist-watercolor-painting-portrait-of-a-man-the-rabbi","title":"Modernist Watercolor Painting, Portrait of a Man, the Rabbi","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 12.25, W: 8.75 IN\u003c\/p\u003e\u003cp\u003eAbraham Walkowitz (March 28, 1878 - January 27, 1965) was an American painter grouped in with early American Modernists working in the Modernist style.\u003c\/p\u003e\u003cp\u003eWalkowitz was born in Tyumen, Siberia to Jewish parents. He emigrated with his mother to the United States in his early childhood. He studied at the National Academy of Design in New York City and the Académie Julian in Paris under Jean-Paul Laurens. Walkowitz and his contemporaries later gravitated around photographer Alfred Stieglitz's 291 Gallery, originally titled the Little Galleries of the Photo-Secession, where the forerunners of modern art in America gathered and where many European artists were first exhibited in the United States. During the 291 years, Walkowitz worked closely with Stieglitz as well as Arthur Dove, Marsden Hartley, and John Marin (often referred to as \"The Stieglitz Quartet\").\u003c\/p\u003e\u003cp\u003eEarly Career and Training Portrait of Abraham Walkowitz - 1907 - Max Weber - Brooklyn Museum Walkowitz was drawn to art from childhood. In a 1958 oral interview with Abram Lerner, he recalled: \"When I was a kid, about five years old, I used to draw with chalk, all over the floors and everything... I suppose it's in me. I remember myself as a little boy, of three or four, taking chalk and made drawings.\"[1] In early adulthood, he worked as a sign painter and began making sketches of immigrants in New York's Jewish ghetto where he lived with his mother. He continued to pursue his formal training, and with funds from a friend traveled to Europe in 1906 to attend the Académie Julian. Through introductions made by Max Weber, it was here that he met Isadora Duncan in Auguste Rodin's studio, the modern American dancer who had captured the attention of the avant-garde. Walkowitz went on to produce more than 5,000 drawings of Duncan.\u003c\/p\u003e\u003cp\u003eWalkowitz' approach to art during these years stemmed from European modernist ideas of abstraction, which were slowly infiltrating the American art psyche at the turn of the century. Like so many artists of the time, Walkowitz was profoundly influenced by the 1907 memorial exhibition of Cézanne's work in Paris at the Salon d'Automne. Artist Alfred Werner recalled that Walkowitz found Cézanne's pictures to be \"simple and intensely human experiences.\"[2] Working alongside other Stieglitz-supported American modernists, Walkowitz refined his style as an artist and produced various abstract works.\u003c\/p\u003e\u003cp\u003eWalkowitz first exhibited at the 291 in 1911 after being introduced to Stieglitz through Hartley, and stayed with the gallery until 1917. During the 291 years, the climate for modern art in America was harsh. Until the pivotal Armory Show of 1913 had occurred which Walkowitz was involved with and exhibited in, modern artists importing radical ideas from Europe were received with hostile criticism and a lack of patronage.\u003c\/p\u003e\u003cp\u003eIsadora Duncan Drawings In 1927, Isadora Duncan echoed the lines of Walt Whitman in her essay I See America Dancing, writing, \"When I read this poem of Whitman’s I Hear America Singing I, too, had a Vision: the Vision of America dancing a dance that would be the worthy expression of the song Walt heard when he heard America singing.\"[4] Duncan was the quintessence of modernism, shedding the rigid shackles of the balletic form and exploring movement through a combination of classical sculpture and her own inner sources. She described this search: \"I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the body’s movement.\" For Duncan, dance was a distinctly personal expression of beauty through movement, and she maintained that the ability to produce such movement was inherently contained within the body.\u003c\/p\u003e\u003cp\u003eAbraham Walkowitz was one of many artists captivated by this new form of movement. The Duncan drawings can be interpreted as representations of Walkowitz’s loftiest goals. Composing thousands of these drawings would prove to be one of the most effective outlets for his artistic agenda due to the similarities between the artistic ideals and preferred aesthetic shared by Walkowitz and Duncan. He was also able to draw from the same subject repeatedly and extract a different experience with each observation. Sculptors most readily recognized this trait in Duncan; there was a particular quality of her dance which appeared readily artistic, yet not static. Dance critic Walter Terry described it in 1963 as, \"Although her dance inarguably sprang from her inner sources and resources of motor power and emotional drive, the overt aspects of her dance were clearly colored by Greek art and the sculptor’s concept of the body in arrested gesture promising further action. These influences may be seen clearly in photographs of her and in the art works she inspired.\"\u003c\/p\u003e\u003cp\u003eIsadora Duncan #29, c. 1915 In each drawing, a new observation is recorded from the same subject. In the Foreword to A Demonstration of Objective, Abstract, and Non-Objective Art, Walkowitz wrote in 1913, \"I do not avoid objectivity nor seek subjectivity, but try to find an equivalent for whatever is the effect of my relation to a thing, or to a part of a thing, or to an afterthought of it. I am seeking to attune my art to what I feel to be the keynote of an experience.\" The relaxed fluidity of his action drawings represent Duncan as subject, but ultimately reconceive the unbound movement of her dance and translates the ideas into line and shape, ending with a completely new composition.\u003c\/p\u003e\u003cp\u003eHis interest in recording the \"keynote\" of experience rather than producing an objective representation of a subject is central to the composition of the Duncan drawings. The fluidity of the lines function simultaneously as recognizable shapes of the human body, but also trace the pathways of the dancer’s movements. Duncan herself wrote in 1920, \"...there are those who convert the body into a luminous fluidity, surrendering it to the inspiration of the soul.\"[4] Placed into a different context, this passage could function as a description of Walkowitz’s art; it is in fact taken from her essay The Philosopher’s Stone of Dancing wherein she discusses techniques to most effectively express the purest form of movement.\u003c\/p\u003e\u003cp\u003eWalkowitz’s dedication to Duncan as a subject extended well past her untimely death in 1927. The works reveal shared convictions toward modernism and breaking links with the past. In 1958, Walkowitz told Lerner, \"She (Duncan) had no laws. She did not dance according to the rules. She created. Her body was music. It was a body electric, like Walt Whitman. His body electrics. One of our greatest men, America's greatest, is Walt Whitman. Leaves of Grass is to me the Bible.\"\u003c\/p\u003e\u003cp\u003eSignificance in Art History While never attaining the same level of fame as his contemporaries, Walkowitz' close relationship with the 291 Gallery and Alfred Stieglitz placed him at the center of the modernist movement. His early abstract cityscapes and collection of over 5,000 drawings of Isadora Duncan also remain significant art historical records.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628202524970,"sku":"a_12779802S1","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_F06D2A1294BB4841B9D79141FEBEA93B_master.jpg?v=1780507152"},{"product_id":"large-california-modernist-abstract-laddie-john-dill-abstract-oil-painting-art","title":"Large California Modernist Abstract Laddie John Dill Abstract Oil Painting Art","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 37.0, W: 73.0 IN\u003c\/p\u003e\u003cp\u003eLaddie John Dill (American, b. 1943) Untitled Oil painting on canvas mounted on panel Hand signed Laddie Dill (verso) 36 x 72 inches. (with frame 37 X 73)\u003c\/p\u003e\u003cp\u003eLaddie John Dill was born in Long Beach, CA in 1943. He graduated from Chouinard Art Institute in 1968 with a BFA. After graduating, Dill became a printing apprentice and worked closely with established artists, like Robert Rauschenberg, Claes Oldenburg, Roy Lichtenstein, and Jasper Johns. Laddie John Dill’s work is in the permanent collections of national and international institutions such as Museum of Modern Art, NY; Los Angeles County Museum of Art, CA; Museum of Contemporary Art, CA; San Francisco Museum of Modern Art, CA; High Museum, GA; The Phillips Collection, DC; Chicago Art Institute, IL; Smithsonian, DC; Louisiana Museum of Modern Art, Denmark; Pio Monte della Misericordia, Italy; Museum of Contemporary Art San Diego, CA; and Museo Jumex, Mexico. He currently lives and works in Venice, CA where he maintains a studio. This is the same color palette as the Memphis Milano works and Peter Shire Sculpture. A central figure in the California Light and Space movement, Laddie John Dill has been crafting light and earthy materials like concrete, glass, sand, and metal into luminous sculptures, wall pieces, and installations since the 1970s. Referring to his choice of materials, Dill explains: “I was influenced by [Robert] Rauschenberg, Keith Sonnier, Robert Smithson, Dennis Oppenheim, and Robert Irwin, who were working with earth materials, light, and space as an alternative to easel painting.” Among his most celebrated works is an untitled installation from 1971, for which Dill filled a gallery with mounds of pale sand, topped with precisely arranged glass panels illuminated by the soft, green glow of argon lighting set just beneath the surface. When he does use canvas, he paints with pigments derived from cement and natural oxides. His work bears a relationship to the Light \u0026amp; Space Movement and Minimalism artists James Turrell, Larry Bell, Robert Irwin, Craig Kauffman, Billy Al Bengston, Joe Novak, Peter Alexander and Lita Albuquerque.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628203016490,"sku":"a_12782282S1","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_F09EB285EF354948B7AC752178CA9E30_master.jpg?v=1780507155"},{"product_id":"marinescape-with-boat-long-island-nyc-oil-painting","title":"Marinescape with Boat Long Island NYC Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 8.5, W: 11.0 IN\u003c\/p\u003e\u003cp\u003eBoris Vassiloff, Russian\/American (1906 - 2000) Artist Boris Vassiloff was born on March 24, 1906 to Julia Nikolaevna and Boris Ivanovich Vassiloff in Russia. He died peacefully on Dec. 4, 2000 in Sea Cliff.\u003c\/p\u003e\u003cp\u003eBoris' first teacher was his father, followed by a Russian government school and three years in the best art academy in Leningrad. Being unable to continue his studies and having no possibilities of going to Western Europe, the artist went to Mongolia to his uncle, Simion Vassiloff. From that moment begins the travels of the young painter, never separated from his sketch book and paint box.\u003c\/p\u003e\u003cp\u003eAfter Mongolia, Vassiloff traveled to Manchuria, China, Indo-China, Hong Kong, Ceylon, Djibouti, France, Italy, Spain, Portugal and finally Canada and America. His studio is filled with sketches and studies from more than 40 countries. Vassiloff also executed a plethora of commissioned works-frescoes in private homes, chateaux and hotels. In 1937, he painted the ikonostasi, (the screen in front of the altar in an Orthodox Christian Church), of the Russian Orthodox Church in Bizerta. Vassiloff's list of museum exhibitions is formidable.\u003c\/p\u003e\u003cp\u003eBoris Vassiloff eventually made his way to Sea Cliff. Vassiloff had tried to stay in contact with his family during and after the Russian Revolution. His older brother was killed by the Bolsheviks; his younger brother was sent to a prison camp for 20 years. His sister was put into a hard labor camp for many years but, despite that experience, she was able to play the piano as a vocal accompanist.\u003c\/p\u003e\u003cp\u003eIn Sea Cliff, Vassiloff had art students come to him for advice and direction. Many of them are still grateful to him some 20 to 30 years later. He had many customers come to his open house events on weekends and was happiest while working in his studio. Vassiloff was an avid chess player and had won a championship in Paris during the 1940s and in other competitions later in his life on Long Island. The Sea Cliff community knew Vassiloff's work very well as he had participated in the village's art tours since their inception.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628203704618,"sku":"a_12795322S1","price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_062F36257A274E62928A7BDDAA2019EC_master_cf4c6573-ff9c-409c-b93a-bd46703df8cb.jpg?v=1780507165"},{"product_id":"european-architectural-colonnaded-arcade-watercolor-painting","title":"European Architectural Colonnaded Arcade Watercolor Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 12.25, W: 14.25 IN\u003c\/p\u003e\u003cp\u003eBoris Vassiloff, Russian\/American (1906 - 2000) Artist Boris Vassiloff was born on March 24, 1906 to Julia Nikolaevna and Boris Ivanovich Vassiloff in Russia. He died peacefully on Dec. 4, 2000 in Sea Cliff.\u003c\/p\u003e\u003cp\u003eBoris' first teacher was his father, followed by a Russian government school and three years in the best art academy in Leningrad. Being unable to continue his studies and having no possibilities of going to Western Europe, the artist went to Mongolia to his uncle, Simion Vassiloff. From that moment begins the travels of the young painter, never separated from his sketch book and paint box.\u003c\/p\u003e\u003cp\u003eAfter Mongolia, Vassiloff traveled to Manchuria, China, Indo-China, Hong Kong, Ceylon, Djibouti, France, Italy, Spain, Portugal and finally Canada and America. His studio is filled with sketches and studies from more than 40 countries. Vassiloff also executed a plethora of commissioned works-frescoes in private homes, chateaux and hotels. In 1937, he painted the ikonostasi, (the screen in front of the altar in an Orthodox Christian Church), of the Russian Orthodox Church in Bizerta. Vassiloff's list of museum exhibitions is formidable.\u003c\/p\u003e\u003cp\u003eBoris Vassiloff eventually made his way to Sea Cliff. Vassiloff had tried to stay in contact with his family during and after the Russian Revolution. His older brother was killed by the Bolsheviks; his younger brother was sent to a prison camp for 20 years. His sister was put into a hard labor camp for many years but, despite that experience, she was able to play the piano as a vocal accompanist.\u003c\/p\u003e\u003cp\u003eIn Sea Cliff, Vassiloff had art students come to him for advice and direction. Many of them are still grateful to him some 20 to 30 years later. He had many customers come to his open house events on weekends and was happiest while working in his studio. Vassiloff was an avid chess player and had won a championship in Paris during the 1940s and in other competitions later in his life on Long Island. The Sea Cliff community knew Vassiloff's work very well as he had participated in the village's art tours since their inception.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628203802922,"sku":"a_12795352S1","price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_9EE53D6DB7B844C1804293CB5FAE10E1_master_0ed09794-9be1-4c4b-ab4c-eb21d713378d.jpg?v=1780507167"},{"product_id":"1950-s-mid-century-french-modernism-abandoned-fiat-automobile-art-oil-painting","title":"1950's Mid Century French Modernism Abandoned Fiat Automobile Art  Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 22.0, W: 31.5 IN\u003c\/p\u003e\u003cp\u003eJean Porcher, French, 1927,\u003c\/p\u003e\u003cp\u003eLa vieille 'Fiat abandonnée', Oil on canvas modernist painting Provenance: verso gallery label \"Galerie Drouant-David St Honore Paris\" Hand signed and dated verso and along top to upper left 19 3\/4 x 29, framed 22 x 31 1\/2\u003c\/p\u003e\u003cp\u003eIt depicts an antique abandoned Italian Fiat car sitting in a farmyard landscape on a bright vibrant day with a vivid blue sky and green grass done in an naive, illustration style. Perfect for the auto enthusiast.\u003c\/p\u003e\u003cp\u003eJean Porcher, né en 1927 à Saint-James (Manche), est un peintre français. Après avoir étudié aux Beaux-Arts de Nantes, il suivit le cours des Beaux-Arts de Paris où il fut rapidement remarqué pour la qualité de ses œuvres. Les galeries parisiennes l'accueillirent, ainsi débuta-t-il une carrière prometteuse. He showed at prestigious galleries including Galerie Drouant-David, Paris. (they showed many leading artists of the day including Paul Colin, Bernard Buffet, Jean Carzou, Aizpiri, Leonor Fini and Moise Kisling, and with Reid \u0026amp; Lefevre, London. A prestigious gallery dealing in Impressionist, Modern and Contemporary International and European paintings, drawing and sculpture. (Balthus, Pablo Picasso, Henri Matisse, George Seurat)\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628204982570,"sku":"a_12798182S1","price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_27DE2C80D9DD400BA2007F8D10ABDB51_master.jpg?v=1780507174"},{"product_id":"abstract-composition-tempera-painting-russian-soviet-avant-garde-ksenia-ender","title":"Abstract Composition Tempera Painting Russian Soviet Avant Garde Ksenia Ender","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 25.5, W: 20.5 IN\u003c\/p\u003e\u003cp\u003eDimensions:\u003c\/p\u003e\u003cp\u003e25.5 X 20.5 Frame. Artwork measures 23.25 X 18.25 Tempera painting Signed by the artist, lower right corner\u003c\/p\u003e\u003cp\u003eKsenia Vladimirovna Ender ( Russian Ксения Владимировна Эндер , also Xenia Ender\u003c\/p\u003e\u003cp\u003eand Kseniia Ender. born 1895 in Sluzk , died 1955 in Leningrad ) was a Russian painter of German descent.\u003c\/p\u003e\u003cp\u003eKsenija Ender was the daughter of a gardener of German descent. Her great-grandfather was a Saxon glassmaker who had settled in St. Petersburg. Like her siblings Boris (1893-1960), Marija (1897-1942) and Yuri (1898-1963), she attended the Petrischule in St. Petersburg , showed strong artistic inclinations and was very interested in music, poetry and theater.\u003c\/p\u003e\u003cp\u003eKsenija Ender studied from 1918 to 1922 in Petrograd in the workshop of the Realism of the Free Artistic Workshops (SWOMAS) (successor organization of the Imperial Academy of Arts ) with Mikhail Vasilyevich Matyushin , in whose avant-garde Sorwed (see and guide) group they entered as well as their siblings Boris and Maria. From 1920 to 1922 she took part in events in memory of Jelena Genrichovna Guro . From 1923 to 1926 she worked as a research assistant in the Department of Organic Culture of the State Institute for Artistic Culture and experimented with space and colors under the influence of Matuskin. Some of her works were shown in 1923 at the painting exhibition Petrograd painters of all directions and in 1924 at the Fourteenth Biennale di Venezia . From the 1930s Ksenija Ender worked as a designer in an industrial construction office.\u003c\/p\u003e\u003cp\u003eThe Ender sisters, Maria (1897, St Petersburg — 1942, Leningrad) and Ksenia (1894, Slutsk — 1955, Leningrad) studied from 1918 to 1922 at the Petrograd State Free Art Workshops of Mikhail Matiushin in the Spatial Realism department, and worked in the department of organic culture at GINKhUK (the State Institute of Artistic Culture) also under the direction of Matiushin, Maria from 1923 to 1926 and Ksenia 1923 to 1924. Mikhail Matiushin was an artist, musician, composer, art re- searcher, one of the leading lights of the Russian avant-garde and inventor of the theory of “broadened observation”. In the depart- ment of organic culture at GINKhUK a group of artists, Matiushin’s students, formed an association which they called ZOR-VED (an abbreviation of the words ‘seeing’ and ‘knowing’). Matiushin spoke of a new truth existing in art, a non-figurative figuration. “Figures do not leave the field of vision, they just change into a new form.”\u003c\/p\u003e\u003cp\u003eFor the artists of the avant-garde, the concept of realism did not mean copying nature. It was no accident that the word “realism” acquired the attribute “spatial”. It became synonymous with a new idea of the universe, of connections with nature. The group’s investigations were mainly concentrated on the problem of the perception of colour in space, of the influence of colour on form and on the connections between colour and sound. The Ender sisters were active participants.\u003c\/p\u003e\u003cp\u003eMaria Ender conducted an independent project researching colour, ran the department researching the use of peripheral perception of colour and form and gave 24 lectures at the department’s meetings. She prepared for publication the articles The Laws of Reproduction of Colour Form, Chevreul’s Law of Simultaneous Contrast and Its Relationship to the Principle of Broadened Observation, Colour and Colour Combining, Space and Form and On Supplementary Form. She taught colour studies at the State Art and Industry Technical College (1930), and at the Leningrad Institute of Proletarian Visual Arts (1930–1932). Maria Ender actively collaborated with Matiushin in preparing a colour handbook for publication in 1932. She took part in designing the Soviet pavilion at the World Exposition in Paris in 1937 and the World’s Fair in New York in 1939.\u003c\/p\u003e\u003cp\u003eKsenia also wrote reports at the Institute on various subjects. From 1925 to 1927 she worked as a scientific collaborator at the Decorative Institute. Due to poor health she gave up painting early on and in the 1930s worked as a designer in an engineer’s office. Both sisters participated in the Exhibition of Pictures by Petrograd Artists of All Movements in Petrograd in 1923, and in the 14th Venice Biennale International Art Exhibition in 1924. Landscapes occupy a major place in the oeuvre of Ksenia Ender and it is in these that she uses her experience in “broadened observation”: the purification of light and the revelation of its luminescence, the colour-form connection with the surroundings through “interlinking” colour. The artist highlights simple colour forms which create a slightly slowed-down, peaceful compositional rhythm. Maria Ender was one of the leading theoreticians of the new spatial realism. Her compositions were more dynamic, complex and delicate in their colour characteristics. By finding the graphic “formulae” of objects in nature, stripping all detail, all unnecessary features from their depictions, both artists preserved a connection with the natural origin.\u003c\/p\u003e\u003cp\u003eFor the artists of the avant-garde, the concept of realism did not mean copying nature. It was no accident that the word “realism” acquired the attribute “spatial”. It became synonymous with a new idea of the universe, of connections with nature. The group’s investigations were mainly concentrated on the problem of the perception of colour in space, of the influence of colour on form and on the connections between colour and sound. The Ender sisters were active participants.\u003c\/p\u003e\u003cp\u003eMaria Ender actively collaborated with Matiushin in preparing a colour handbook for publication in 1932. She took part in designing the Soviet pavilion at the World Exposition in Paris in 1937 and the World’s Fair in New York in 1939. Ksenia also wrote reports at the Institute on various subjects. From 1925 to 1927 she worked as a scientific collaborator at the Decorative Institute. Due to poor health she gave up painting early on and in the 1930s worked as a designer in an engineer’s office. Both sisters participated in the Exhibition of Pictures by Petrograd Artists of All Movements in Petrograd in 1923, and in the 14th Venice Biennale International Art Exhibition in 1924. Landscapes occupy a major place in the oeuvre of Ksenia Ender and it is in these that she uses her experience in “broadened observation”: the purification of light and the revelation of its luminescence, the colour-form connection with the surroundings through “interlinking” colour. The artist highlights simple colour forms which create a slightly slowed-down, peaceful compositional rhythm. Maria Ender was one of the leading theoreticians of the new spatial realism. Her compositions were more dynamic, complex and delicate in their colour characteristics. By finding the graphic “formulae” of objects in nature, stripping all detail, all unnecessary features from their depictions, both artists preserved a connection with the natural origin.\u003c\/p\u003e\u003cp\u003eLiudmila Vostretsova, The State Russian Museum, St Petersburg\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628205506858,"sku":"a_12801062S1","price":5500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/Kesenia1_master_8a813ffb-5dc6-4f45-8d3e-dfc28f3495b3.jpg?v=1780507179"},{"product_id":"untitled-lonely-abstract-landscape-italian-expressionist-oil-painting","title":"Untitled, Lonely Abstract Landscape Italian Expressionist Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 14.25, W: 8.25 IN\u003c\/p\u003e\u003cp\u003eGenre: Expressionist Subject: Landscape Medium: oil Surface: board Country: Italy Dimensions: 14.25X8.25 unsigned\u003c\/p\u003e\u003cp\u003eIvan Kurach (1909 – 1968) Ukranian-Italian lived and studied in Italy. Born in the Ukraine, Kurach (or Kuracie) studied in the academies of Lviv, Warsaw, and Berlin. He then moved to Italy, continuing his studies in Rome and then Milan. Despite his emigration, the Ukraine and her people never left his art.\u003c\/p\u003e\u003cp\u003eWell known both in Europe and in the United States, his paintings are found in famous private collections and in museums all over the world. He spent most of his time between his studios of New York City and Milan, Italy. His work is another example of how very modern technique and sensitivity can freely fuse into the rigid rule of the most beautiful Italian pictorial tradition.\u003c\/p\u003e\u003cp\u003eA soldier in World War II, he was a faithful interpreter of that tragic period; with gray and somber colors, with sad visions, he portrayed those days with force and meaning.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628205965610,"sku":"a_12801082S1","price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_E211894DBF6F4D828F9C861B81905E5B_master.jpg?v=1780507180"},{"product_id":"rare-french-paris-1935-judaica-oil-painting-rabbis-studying-s-fleischman","title":"Rare French, Paris 1935 Judaica Oil Painting Rabbis Studying S. Fleischman","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 27.5, W: 24.0 IN\u003c\/p\u003e\u003cp\u003eRare Judaica Art. Jewish genre scene. In the tradition of Moritz Oppenheim, Isidor Kauffman and Maurycy Gottlieb and later of Tully Filmus, Zalman Kleinman and Itshak Holtz the artist captures this Jewish scene with a particular sensitivity. Part of the Ecole De Paris The term \"School of Paris\" was used in 1925 by André Warnod (fr) to refer to the many foreign-born artists who had migrated to Paris. School of Paris artists were progressively marginalized. Beginning in 1935 art publications no longer wrote about Marc Chagall, just magazines for Jewish audiences, and by June 1940 when the Vichy government took power, School of Paris artists could no longer exhibit in Paris at all. The artists working in Paris between World War I and World War II experimented with various styles including Cubism, Orphism, Surrealism and Dada. Foreign and French artists working in Paris included Jean Arp, Joan Miró, Constantin Brâncuși, Raoul Dufy, Tsuguharu Foujita, artists from Belarus like Michel Kikoine, Pinchus Kremegne, and Jacques Lipchitz, the Polish artist Marek Szwarc and others such as Russian-born prince Alexis Arapoff. A significant subset, the Jewish artists, came to be known as the Jewish School of Paris or the School of Montparnasse. The \"core members were almost all Jews, and the resentment expressed toward them by French critics in the 1930s was unquestionably fueled by anti-Semitism.\" One account points to the 1924 Salon des Indépendants, which decided to separate the works of French-born artists from those by immigrants; in response critic Roger Allard (fr) referred to them as the School of Paris. Jewish members of the group included Emmanuel Mané-Katz, Chaim Soutine, Adolphe Féder, Chagall, Moïse Kisling, Maxa Nordau and Shimshon Holzman. The artists of the Jewish School of Paris were stylistically diverse. Some, like Louis Marcoussis, worked in a cubist style, but most tended toward expression of mood rather than an emphasis on formal structure. Their paintings often feature thickly brushed or troweled impasto. The Musée d'Art et d'Histoire du Judaïsme has works from School of Paris artists including Jules Pascin, Michel Kikoine, Soutine, Chana Orloff and Jacques Lipchitz.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628206326058,"sku":"a_12809722S1","price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_034D28C67F014663A78995A8798F74FE_master_0a29de20-cbe4-43a0-9a8c-93cb347f490d.jpg?v=1780507184"},{"product_id":"mixed-media-contemporary-self-portrait-from-my-heart-sculptured-painting","title":"Mixed Media Contemporary 'Self Portrait from my Heart' Sculptured Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 24.0, W: 12.0 IN\u003c\/p\u003e\u003cp\u003eGloria Heilman-C, contemporary woman\u003c\/p\u003e\u003cp\u003eartist. She is a well known\u003c\/p\u003e\u003cp\u003eBeverly Hills, California Icon of the woman's art movement. Her work consists of many extreme elements and images including bronze sculptures which depict iconographic rendering of the female body. Self-portraits done in an expressionist style. Many of her works feature the same imagery as seen in her sculptures.\u003c\/p\u003e\u003cp\u003eShe has had her \"Women loving Women\" art exhibitions in California, New York and Internationally. She is collected and sells much of her work to a jet set celebrity crowd and the New York Andy Warhol Factory crowd. Though references to pornography and blatant self-promotion are combined in the work of Lynda Benglis, Jeff Koons, Andres Serrano, Richard Hawkins and others, there is usually an attendant critique of, or commentary on, feminism, media, representation, appropriation or portraiture. Vanessa Beecroft's recent event in the lobby of NYC's Guggenheim, which utilized bored, nude and nearly-nude models standing around in Gucci heels and underwear, was more reflective than titillating. But such consideration seemed to be lacking in this decadent performance.\u003c\/p\u003e\u003cp\u003e\"It's about women loving women, just like the title says,\" said the artist to a group of rapt journalists, adding, \"and it's about free love.\"\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628207178026,"sku":"a_12809752S1","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_8DCDD1F58A4B47069CFBACFA75CD96AE_master.jpg?v=1780507187"},{"product_id":"japanese-modern-abstract-some-things-of-value-oil-painting","title":"Japanese Modern Abstract 'Some Things of Value' Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 16.0, W: 19.0 IN\u003c\/p\u003e\u003cp\u003eMinomura gained his diploma from the department of fine arts at the Nihon University in Tokyo in 1969.\u003c\/p\u003e\u003cp\u003eHe has exhibited at the Tokyo National Museum of Modern Art\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628207276330,"sku":"a_12809762S1","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_1B9B470DA70D462AAF324137867D3F8A_master.jpg?v=1780507189"},{"product_id":"girl-plants-enamel-glazed-ceramic-plaque-israeli-artist-awret-naive-folk-art","title":"Girl \u0026 Plants Enamel Glazed Ceramic Plaque Israeli Artist Awret Naive Folk Art","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 16.25, W: 20.75 IN\u003c\/p\u003e\u003cp\u003eThis is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret (these are generally hand signed Awret Safed on the verso. I just have not opened the frame to check)\u003c\/p\u003e\u003cp\u003ethe actual glazed ceramic is 10.25 X 14.75 inches. It depicts a girl or woman with potted plants, birds, pomegranates and other fruits and flowers in a naif, folk art style.\u003c\/p\u003e\u003cp\u003eIrène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves.\u003c\/p\u003e\u003cp\u003eWhen the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation.\u003c\/p\u003e\u003cp\u003eAwret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: \"I could have discovered where your father is hiding,\" he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret - who would later become her husband. Among the other artists in the workshop were Herbert von Ledermann-Vütemberg, a sculptor from an aristocratic family with Jewish roots, Léon Landau, and Smilowitz, who perished in the camps in the East. Irène and Azriel tried to bribe a German officer to prevent Smilowitz's deportation. Not only were they unsuccessful, but they were almost put onto the same train. Jacques Ochs was another artist with whom they became friends in the camp. Ochs, a French-born Protestant who lived in Belgium, was interned as a political prisoner. He remained in Belgium after liberation.\u003c\/p\u003e\u003cp\u003eAfter the war the Awrets immigrated to Israel and made their home in Safed. They continued to work, and were instrumental in founding Safed's artists' quarter.\u003c\/p\u003e\u003cp\u003eThe Beit Lohamei Haghetaot (Ghetto Fighters' House Museum) art collection holds works donated by Awret. These date from her time in Malines camp and from her stay in Brussels after the war, when she was in the company of orphans who had hidden while their parents were sent to Auschwitz. Her highly expressive works have made their way to exhibitions at theTel Aviv Museum, the Haifa Museum of Modern Art and the Modern Art Gallery in Washington, D.C., as well as into the private collections of such individuals as Dr. Jonas Salk, Charlie Chaplin and Joan Fontaine. She wrote an autobiography\u003c\/p\u003e\u003cp\u003e\"They Will Have to Catch Me First.\" detailing her life during the Holocaust and how art saved her. Israel has had a Vibrant Folk Art, Naive art scene for a long time now beginning with the Bezalel school, artists like Israel Paldi, Nahum Guttman, Reuven Rubin had naive periods. The most well know of the strict naive artists are Shalom of Safed, David Sharir, Irene Awret, Gabriel Cohen, Natan Heber, Michael Falk and Kopel Gurwin.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628207407402,"sku":"a_12813852S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_AABCED95B5F44B1A80F33FAB22FF7C64_master_4b6afca4-30e3-42fb-99b2-b3e5f9aaf855.jpg?v=1780507192"},{"product_id":"soucis-au-petit-pot-bleu-floral-oil-painting-marigold-flower-bouquet-in-vase","title":"Soucis au Petit Pot Bleu, Floral Oil Painting Marigold Flower Bouquet in Vase","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 24.5, W: 19.34 IN\u003c\/p\u003e\u003cp\u003eFrench 1927 - 2015\u003c\/p\u003e\u003cp\u003eGuy Bardone was born in Saint Claude, in eastern France. He is one of the important members of the French New Figurative Art. He studied under the master Maurice Brianchon, Jules Cavailles and François Desnoyer in the Ecole National Supérieure des Arts Decoratifs in Paris, where he befriended René Genis. In 1953, Bardone was invited to participate in a group exhibitions at the Musée Galleria in Paris titled “Celebrities and Revelations of Contemporary Painting.” In 1954, he was exhibited in the Ecole de Paris Exhibition in Galerie Charpentier. Some of the award he had won includes the price of Félix Fénéon in 1952 and the price of the Greenshields Foundation in 1957. Bardone’s work was collected by National Museum of Modern Art in Paris, National Library of France, Centre Georges Pompidou, Neuchâtel Art Museum in Switzerland, Yamagata Museum of Art in Japan, and Chimei Museum in Taiwan.From the School of Post war french artists that include Rene Genis, Rene Lesieur, Pierre Guiramand, Paul Cathelin, Bernard Brasilier, Paul Fusaro, Jean Boncompain, Pierre and Guy Bardone. His paintings are a combination of landscapes and still lifes.\u003c\/p\u003e\u003cp\u003eBardone’s use of light, calm mood and remoteness are highly admired in his radiant landscapes. start page Guy Bardone, who studied at the École de Paris under Brianchon, Cavailles and Desnoyer, is characterized to this day by his own painting style, which can be seen in the tradition of his role models Bonnard and Courbet and is characterized by an old master image and a cleverly applied color scheme distinguished. His still lifes, landscapes and interiors have been exhibited worldwide and represented internationally in museums and collections.\u003c\/p\u003e\u003cp\u003eIn order to be able to describe Guy Bardone and his painting more precisely, one should refer to the influences and backgrounds that have determined what we now understand by the classical French painting school, a painting that is much more individual and intellectual than, for example, Germany for an artist to actually develop his style in person. Bardone is here as a typical representative of a generation that has obviously taken up the ideas of Bonnard and Courbet and developed for themselves. So Guy Bardone is certainly one of the \"traditional\" from the area of ​​\"École de Paris\". The various streams of the Paris school of the post-war period have and have influenced Bardone (especially in the 60s). It is striking how much, or how much more than comparable artists, he has remained faithful to his style, a style that lives off the balance of his compositional skills but is obviously marked by the intensity of his color scheme and the intensity of his contrast media the typical \"Bardone blue\" correspond in the first place so much to his nature. His intense paintings were supplemented by the famous lithographs at Mourlot, where Picasso, Braque and especially Chagall worked and where Bardone's color reproduction of his landscapes has been so successful. Even the watercolors by Bardone are never pale, although here much more sensitive currents are recognizable.\u003c\/p\u003e\u003cp\u003eGuy Bardone has been exhibited in international museums and galleries. works by Guy Bardone's works include the Musee national d'Art Moderne, Paris and the Bibliothèque nationale de France and the Musee des Beaux Arts in Grenoble, Mulhouse ... but also in international museums, such as Switzerland, Algeria, Indonesia and Japan. Bardone's works are located worldwide ( Great Britain, Switzerland, Belgium, Germany, North and South America South America, Canada, Japan) in numerous Private collections.\u003c\/p\u003e\u003cp\u003eSelect Solo Exhibitions: Musee de Beaux Arts, Poitiers\u003c\/p\u003e\u003cp\u003eGalerie de l'Elysee, Paris Gallery Guiot, Paris\u003c\/p\u003e\u003cp\u003eGallery Au Temps Retrouve, Grenoble\u003c\/p\u003e\u003cp\u003eMarlborough Fine Art, London David Findlay Galleries, New York Gallery Mignon-Massart, Nantes\u003c\/p\u003e\u003cp\u003eGalerie Le Griffon, Lyon\u003c\/p\u003e\u003cp\u003eGallery Marcos Castillo, Caracas, Venezuela\u003c\/p\u003e\u003cp\u003eGallery Au Temps Retrouve, Grenoble\u003c\/p\u003e\u003cp\u003eKunstsalon Wolfsberg, Zurich, Switzerland\u003c\/p\u003e\u003cp\u003eGallery Colette Bletel, Paris\u003c\/p\u003e\u003cp\u003eWally Findlay galleries Palm Beach Gallery Daimaru, Osaka\u003c\/p\u003e\u003cp\u003eGallery Heimeshoff, Essen\u003c\/p\u003e\u003cp\u003eGallery Tamenaga, Tokyo Vallotton Gallery, Lausanne, Switzerland\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628208029994,"sku":"a_12816002S1","price":9200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_88020BF26C3F41E4B6773BCEAC75A051_master_d8c138ef-21ee-4ee5-a42b-a761c44bfea0.jpg?v=1780507196"},{"product_id":"modernist-american-judaica-painting-purim-dancing-on-haman","title":"Modernist American Judaica Painting Purim, Dancing on Haman","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 16.0, W: 19.0 IN\u003c\/p\u003e\u003cp\u003eIn this painting, Nussbaum portrays a joyful holiday celebration of the megillah reading in the synagogue in a sketch-like manner without focusing on any specific details. The vibrant colors used in this painting seem to overlay each other without being previous mixed. A jewish man celebrating Purim in a semi-abstract manner using vibrant colors in a gestural manner. This artwork exemplifies the artist's oeuvre and concentration in Hebraic themes.\u003c\/p\u003e\u003cp\u003eErvin B. Nussbaum was born in Columbus, Ohio on November 11, 1914. His father, Marger, had arrived as part of the great Russian Diaspora of the time, when many Jewish families settled in Ohio, particularly in the Columbus area.\u003c\/p\u003e\u003cp\u003eNussbaum attended Ohio State University during the Great Depression and continued to live in Ohio until America’s involvement in World War II. His oil painting The End of John Brown, which depicts a fictionalization of the American abolitionist’s final hours, won first prize at the Central Ohio Competition in 1941. The piece then toured the country stopping at the San Francisco Museum, the Butler Art Institute, the Philadelphia Academy and the Corcoran Gallery. Donated in 2001, the painting is now part of the permanent collection at the Torrington Historical Society in Torrington, Connecticut, John Brown’s birthplace.\u003c\/p\u003e\u003cp\u003eWhen the war began, Ervin, along with some 40,000 other men of all faiths, became part of the conscientious objector program known as the Civil Public Service. He spent the years 1942 through 1946 interned in government camps from New Hampshire to Maryland, working in public services such as forestry and hurricane cleanup. Many other objectors housed alongside him were of artistic inclination and shared Nussbaum’s conviction of peace, so artistic pursuits were common within these camps.\u003c\/p\u003e\u003cp\u003eDuring these early years, his paintings followed a somewhat whimsical figurative style and leaned towards patriotic and Hebraic themes. In time, these themes began to take on an almost Cubist feel and eventually leaned toward complete abstraction.\u003c\/p\u003e\u003cp\u003eUpon his release from his voluntary conscription as a CPS, Nussbaum moved to New York where he frequently painted semi-abstract landscapes in the local parks, throughout the New England countryside, and at the shorelines. He especially enjoyed painting in the woodland tranquility of Inwood Park in northern Manhattan. He paid special attention to the park’s bird life, which would soon become a new favorite subject. Their graceful movement inspired his creation of a series of avian sculptures in wood, metal or mixed medias.\u003c\/p\u003e\u003cp\u003eIn 1951, he met the dynamic young actress, playwright, musician, and graphic artist Muriel Leventhal. They married and moved to Norwalk, Connecticut in 1959. Nussbaum continued to work in a variety of media and showed regularly in many different galleries throughout Connecticut. His bronze sculpture Three Girls on a Flower was commissioned by the Trumbull Library and a wood bas-relief was created for the sanctuary at the Yonkers Temple Emanuel. Nussbaum would remain in Norwalk until his death in 1996.\u003c\/p\u003e\u003cp\u003eWhen contemplating the work of Ervin Nussbaum, we find the soul of a man set in principles of profound religious and patriotic convictions as well as a deep abiding love of nature. His art shows us the evolution of the man through the evolution of the styles he undertook during his lifetime; from figurative, to cubist, to complete abstraction; from oils, to charcoal, to a mixture of media. His works are left to us in museums across the United States, as well as in countless private collections in the U.S. and abroad.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628209471786,"sku":"a_12845012S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_726FE9372CB64C03877AE3B8DC77FCD6_master.jpg?v=1780507210"},{"product_id":"modernist-american-judaica-painting-jewish-men-outside-synagogue-eastern-parkway","title":"Modernist American Judaica Painting Jewish Men Outside Synagogue Eastern Parkway","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 19.0, W: 21.0 IN\u003c\/p\u003e\u003cp\u003eIn this painting, Nussbaum portrays a joyful holiday celebration of the megillah reading in the synagogue in a sketch-like manner without focusing on any specific details. The vibrant colors used in this painting seem to overlay each other without being previous mixed. A jewish man celebrating Purim in a semi-abstract manner using vibrant colors in a gestural manner. This artwork exemplifies the artist's oeuvre and concentration in Hebraic themes.\u003c\/p\u003e\u003cp\u003eErvin B. Nussbaum was born in Columbus, Ohio on November 11, 1914. His father, Marger, had arrived as part of the great Russian Diaspora of the time, when many Jewish families settled in Ohio, particularly in the Columbus area.\u003c\/p\u003e\u003cp\u003eNussbaum attended Ohio State University during the Great Depression and continued to live in Ohio until America’s involvement in World War II. His oil painting The End of John Brown, which depicts a fictionalization of the American abolitionist’s final hours, won first prize at the Central Ohio Competition in 1941. The piece then toured the country stopping at the San Francisco Museum, the Butler Art Institute, the Philadelphia Academy and the Corcoran Gallery. Donated in 2001, the painting is now part of the permanent collection at the Torrington Historical Society in Torrington, Connecticut, John Brown’s birthplace.\u003c\/p\u003e\u003cp\u003eWhen the war began, Ervin, along with some 40,000 other men of all faiths, became part of the conscientious objector program known as the Civil Public Service. He spent the years 1942 through 1946 interned in government camps from New Hampshire to Maryland, working in public services such as forestry and hurricane cleanup. Many other objectors housed alongside him were of artistic inclination and shared Nussbaum’s conviction of peace, so artistic pursuits were common within these camps.\u003c\/p\u003e\u003cp\u003eDuring these early years, his paintings followed a somewhat whimsical figurative style and leaned towards patriotic and Hebraic themes. In time, these themes began to take on an almost Cubist feel and eventually leaned toward complete abstraction.\u003c\/p\u003e\u003cp\u003eUpon his release from his voluntary conscription as a CPS, Nussbaum moved to New York where he frequently painted semi-abstract landscapes in the local parks, throughout the New England countryside, and at the shorelines. He especially enjoyed painting in the woodland tranquility of Inwood Park in northern Manhattan. He paid special attention to the park’s bird life, which would soon become a new favorite subject. Their graceful movement inspired his creation of a series of avian sculptures in wood, metal or mixed medias.\u003c\/p\u003e\u003cp\u003eIn 1951, he met the dynamic young actress, playwright, musician, and graphic artist Muriel Leventhal. They married and moved to Norwalk, Connecticut in 1959. Nussbaum continued to work in a variety of media and showed regularly in many different galleries throughout Connecticut. His bronze sculpture Three Girls on a Flower was commissioned by the Trumbull Library and a wood bas-relief was created for the sanctuary at the Yonkers Temple Emanuel. Nussbaum would remain in Norwalk until his death in 1996.\u003c\/p\u003e\u003cp\u003eWhen contemplating the work of Ervin Nussbaum, we find the soul of a man set in principles of profound religious and patriotic convictions as well as a deep abiding love of nature. His art shows us the evolution of the man through the evolution of the styles he undertook during his lifetime; from figurative, to cubist, to complete abstraction; from oils, to charcoal, to a mixture of media. His works are left to us in museums across the United States, as well as in countless private collections in the U.S. and abroad.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628209537322,"sku":"a_12845022S1","price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_D580374E50E64A099DC13E699644FBB2_master.jpg?v=1780507212"},{"product_id":"modernist-landscape-portugal-watercolor-painting","title":"Modernist Landscape 'Portugal' Watercolor Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 23.75, W: 30.75 IN\u003c\/p\u003e\u003cp\u003eGenre: Modern Subject: Landscape Medium: watercolor Surface: Paper Country: United States Dimensions w\/Frame: 23.75\" x 30.75\"\u003c\/p\u003e\u003cp\u003eMaurice Freed (1911‑1981), a native of Pottsville, PA and a graduate of the Philadelphia College of Art, lived and painted in Philadelphia during most of his life.\u003c\/p\u003e\u003cp\u003eAt the age of nineteen, he won a scholarship to the Cape School of Art in Provincetown where he studied with Henry Hensche, Morris Davidson, and Albert Alcalay.\u003c\/p\u003e\u003cp\u003eAt twenty‑one, he sketched on the beaches of Atlantic City, NJ. At twenty-two, he traveled to Paris to paint and then in 1934, at the age of twenty‑three, his talents were recognized when he was invited to Chicago to become Art Director of Esquire magazine.\u003c\/p\u003e\u003cp\u003eFollowing his early professional success at Esquire and as a contributor to the New Yorker, Holiday, Stage, Saturday Evening Post, and Fortune magazines, and after fourteen years of operating a successful advertising art service, Freed turned to his real love, the fine arts. He returned to France to paint and from 1960 until his death in 1981, he devoted himself to his painting and to the world of art around him. In addition to the time spent working in his studio and exhibiting, he taught drawing and painting, served as president of the Philadelphia Chapter of Artists Equity Association, and from 1979‑1981 attended seminars at the Barnes Art Foundation.\u003c\/p\u003e\u003cp\u003eFreed gained international recognition from his year‑long sojourn in France in 1960, being featured in a lead article in Information Artistique (Paris, 1961) and upon his return, in The American Artist (New York, 1962). Extensive travel throughout his life brought to Freed’s work an extraordinary diversity of subject matter and mood. In the 1930’s, he traveled and sketched in Mexico; in the 1950’s he was in Haiti.\u003c\/p\u003e\u003cp\u003eHe journeyed and painted throughout Europe, first in 1933 and then at regular intervals from 1959‑1979.\u003c\/p\u003e\u003cp\u003eHe spent considerable periods of time in France: first in 1933, from 1960‑1961, in 1967 and again in 1979.\u003c\/p\u003e\u003cp\u003eHe painted while in Portugal in 1969, 1970, 1971, in Spain, in Israel in 1974, in England in 1979.\u003c\/p\u003e\u003cp\u003eFreed worked most exuberantly in the out of doors where the richness of changing landscapes and the customs and century‑old buildings of his surroundings could find their way onto his canvases.\u003c\/p\u003e\u003cp\u003eThe European influence of the Old Masters, of the French Impressionists and the early Cubists clearly shows itself in his work.\u003c\/p\u003e\u003cp\u003eFreed has been described in various ways.\u003c\/p\u003e\u003cp\u003eJohn Groth (of Esquire magazine) called him “the millionth oyster ‑‑ the one that has a pearl.” Groth went on to say: “If you’re a fiend for sources, chalk up Degas, Laurencin, and Bellows ‑‑ one part each. The other fourth is thank god mongrel: the portion of unassignable originality.\u003c\/p\u003e\u003cp\u003eAt twenty‑two, that’s a large portion.” Henry Pitz in The American Artist, described his work as follows: “A native color sense has luxuriated in freedom; a command of pigmented textures keeps every surface alive.\u003c\/p\u003e\u003cp\u003eHe has absorbed the wiser teachings of modernism and uses them knowingly. …the forms have a tantalizing freshness as they hover between the abstract and the concrete and nudge the mind to recall something half remembered.” Jack Bookbinder stated that Freed’s work “reflects a lifetime of search and experience. He is equally at home with poetic realism, vigorous semi‑abstraction and occasional excursions into experimental assemblages ‑‑ and always with a distinctive sense of\u003c\/p\u003e\u003cp\u003ecolor and design.\u003c\/p\u003e\u003cp\u003eUsing a variety of approaches, his paintings may be witty, happy, solemn ‑ but never casual; they are sincere expressions of his multifaceted interests.”\u003c\/p\u003e\u003cp\u003eThe work of Maurice Freed is represented in private collections here and abroad.\u003c\/p\u003e\u003cp\u003eHe exhibited widely in solo and group shows at such places as La Boutique d’Art in Nice, the Newman Contemporary Art Gallery, the Philadelphia Art Alliance, the Woodmere Art Museum, the Pennsylvania Academy of Fine Arts, the Chicago Art Institute and Butler Institute.\u003c\/p\u003e\u003cp\u003eHe was the recipient of many awards and prizes, the last of which was presented in April 1981, from the Woodmere Art Museum (Philadelphia, PA) just four months before his death.\u003c\/p\u003e\u003cp\u003eThe Maurice Freed Memorial Prize (for oil and\/or mixed media) was established in 1981 and is awarded annually at the Woodmere Art Museum Annual Juried Exhibition.\u003c\/p\u003e\u003cp\u003ePitz, Henry. February 1962. “Maurice Freed, Painter.” American Artist. Pages 42-47, (continued p. 67).\u003c\/p\u003e\u003cp\u003eEMPLOYMENT: 1934 – 1935 Art Director: Esquire Magazine 1933 – 1981 Contributor: New Yorker, Fortune, Holiday, Stage, Saturday Morning Post 1948 – 1960 Artist\/ Owner: Freed Studios, Inc. 1965 – 1981 Taught drawing and painting: Graphic Sketch Club (Fleisher Memorial) Cheltenham High Adult School Private\u003c\/p\u003e\u003cp\u003eSOLO EXHIBITIONS: 1947 Cheltenham Art Centre (Phila.,PA) 1957 YMHA Galleries (Phila.,PA) 1961 Galerie la Boutique d’Art (Nice, France) 1962 Newman Galleries (Phila.,PA) 1965 Woodmere Art Gallery (Phila.,PA) 1967 Philadelphia Art Alliance (Phila.,PA) 1971 Woodmere Art Gallery (Phila.,PA) 1976 Newman Galleries (Phila.,PA) 1982 Philadelphia Art Alliance (Retrospective) (Phila.,PA)\u003c\/p\u003e\u003cp\u003eGROUP SHOWS: Partial list: (national) Pennsylvania Academy of the Fine Arts (Phila.,PA) Butler Institute (Youngstown, OH) Chicago Art Institute (Chicago, IL) Philadelphia Museum of Art (Phila.,PA)\u003c\/p\u003e\u003cp\u003eAWARDS: Philadelphia Sketch Club Philadelphia Water Color Club Abington Art Center Old York Road Art Guild 28th Anniversary Exhibition Irma Rosenau Prize Painting Woodmere Art Gallery (1981)\u003c\/p\u003e\u003cp\u003eCOLLECTIONS: (Public and Private) California, Florida, Massachusetts, New Jersey, New York, Pennsylvania, Rhode Island; London, England; Cannes, Nice, Paris, Vence, France\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628210028842,"sku":"a_12850642S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_C7FDE0CEAAE34727A867CBCFDA844357_master.jpg?v=1780507215"},{"product_id":"orientalist-cairo-market-street-scene-middle-eastern-bazaar","title":"Orientalist Cairo Market Street Scene, Middle Eastern Bazaar","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 20.0, W: 16.0 IN\u003c\/p\u003e\u003cp\u003eIn original period wormwood frame. Leonid Gechtoff was born in Odessa, Ukraine, then a part of Imperial Russia, in 1883, He received his art school training in Russia, where he probably first met his fellow artist and close friend David Burliuk. His family moved to Cairo and Gechtoff painted many city and genre scenes of Egypt in his heavily impastoed style, bringing him acclaim in the Orientalist-enamored European art world as well. Gechtoff was most influenced by the work of Vincent van Gogh. In 1921 he settled in Philadelphia where Gechtoff’s paintings had a ready success. This established him as a prominent American painter. A portraitist, He painted former president Franklin D. Roosevelt and J. Edgar Hoover. Several big American museum’s have his work on display. Leonid's major patron was the Dutch Philanthropist Edward Bok. Along with inclusion in various group exhibitions, his work was featured in a solo show at the Philadelphia Art Alliance in the early 1930's. Gechtoff had achieved substantial success throughout the 1920's from his landscape paintings near his home in Philadelphia, and had also purchased a summer home on Cape May, New Jersey, where he painted many coastal scenes.\u003c\/p\u003e\u003cp\u003eGechtoff continued vigorously painting in his vivid and distinctive style, a blending of post-Impressionism and expressionism. His widow later moved to San Francisco and ran an influential exhibition space in San Francisco called the East-West Gallery, while daughter Sonia became a well-known Abstract Expressionist artist in New York City. Gechtoff is listed in the Archives of American Artists, part of the Smithsonian Institution. His eldest daughter, Sonia, became a successful artist as well.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628212027690,"sku":"a_12857042S1","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_8C642B150ABE47B8884D99A6F7D7AC13_master_2c148baf-e705-4727-bf14-a606581acf4f.jpg?v=1780507230"},{"product_id":"exquisite-corpse-cadavre-exquis-spanish-surrealist-drawing-3-artists","title":"Exquisite Corpse, Cadavre Exquis, Spanish Surrealist Drawing 3 Artists","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 14.5, W: 10.5 IN\u003c\/p\u003e\u003cp\u003eProvenance: This piece was deaccessioned from the Bass museum in Miami Beach florida.\u003c\/p\u003e\u003cp\u003eThis piece is a good museum example of Exquisite corpse, also known as exquisite cadaver (from the original French term cadavre exquis), A method by which a collection of words or images is collectively assembled. This example is by Manuel Saez, Xisco Mensua and Guillermo Paneque.\u003c\/p\u003e\u003cp\u003eEach collaborator adds to a composition in sequence, either by following a rule or by being allowed to see only the end of what the previous person contributed. The technique was invented by surrealists. Surrealism principal founder André Breton reported that it started in fun, but became playful and eventually enriching. In the beginning were Yves Tanguy, Marcel Duchamp, Jacques Prévert, Benjamin Péret, Pierre Reverdy, and André Breton. Other participants probably included Max Morise, Joan Miró, Man Ray, Simone Collinet, Tristan Tzara, Georges Hugnet, René Char, and Paul and Nusch Éluard. Henry Miller often partook of the game to pass time in French cafés during the 1930s.\u003c\/p\u003e\u003cp\u003eManuel Sáez (born 6 March 1961) is a Spanish, self-taught artist. Since 1984, he has been living and working in Valencia. The Enciclopedia Universal Ilustrada Europeo-Americana describes Manuel Sáez as among the most important painters of the turn of the 21st century owing to his simultaneously sensual and psychological approach to the world of objects, landscapes, figures and portraits. As a resident fellow of the Spanish Fine Arts Academy in Rome in 1990, Sáez elaborated a series of portraits called Biografia no autorizada In 1991 Sáez held his first important show at the Fundació La Caixa. in Valencia In 1996 he presented his first retrospective, Colección Exclusiva 1984-1995, in the Club Diario Levante of Valencia, as well as the Madrid Circle of Fine Arts, the Salas Verónicas of Murcia, the Castellón Delegation and the Brocense of Cáceres. In 2000 Sáez exhibited in Mexico City's Museo Rufino Tamayo and in the Instituto Valenciano de Arte Moderno (IVAM) in Valencia. In 2008 Sáez's work could be seen at the Sala Parpalló in Valencia. In 2003-04, Dispersions was exhibited at the Bass Museum of Art in Miami. In 2007, Sáez's work is featured in the Valencian Institute of Modern Art's (IVAM) El Pop Art en la Colección del IVAM (\"Pop Art in the IVAM Collection\") in Valencia.[12]\u003c\/p\u003e\u003cp\u003eXisco Mensua Initially studied at Escuelas Virtèlia, but followed an atypical school career due to illness. Began to paint in 1978. Took a course in painting at the Escola d’Arts i Oficis (Valencia), where he had lived since the age of eight. Lived in Barcelona from 1982 to 1987, studying art at the Escola Eina for the first two years. Returned to Valencia and began exhibiting in 1990. Produced works in co-operation with Fernando Ros and Mim Juncà, as well as designing stage sets for the theatre. Now forms part of the Jacques Moran collective. Through drawing, Mensua creates a fictional world in an exercise in which he transfigures common references, whether intimate or biographic, political or social.\u003c\/p\u003e\u003cp\u003eGuillermo Paneque\u003c\/p\u003e\u003cp\u003eSeville, 1963 Spanish painter. He completed his artistic training at the Faculty of Fine Arts in Seville, Director and founder, along with Rafael Agredano and José Espaliú, of the magazine Figura in 1984. It is in the mid-eighties when his work is made known within the Andalusian artistic scene, through the production of small format paintings populated with references and symbols from the religious and everyday environment that the author mixes with a playful sense and with erotic characters that reveal a clear rejection of the Andalusian artistic tradition. His work evolves towards a formal synthesis and an iconographic cleansing in the line of conceptual art. He has starred in numerous solo exhibitions and participated in important collectives, among which include: Aperto 86 at the Venice Biennial (1986), Spain 87. Dynamiques and Interrogations (1987) at the Musée d'Art Moderne de la Ville in Paris, Spanish natures. 1940-1987 (1987) at the Reina Sofía Art Center Museum and Painters of Seville. 1952-1992 (1992) in the Royal Monastery of San Clemente in Seville.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628212420906,"sku":"a_12857052S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/Xisco1_master_4b56ba57-9577-4737-b646-9680fadcba46.jpg?v=1780507232"},{"product_id":"mid-century-modernist-israeli-sabra-in-haifa-landscape-harbor-oil-painting","title":"Mid Century Modernist Israeli 'Sabra in Haifa' Landscape Harbor Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 34.0, W: 36.5 IN\u003c\/p\u003e\u003cp\u003eGenre: Classic Subject: Portrait, Sabra in Haifa Medium: Oil Surface: Canvas Country: United States\u003c\/p\u003e\u003cp\u003eBacia Gordon (1904-1977) came to the United States from Poland and studied at the Art Institute of Chicago. She traveled widely the United States, Mexico, Europe, and Israel. She was a member of, and has exhibited with Artists Equity, Jewish Arts Club, the Renaissance Society of the University of Chicago, The Chicago Art Institute, and in Migdal Ashkalon, Israel. She was also a member of the Chicago Society of Artists. Her work is represented in many private collections in New York, Los Angeles, Detroit, Cleveland, St. Paul, Rockford, Milwaukee, and Chicago. Mrs. Gordon spent much time in Israel in the 1950s and 1960s, and most of the works in this web site reflect her stay there.\u003c\/p\u003e\u003cp\u003eThe New York art critic, Alfred Werner, has said: “I find Mrs. Gordon’s freedom of paint aesthetically rewarding. She blends the reporter’s task of objectively recording appearance with the poet’s privilege of imprinting subjective reaction upon exterior reality... Here is the talent that often omits details, to let the spectator fill in, that prefers an allegorical hint to a straight tale, and that translates the strangeness of Maabaroth and Kibbutzim into terms of universally acceptable humanity”\u003c\/p\u003e\u003cp\u003eAn Israeli critic has written of Mrs. Gordon : “The Jewish Daughter, born in Lithuania and reared in the United States, was stirred by the miracle of the Ingathering of the Exiles. The men, women and children she pictures thrill and pulsate with life because of her warm and loving brush.”\u003c\/p\u003e\u003cp\u003e\"My first encounter with Israel in 1955 was inspiring and productive. It was a birds-eye view of the land and the people – the kibbutz, the village, the settlement, the Maabora, the Huleh project, Lachish at its inception, dedicated Israelis, new immigrants and the military of all ranks. I lived among people of many lands sketching and painting. I felt a great urgency to record and interpret. Working at an accelerated pace – line and color merged as I endeavored to express the universal qualities in these people. It was a tremendously stimulating experience and resulted in rechanneling my creative energy.\u003c\/p\u003e\u003cp\u003eI sketched and I wandered. I sketched in the Uval Gad where pipes are made to carry water to the Negev. I wandered among the bewildered white-robed bearded men of Morocco in Lachish… and among the older Yemenite settlements in Migdal Ashkalon. In Tiberias I saw people dressed in all garbs, the orthodox mantles of the polish ghetto and the oriental robes of the Middle East. In Hedera I sketched children in their classrooms and laboratories, some working out of doors, and others playing chase on the lawn. And from a mountaintop Huleh Region I painted swamps changing into fertile fields.\u003c\/p\u003e\u003cp\u003eI became aware of the contrasts presented by many types --- children from Iraq, Iran, Yemen, Turkey, Egypt, Persia, Morocco, Poland, Germany, Romania --- from all over Europe and Asia, some second generation Sabras… now all of them Israelis.\u003c\/p\u003e\u003cp\u003eBack home, the sketches and memories they evoked intermingled and I found myself concentrating more and more on the Israeli Theme “The Return to the Promised Land.”\u003c\/p\u003e\u003cp\u003eAgain in Israel last summer – the usual excitement plus new experiences, meeting with family, old friends, and making new friends. On a field trip thru the Negev to Eilat with Hartzfeld, stopping at small settlements, kibbutzim new and old, Massada, Ein Gedi – meeting the dedicated visionary of the Dead Sea, Yehuda Almog. As I listened, observed and sketched these early pioneers I began to see Israel through through their eyes. Some of them still play a vital role in the Israeli scene and are becoming a legend in their own lifetimes. They came to this land when it was a desert and a swamp and lived to see the fulfillment of their dreams – a state of Israel – A home for the Jewish People. They are revered today and will remain heroes in the contemporary history of Israel. The reaction of the Israel Press to my exhibition in Tel Aviv was that it “could serve as a historical document for generations to come.” Here are Jews rescued from the ghettos of Hungary, Poland, Lithuania: you can still see the lines of suffering on their faces. Here is a Yemenite family in their native dress, the young wife beside the children of the elderly husband she has married in accordance with Yemen Traditions that will soon be a relic of the past. Here are Jews from Morocco, Iran, Persia, India, and Egypt that have not yet lost the marks of their origin in this newest of national melting pots.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628212977962,"sku":"a_12863092S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_BB746F2CB59F4632A4C5306AF8A594F6_master.jpg?v=1780507242"},{"product_id":"modernist-oil-painting-abstract-dock-with-boat-judith-shahn","title":"Modernist Oil Painting Abstract Dock with Boat Judith Shahn","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 28.75, W: 44.75 IN\u003c\/p\u003e\u003cp\u003eIn this painting by Judith Shahn, the artist renders a boat and dock in a series of lines. The artist takes a naive approach at depicting the subject by simplifying the elements in the composition to its basic abstract geometric forms, and to vibrant, and solid colors.\u003c\/p\u003e\u003cp\u003eJudith Shahn (1929-2009) was born in Paris to the artist Ben Shahn and his wife, Tillie Goldstein. She lived in New York City and spent summers in Truro, Cape Cod, Massachusetts. As a small child Shahn painted alongside her father and as a young artist she took life classes with the painter Moses Soyer. She attended Olivet College, Michigan, and graduated from Mexico City College in 1949. She was a painter, draughtsman, printmaker, and graphic artist. Her drawings appeared in The New Yorker magazine from 1958 to1992, as well as in Harpers, The Nation, Gourmet, and others. Starting with a show at the Gallerie Beatrice Viggiani, Rome, Italy, in 1964, there have been more than seventy one-woman shows of work by Shahn. The Provincetown Art Association and Museum held an extensive retrospective in 1996; their catalogue remains a significant monograph on the artist. Further, in recognition of the artist’s donation of a complete archive of her serigraphs....... Judith's crisp pesonalized images have been popular at Cove Gallery and for many Cape Cod customers for over 20 years. she took life classes with the painter Moses Soyer. She attended Olivet College, Michigan, and graduated from Mexico City College in 1949. She was a painter, draughtsman, printmaker, and graphic artist. Her drawings appeared in The New Yorker magazine from 1958 to1992, as well as in Harpers, The Nation, Gourmet, and others.\u003c\/p\u003e\u003cp\u003eStarting with a show at the Gallerie Beatrice Viggiani, Rome, Italy, in 1964, there have been more than seventy one-woman shows of work by Shahn. The Provincetown Art Association and Museum held an extensive retrospective in 1996; their catalogue remains a significant monograph on the artist. Further, in recognition of the artist’s donation of a complete archive of her serigraphs, The PAAM showed Judith Shahn, Recent Gifts to the PAAM, spring, 2011.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628213961002,"sku":"a_12863102S1","price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_8E667B0386184312A7AE92931E1468F1_master_80f866b9-4c65-4746-a173-f58eb15a2547.jpg?v=1780507243"},{"product_id":"pop-art-acrylic-painting-detectives-from-the-tintin-comic-books","title":"Pop Art Acrylic Painting 'Detectives' from the Tintin Comic books","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 16.0, W: 45.0 IN\u003c\/p\u003e\u003cp\u003eThese are the detectives of the Belgian comic book Tintin created by Herge. FER SUCRE is a Venezuelan-born artist now in Wynwood Miami, Florida. He studied graphic design and painting at the Neumann Institute of Design and the Federico Brandt Institute in Caracas and later at the University of Miami School of Fine Arts where he owned his technique for mixing media such as oil, acrylic, plastic and collage. Working within the “pop” genre for the last several years, Sucre has gained attention and recognition for his creative blending of this very American tradition with his distinctive Latin American sensibilities, earning him awards like the Absolute Vodka in Venezuela, 1st Place at The 8th Conference of First Wives of The Americas in Chile. Fer was chosen to paint Corporate Executives in Caracas, Venezuela, invited to participate in Art Miami and FIA, and has been an active member of the South Florida artistic scene.\u003c\/p\u003e\u003cp\u003eAs an artist living and working in Miami, he finds the environment here creatively invigorating. Sources of inspiration in his particular mode of expression, “pop” painting, seem to exude from every corner of this amazing city. He has been living in and out of Miami over the last 30 years like his peers Romero Britto and Marisol Escobar. His neo pop style combines vibrant colors with an upbeat, humorous point of view for a result that is fresh, fun and full of life. His work has been exhibited in the U.S., Europe and throughout Latin America and is included in private and public collections worldwide. Sucre developed an unusual fascination with comics books, cartoons and superheroes. Growing up in the excessive social scene that was Caracas of the 70’s and early 80’s, Sucre soon translated his taste for comics into a new style of caricature filled with satire, humor and playful parody. He has become known for his wild characters, neurotic bar scenes and colorful interpretations of the rich and famous.\u003c\/p\u003e\u003cp\u003eFollowing the lead of many of his most important contemporary pop artists, Sucre has been selected and commissioned to apply his artistic vision to several major product campaigns including Absolut Vodka. Influenced by the works of pop pioneers like Andy Warhol, Keith Haring and Roy Lichtenstein, he is always reinterpreting, reinventing and expanding on the stylistic horizons of “pop” to find new ways to invite his audience to laugh, to join the party and be entertained. It’s fun, bright, colorful and full of a unique kind of energy.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628214878506,"sku":"a_12870572S1","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_C392297580DA47E9B1728343866FE597_master_a7ed2148-9d75-436c-b5ed-2fe6ac2fe1d6.jpg?v=1780507252"},{"product_id":"bold-german-american-abstract-expressionist-color-field-oil-painting-carl-holty","title":"Bold German American Abstract Expressionist Color Field Oil Painting Carl Holty","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 17.0, W: 14.0 IN\u003c\/p\u003e\u003cp\u003eCarl Robert Holty (American 1900-1973)\u003c\/p\u003e\u003cp\u003eAbstract Expressionism Oil on Masonite board.\u003c\/p\u003e\u003cp\u003eAbstract with greens blues and red,\u003c\/p\u003e\u003cp\u003eDimensions 12 x 9-1\/2 inches. Framed 17 X 14 inches Hand signed faintly in ink lower left Holty.\u003c\/p\u003e\u003cp\u003eProvenance: Richard Norton Gallery (bears label verso)\u003c\/p\u003e\u003cp\u003eCarl Robert Holty (1900–1973) was a German-born American abstract painter. Raised in Wisconsin, he was the first major abstract painter to gain notoriety from the state. Harold Rosenberg described Holty as \"a figure of our art history,\" known for his use of color, shape and form. Carl Holty was born in 1900 in Freiburg, Germany. Shortly after his birth, the family moved to Milwaukee, Wisconsin, where they lived in the German district with his grandparents. The Holty family then moved to the countryside near Green Bay where his father practiced medicine, before returning to Milwaukee around 1906. Holty's grandfather introduced him to art by taking him to visit local art galleries. Around the age of twelve, Holty began taking lessons with a local German painter. As a teenager, he started drawing cartoons and became interested in poster art. He attended Milwaukee University School, graduating high school within two and a half years. In 1919 he went to Marquette University, then joining the Reserve Officers' Training Corps during World War I, with the program ending within the same year. He enrolled at the Art Institute of Chicago, eventually attending classes at the Parsons School of Design. He returned to Milwaukee in 1923 and opened a portrait painting studio. In 1925 Holty married and honeymooned in Europe, living there for the next ten years, first in Munich and then Switzerland. He moved to Paris that year, before returning to the United States in 1935 and living in New York City. He taught at Brooklyn College from 1950 until 1970. During that time he also was a visiting instructor at the Art Students League, Washington University in St. Louis, and University of Louisville. Upon his retirement from Brooklyn College he was awarded the title of professor emeritus.\u003c\/p\u003e\u003cp\u003eIn 1926, while living in Munich, Holty originally planned to attend the Royal Academy, only to train under Hans Hofmann. Hofmann's ideas about space, color, and shape would transform Holty's work, with Holty's work becoming more abstract as time went on. From 1930 to 1935 he lived in Paris, exhibiting his work to good reception. There he met Robert Delaunay and Sonia Delaunay and joined Delaunay's group Abstraction-Création. His work was published in the group's magazine and became associated with Cubism and Neo-Plasticism. His Paris works have been compared to the paintings of Juan Gris and\u003c\/p\u003e\u003cp\u003ethe synthetic Cubism of Pablo Picasso. Upon returning to the United States, he found artist representation in New York City and became involved, once again, with Hans Hofmann and Vaclav Vytlacil as well as Stuart Davis, whom he had known in Paris. Vytlacil invited Holty to participate in discussions which led to the formation of the American Abstract Artists, which Holty would eventually come to chair, retaining his membership until 1944. During this time, he moved away from Cubism and started to experiment with Biomorphism. In the 1930s he used tape to give strong edges to forms, also reworking and overpainting sections, as seen in his work Gridiron (1943–1944). Between 1945 and 1948 he was represented by the Samuel M. Kootz Gallery. He continued to explore shapes and form, and by the 1960s contours had disappeared from his work, being replaced with subtle toned-down colors. Holty served as artist in residence at Georgia State University, University of Florida, University of California at Berkeley, University of Wisconsin and the Corcoran School of Art. He also wrote a book, with Romare Bearden, titled The Painter's Mind, published in 1969. In 1977 the Carl Holty Papers were donated to the Archives of American Art by Charles Byrne. On his role as a Wisconsin artist, Andrew Stevens stated in 1995 that \"Holty's zeal for non-objective art was more closely identified with the younger group of American painters in the East. His artworks including his prints are among the first by a Wisconsin artist to come to grips with the tide of abstract art that spread from Europe to America at the beginning of the 20th century.\" He was included in the portfolio of lithograph works; Various Artists, American Abstract Artists 1937 with Werner Drewes, Ilya Bolotowsky, Balcomb Greene, Ray Eames, Louis Schanker, Esphyr Slobodkina and Byron Browne.\u003c\/p\u003e\u003cp\u003eNotable exhibitions\u003c\/p\u003e\u003cp\u003eCarl Holty: The World Seen and Sensed, 1980–81; Milwaukee Art Museum Annual Exhibition of Contemporary Painting, 1945; Whitney Museum of American Art American Painting Today, 1950; Metropolitan Museum of Art Abstract Painting and Sculpture in America, 1951; Museum of Modern Art (Josef Albers, William Baziotes, Alexander Calder, Willem de Kooning, Philip Guston, Marsden Hartley, Jackson Pollock, Isamu Noguchi and Man Ray.) Contemporary American Painting and Sculpture, 1963; Krannert Art Museum\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628215501098,"sku":"a_12877782S1","price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_39133D4D63164513A7B2C444E5E9A797_master.jpg?v=1780507259"},{"product_id":"sri-ranganathanswamy-temple-trichi-1992-photo-prints-on-cardboard-collage","title":"Sri Ranganathanswamy Temple, Trichi, 1992, Photo Prints on Cardboard, Collage","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 10.5, W: 19.75 IN\u003c\/p\u003e\u003cp\u003eMacConnel, Kim Robert (American, California, born 1946) Sri Ranganathanswamy Temple, Trichi, India (an ancient Indian city in India's southern Tamil Nadu state) 1992, commercial photoprints on cardboard, with acrylic, turquoise Medium: Collage of commercial photo prints on cardboard with acrylic,\u003c\/p\u003e\u003cp\u003ein the artist's painted cardboard frame very interesting multi-media constructions with the artist's painted frames pencil signed, dated and titled on reverse Provenance: Quint Contemporary Art, La Jolla, Ca Born: 1946 Hometown: Oklahoma City, OK Lives and Works: Encinitas, CA Education: MFA, with honors, University of California, San Diego, 1972 BA, with honors, from the University of California, San Diego, 1969\u003c\/p\u003e\u003cp\u003eKim MacConnel (born 1946 in Oklahoma City, Oklahoma) is an American artist who works with painting, sculpture, and mixed media-collage\/fabric. MacConnel is a seminal figure in the Pattern and Decoration movement of the seventies, along with Brad Davis, Mary Grigoriadis, Valerie Jaudon, Joyce Kozloff, Robert Kushner, Miriam Schapiro and others, but overall MacConnel’s oeuvre has surpassed being categorized. MacConnel received his BA, with honors, from the University of California, San Diego in 1969 and his MFA, also with honors, in 1972,\u003c\/p\u003e\u003cp\u003ewe also have a limited edition silkscreen by him commissioned by The Paris Review. They created a series by major contemporary artists to provide financial support for its literary endeavors. Artists like Robert Indiana, Andy Warhol, Robert Rauschenberg, Keith Haring, Robert Motherwell, and Alex Katz donated signed, limited editions. other artists including David Hockney, Louise Bourgeois and Ed Ruscha would participate as well. Kim MacConnel (born 1946 in Oklahoma City, Oklahoma) is an American artist who works with painting, sculpture, and mixed media-collage\/fabric. MacConnel is a seminal figure in the Pattern and Decoration movement of the seventies, but overall MacConnel’s oeuvre has surpassed being categorized. MacConnel received his BA, with honors, from the University of California, San Diego in 1969 and his MFA, also with honors, in 1972.\u003c\/p\u003e\u003cp\u003eMacConnel had a lot of trouble starting out as an artist due to the fact that he had to come up against the minimalism of the time in the 1970s. During the Minimalist movement, artists weren’t interested in color or even painting for the most part; MacConnel’s art just wasn’t accepted as serious. It also had partly to do with his material, instead of painting on stretched canvas, MacConnel instead painted on fabric and bed sheets, which he would tear apart and sew back together again. It wasn’t until MacConnel was in an exhibition in Germany that his art became recognized. In 1969 MacConnel received his BA from UCSD and an MFA in 1972. He has taught in the Visual Arts Department in various capacities between 1976 and 1980, and permanently since 1987 until retirement in 2009. His work has been exhibited in the Whitney Museum of American Art Biennial Exhibition’s in 1975, 1977, 1979, 1981, and 1985; The Museum of Modern Art’s An International Survey of Recent Painting and Sculpture, 1984; The Venice Biennale, 1984; inSite 1992, 1994.\u003c\/p\u003e\u003cp\u003eMacConnel is one of the founding artists of the Pattern and Decoration movement of the 1970s, and began showing with the Holly Solomon Gallery, NY in 1976. His work is in numerous public collections including the Albright Knox, Buffalo, NY; Brooklyn Museum; Carnegie Museum of Art, Pittsburgh; Fowler Museum, UCLA; Frederick R. Weisman Collection, Los Angeles; McNay Museum, San Antonio; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, San Diego; National Gallery of Art, Washington, DC; Nelson Atkins Museum of Art, Kansas City; Neue Galerie\/Sammlung Ludwig, Aachen, Germany; Harrison Museum of Art, Utah State University, Logan; San Francisco Museum of Modern Art; and the Whitney Museum of American Art, NY.\u003c\/p\u003e\u003cp\u003eMacConnel's paintings, drawings and sculpture, including furniture, have been in exhibitions at museums and galleries around the world including the Whitney Biennials of 1975, 1977, 1979,1980, 1985; the Museum of Ghent, Belgium; PS 1, Long Island City; Contemporary Art Museum, Houston; Museum of Modern Art, NY; and many others.\u003c\/p\u003e\u003cp\u003eGalleries Rosamund Felsen Gallery, Santa Monica, CA Quint Contemporary Art, San Diego, CA\u003c\/p\u003e\u003cp\u003eHoly Solomon Gallery, New York, NY\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628220023082,"sku":"a_12914442S1","price":2400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_803D36A94D674C56A7C88C1875DE6C4E_master_bfa0d861-5cf0-4c14-9f78-caefbab79906.jpg?v=1780507305"},{"product_id":"shravan-belagola-india-1992-photo-prints-on-cardboard-collage-mirror-insets","title":"Shravan Belagola, India, 1992, Photo Prints on Cardboard, Collage, Mirror Insets","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 8.5, W: 24.0 IN\u003c\/p\u003e\u003cp\u003eMacConnel, Kim Robert (American, California, born 1946)\u003c\/p\u003e\u003cp\u003eShravan Belagola Temple (Jain) Shravanabelagola (Śravaṇa Beḷagoḷa) is a town located near Channarayapatna of Hassan district in the Indian state of Karnataka and is 144 km from Bangalore, the capital of the state) 1992, commercial photoprints on cardboard, with acrylic. Medium: Collage of commercial photo prints on cardboard with acrylic,\u003c\/p\u003e\u003cp\u003ein the artist's painted cardboard frame very interesting multi-media constructions with the artist's painted frames pencil signed, dated and titled on reverse Provenance: Quint Contemporary Art, La Jolla, Ca Born: 1946 Hometown: Oklahoma City, OK Lives and Works: Encinitas, CA Education: MFA, with honors, University of California, San Diego, 1972 BA, with honors, from the University of California, San Diego, 1969\u003c\/p\u003e\u003cp\u003eKim MacConnel (born 1946 in Oklahoma City, Oklahoma) is an American artist who works with painting, sculpture, and mixed media-collage\/fabric. MacConnel is a seminal figure in the Pattern and Decoration movement of the seventies, along with Brad Davis, Mary Grigoriadis, Valerie Jaudon, Joyce Kozloff, Robert Kushner, Miriam Schapiro and others, but overall MacConnel’s oeuvre has surpassed being categorized. MacConnel received his BA, with honors, from the University of California, San Diego in 1969 and his MFA, also with honors, in 1972,\u003c\/p\u003e\u003cp\u003ewe also have a limited edition silkscreen by him commissioned by The Paris Review. They created a series by major contemporary artists to provide financial support for its literary endeavors. Artists like Robert Indiana, Andy Warhol, Robert Rauschenberg, Keith Haring, Robert Motherwell, and Alex Katz donated signed, limited editions. other artists including David Hockney, Louise Bourgeois and Ed Ruscha would participate as well. Kim MacConnel (born 1946 in Oklahoma City, Oklahoma) is an American artist who works with painting, sculpture, and mixed media-collage\/fabric. MacConnel is a seminal figure in the Pattern and Decoration movement of the seventies, but overall MacConnel’s oeuvre has surpassed being categorized. MacConnel received his BA, with honors, from the University of California, San Diego in 1969 and his MFA, also with honors, in 1972.\u003c\/p\u003e\u003cp\u003eMacConnel had a lot of trouble starting out as an artist due to the fact that he had to come up against the minimalism of the time in the 1970s. During the Minimalist movement, artists weren’t interested in color or even painting for the most part; MacConnel’s art just wasn’t accepted as serious. It also had partly to do with his material, instead of painting on stretched canvas, MacConnel instead painted on fabric and bed sheets, which he would tear apart and sew back together again. It wasn’t until MacConnel was in an exhibition in Germany that his art became recognized. In 1969 MacConnel received his BA from UCSD and an MFA in 1972. He has taught in the Visual Arts Department in various capacities between 1976 and 1980, and permanently since 1987 until retirement in 2009. His work has been exhibited in the Whitney Museum of American Art Biennial Exhibition’s in 1975, 1977, 1979, 1981, and 1985; The Museum of Modern Art’s An International Survey of Recent Painting and Sculpture, 1984; The Venice Biennale, 1984; inSite 1992, 1994.\u003c\/p\u003e\u003cp\u003eMacConnel is one of the founding artists of the Pattern and Decoration movement of the 1970s, and began showing with the Holly Solomon Gallery, NY in 1976. His work is in numerous public collections including the Albright Knox, Buffalo, NY; Brooklyn Museum; Carnegie Museum of Art, Pittsburgh; Fowler Museum, UCLA; Frederick R. Weisman Collection, Los Angeles; McNay Museum, San Antonio; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, San Diego; National Gallery of Art, Washington, DC; Nelson Atkins Museum of Art, Kansas City; Neue Galerie\/Sammlung Ludwig, Aachen, Germany; Harrison Museum of Art, Utah State University, Logan; San Francisco Museum of Modern Art; and the Whitney Museum of American Art, NY.\u003c\/p\u003e\u003cp\u003eMacConnel's paintings, drawings and sculpture, including furniture, have been in exhibitions at museums and galleries around the world including the Whitney Biennials of 1975, 1977, 1979,1980, 1985; the Museum of Ghent, Belgium; PS 1, Long Island City; Contemporary Art Museum, Houston; Museum of Modern Art, NY; and many others.\u003c\/p\u003e\u003cp\u003eGalleries Rosamund Felsen Gallery, Santa Monica, CA Quint Contemporary Art, San Diego, CA\u003c\/p\u003e\u003cp\u003eHoly Solomon Gallery, New York, NY\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628220612906,"sku":"a_12914502S1","price":2400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_3516ADD257764086A905F3AF9C701C52_master_98c24ac5-ed8c-4306-93fd-700cb21e4596.jpg?v=1780507307"},{"product_id":"djibouti-african-landscape-original-israeli-watercolor-cityscape-painting","title":"Djibouti, African Landscape Original Israeli Watercolor Cityscape Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 19.5, W: 27.5 IN\u003c\/p\u003e\u003cp\u003eSubject: Cityscape, signed in Hebrew Medium: Watercolor Surface: Paper Shmuel Katz (Hebrew: שמואל כ\"ץ‎) (August 18, 1926 – March 26, 2010) was an Israeli artist, illustrator, and cartoonist. A Holocaust survivor and postwar immigrant to Mandate Palestine via the detention camps on Cyprus, he figured prominently in Israeli illustration and newspaper cartooning, widely exhibiting and publishing his drawings and paintings at home and abroad, for which he won numerous local and international awards. His sketches and watercolors are known for their sprightly lines and touches of humor Samuel Alexander (Sandor) Katz was born in Vienna, Austria, to parents of Hungarian origin. Following the Anschluss, Austria’s annexation by Nazi Germany in March 1938, the family relocated to Hungary. After the Nazi invasion of Hungary in 1944, he was deported to a forced labor camp in Yugoslavia from which he escaped to Budapest where he was among the thousands of Jews hidden in the \"Glass House\" shelter operated by Swiss diplomat Carl Lutz, until the arrival of the Soviet Red Army in mid-February 1945. In Budapest, Katz joined the youth movement Hashomer Hatzair. He began studying architecture there in the Budapest University of Technology and Economics. In 1946, in the framework of the Aliyah Bet illegal immigration, he sailed aboard the Knesset Israel which was apprehended by the British and its passengers interned in a detention camp on Cyprus. In 1947, Katz secured a legal immigration certificate as a member of the “First of May” nucleus group of Hashomer Hatzair. The group did its pioneering training at Kibbutz Eilon on the Lebanese border, and on October 8, 1948, became the founders of Kibbutz Ga'aton in the Western Galilee, where Katz spent the rest of his life. He designed the kibbutz dining room whose interior features Hungarian folkloristic wood carving.\u003c\/p\u003e\u003cp\u003eDuring the years 1950–1953 Shmuel Katz illustrated Mishmar Layeladim, the weekly children’s supplement to the Mapam party’s newspaper, Al HaMishmar. In 1953–1954, he enrolled in the École nationale supérieure des Beaux-Arts in Paris, France, where he studied lithography, copperplate etching, fresco, and music, and toured the lands of Western Europe. In 1955, he joined the editorial board of Al HaMishmar as illustrator and graphics editor. In 1958, he traveled through East Africa, a journey whose impressions influenced his artistic and technical style and led to the 1962 publication of A Journey to the Land of Kush together with author Nathan Shaham. In 1976 he visited Iran, and the following November in Tehran exhibited artworks featuring Iran and Jerusalem. In 1979, Katz paid two visits to Egypt with the “Autonomy” delegation and was granted a private interview with Egyptian president Anwar Sadat. In 1983, he visited Hungary as a member of a delegation from Peace Now.\u003c\/p\u003e\u003cp\u003eShemuel Katz’s artworks have been exhibited extensively in Israel and abroad. His watercolors of Jerusalem have been reproduced as posters and postcards. His courtroom sketches of Adolf Eichmann’s trial in Jerusalem, 1961, are held in the art collection of Yad Vashem, Israel’s Holocaust Remembrance Authority. As an artist in the IDF, he sketched soldiers on guard and at war. Katz is well known as the illustrator of hundreds of books, especially for Sifriat Poalim, the Kibbutz Artzi movement's publishing house. Especially popular are his illustrated classics of Israeli children’s literature Shmuel Katz (Hebrew: שמואל כ\"ץ‎) (August 18, 1926 – March 26, 2010) was an Israeli artist, illustrator, and cartoonist. A Holocaust survivor and postwar immigrant to Mandate Palestine via the detention camps on Cyprus, he figured prominently in Israeli illustration and newspaper cartooning, widely exhibiting and publishing his drawings and paintings at home and abroad, for which he won numerous local and international awards. His sketches and watercolors are known for their sprightly lines and touches of humor.\u003c\/p\u003e\u003cp\u003eAwards and honors 1959 – Medal at the International Exhibition of Book Art, Leipzig, Germany 1961 – First prize in Drawing and Watercolor of the Biennale for Young Artists, Paris, France 1974 – Nordau Prize for Art, Tel Aviv, Israel 1985 – Nachum Gutman Memorial Award of the Tel Aviv municipality 1997 – International Award for Caricature, Budapest, Hungary 2006 – “Dosh” Memorial Award for Caricature, Einav Center, Tel Aviv 2007 – First “Golden Pencil” Award of the Israeli Museum of Caricature and Comic Art, Holon, Israel\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628222120234,"sku":"a_12926982S1","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_ED92FA4680EF45E48240DDE2B8C4A4C4_master.jpg?v=1780507324"},{"product_id":"polish-french-mid-century-modern-abstract-judaica-hebrew-calligraphy-lithograph","title":"Polish French Mid Century Modern Abstract Judaica Hebrew Calligraphy Lithograph","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 13.0, W: 10.0 IN\u003c\/p\u003e\u003cp\u003ePencil signed Lithograph or Xylograph Biography: Abram (Abraham) Krol was born January 22, 1919, in Pabianice (Lodz), Poland.\u003c\/p\u003e\u003cp\u003eKrol went to France in 1938 to study civil engineering at the University of Caen. In 1939 at the beginning of World War II he joined the Foreign Legion. After he was demobilized, he became a mechanic in a garage in Avignon. Although Jewish, he survived the war with a false identity. In 1943, Krol started studying to be an artist, taking courses in sculpture at the city’s School of Fine Art. He also began studying painting and self-described himself as a “Sunday painter.” Krol moved to Paris in 1944.\u003c\/p\u003e\u003cp\u003eThe first exhibition of his work was in 1946 in the Katia Granoff Gallery in Paris.\u003c\/p\u003e\u003cp\u003eAfter the war, Krol took up engraving, studying that art form with an engraver he met in Paris. Krol reflected his Hasidic childhood often using Biblical themes in his art works.\u003c\/p\u003e\u003cp\u003eHe said, During all my years of childhood I had read the Bible endlessly. I came back to the Bible because I was on solid ground there. It was part of the assertion of my own truth after a time of complacency. It seemed to me that in painting or engraving there were so many reefs to avoid, so many possibilities of setback, that I had to have all the odds in my favor do what I could—say what I had to say.\u003c\/p\u003e\u003cp\u003eKrol illustrated over 20 literary works from the late 1940s through the 1960s. He also engraved medals for the Paris mint and painted murals for schools in France. He designed tapestries and painted approximately 200 enamels. Museums and libraries which own Krol’s art works include the Bibliotheque Nationale in Paris; the Victoria and Albert Museum in London; the British Museum; Houghton Library, Harvard; Bodleian Library, Oxford, and the Palace of the Legion of Honor in San Francisco. Krol has had numerous one-man shows throughout Europe, Brazil, and in California. In 1960, Krol was invited to the Venice Biennale. He was awarded the Critics Prize in 1958. He also won the Feneon Prize among other honors. Krol died on October 9, 2001.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628222611754,"sku":"a_12927002S1","price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_9A58B479B054409E809D99C4E36DCE88_master.jpg?v=1780507328"},{"product_id":"hebron-1967-israeli-judaica-mixed-media-print-watercolor-painting","title":"Hebron, 1967 Israeli Judaica Mixed Media Print Watercolor Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 13.25, W: 19.0 IN\u003c\/p\u003e\u003cp\u003eBaruch Nachshon, was born in Mandatory Palestine in 1939, in the city of Haifa. Nachshon began to paint in early childhood, and developed his relationship to art and to artists throughout his youth. During his military service Nachshon herded flocks for the IDF, an experience that imbued in him a love and appreciation for nature which figures prominently in his work until today. Upon completing his military service the young artist was torn between the temptation to travel to Paris, then the cultural center of the art world, and his deep love of the land of Israel, the spiritual center of the Jewish world. Opting to stay in Israel, Nachshon studied under Shlomo Nerani, Cezanne’s only pupil, with whom he had enjoyed a deep friendship extending back to his childhood. Nachshon, whom Nerani viewed as his spiritual heir, was the only one of his students allowed to see the master at work. Nachshon’s lifelong involvement in Lubavitch Hassidut began in his early adulthood, when he was drawn to the movement by its uniquely beautiful traditional melodies. In 1965 Nachshon was invited to an unprecedented three- hour private session with the Rebbe of Lubavitch, Menachem Mendel Schneerson, in New York. The young artist used the opportunity to share his concerns and misgivings about the role of the Jewish artist and the many inherent conflicts which confronted him. The Rebbe blessed Nachshon with the advice that for many generations the art of painting had failed to find its ultimate rectification in holiness, but that with the help of God he might come to bring about that long anticipated rectification. The Rebbe then offered to fund Nachshon’s studies in New York on the condition that he would find a program of study acceptable to Jewish religious values. Despite the difficulty inherent in such a task, Nachshon gladly received the Rebbe’s offer and devoted himself fully to the celebration of the wisdom of the Creator through visual art. In 1967 Nachshon and his wife Sara, along with six other families renewed the Jewish presence in Hebron for the first time since the city’s Jewish residents were massacred by Arabs in 1929. To underscore the significance of Jewish culture to the city, Nacshon opened a gallery of his art beside the Tomb of the Patriarchs. During this period Nachshon also used to visit the houses of Hebron’s Arab residents in order to paint the city from unique angles. On one of his regular visits to the Tomb of the Patriarchs, Nachshon met an elderly Breslov Hassid. The hassid urged him to recite Psalms every night for forty days, and assured him that if he did so he would merit profound revelation. Nachshon did so, and as soon as the forty days had passed he saw the heavens open, receiving visions that would charge his art forever. Since that first time, Nachshon has seen the heavens open many times and, indeed, the opening of the heavens is a recurring motif in his work. According to Nachshon, “the open sky means going beyond what is reality, seeing through.” Nachshon’s art covers a wide range of thematic material through equally diverse stylistic approaches, all of which are uniquely his own. He paints in order to define and to emphasize the presence of the active Divine Will in creation, and in order to inspire himself and others. Nachshon paints what he sees through the eyes of an inspired painter, communicating those visions to the world. Each of his paintings can be studied in the manner of a sacred text, providing numerous and vivid insights into the workings of creation and the promises held for the future. Many of his paintings describe visions of the future, of the world after its final redemption, of a world where all is peace and joy and where the revelation of divine beneficence is clear to all. Until that time, Nachshon’s paintings offer a glimpse of what could be, of what ought to be and of what will be when the work of humanity has reached its successful completion The Artist’s Prayer I express my gratitude to you, artisan of creation, for you have endowed me with the spirit of your holy inspiration. I beseech you- in your vast kindness- impart to me more and more of your holy inspiration so that I may rejoice in you, and give cause for rejoicing to your creations. Give me inspiration to reveal your presence, even in the darkest places, because everything is from you and before your presence all darkness is also light. You created your universe, and within it crafted all of your creatures so that they would come to acknowledge you. And so- this, indeed is all I ask- kindness! For there is nothing else, no words in our mouths sufficient to thank you for having created us, having made us your children- the Children of Israel- and having brought us close to you in order to serve you. You have drawn forth our spirit and illuminated all- Well of Life. -Baruch Nachshon, Hebron, 5749\u003c\/p\u003e\u003cp\u003eParticipated in group exhibitions in the Artists' Quarter in Safed, Tel Aviv, Jerusalem, in the Chai Gallery, Chabad Chassidic Art Institute in Brooklyn, and in other art galleries in Brooklyn. Championed by the Chai Gallery in Crown Heights, Brooklyn New York, they have represented all of the major Lubavitch Hasidic artists such as Baruch Nachshon, Hendel Lieberman, Zalman Kleinman, Michoel Muchnik as well as artists such as Samuel Rothbort, Harry Mccormick, Meer Akselrod and the Rebbe photos of Fridrich Vishinsky.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628223660330,"sku":"a_12934422S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_C6253C78FF3A48EC82B00155D579FAE2_master_1cb82b79-067c-447e-a59d-c4de4e451a92.jpg?v=1780507335"},{"product_id":"machpela-cave-chevron-1967-israeli-judaica-mixed-media-print-watercolor-painting","title":"Machpela Cave Chevron 1967 Israeli Judaica Mixed Media Print Watercolor Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 19.0, W: 13.25 IN\u003c\/p\u003e\u003cp\u003eBaruch Nachshon, was born in Mandatory Palestine in 1939, in the city of Haifa. Nachshon began to paint in early childhood, and developed his relationship to art and to artists throughout his youth. During his military service Nachshon herded flocks for the IDF, an experience that imbued in him a love and appreciation for nature which figures prominently in his work until today. Upon completing his military service the young artist was torn between the temptation to travel to Paris, then the cultural center of the art world, and his deep love of the land of Israel, the spiritual center of the Jewish world. Opting to stay in Israel, Nachshon studied under Shlomo Nerani, Cezanne’s only pupil, with whom he had enjoyed a deep friendship extending back to his childhood. Nachshon, whom Nerani viewed as his spiritual heir, was the only one of his students allowed to see the master at work. Nachshon’s lifelong involvement in Lubavitch Hassidut began in his early adulthood, when he was drawn to the movement by its uniquely beautiful traditional melodies. In 1965 Nachshon was invited to an unprecedented three- hour private session with the Rebbe of Lubavitch, Menachem Mendel Schneerson, in New York. The young artist used the opportunity to share his concerns and misgivings about the role of the Jewish artist and the many inherent conflicts which confronted him. The Rebbe blessed Nachshon with the advice that for many generations the art of painting had failed to find its ultimate rectification in holiness, but that with the help of God he might come to bring about that long anticipated rectification. The Rebbe then offered to fund Nachshon’s studies in New York on the condition that he would find a program of study acceptable to Jewish religious values. Despite the difficulty inherent in such a task, Nachshon gladly received the Rebbe’s offer and devoted himself fully to the celebration of the wisdom of the Creator through visual art. In 1967 Nachshon and his wife Sara, along with six other families renewed the Jewish presence in Hebron for the first time since the city’s Jewish residents were massacred by Arabs in 1929. To underscore the significance of Jewish culture to the city, Nacshon opened a gallery of his art beside the Tomb of the Patriarchs. During this period Nachshon also used to visit the houses of Hebron’s Arab residents in order to paint the city from unique angles. On one of his regular visits to the Tomb of the Patriarchs, Nachshon met an elderly Breslov Hassid. The hassid urged him to recite Psalms every night for forty days, and assured him that if he did so he would merit profound revelation. Nachshon did so, and as soon as the forty days had passed he saw the heavens open, receiving visions that would charge his art forever. Since that first time, Nachshon has seen the heavens open many times and, indeed, the opening of the heavens is a recurring motif in his work. According to Nachshon, “the open sky means going beyond what is reality, seeing through.” Nachshon’s art covers a wide range of thematic material through equally diverse stylistic approaches, all of which are uniquely his own. He paints in order to define and to emphasize the presence of the active Divine Will in creation, and in order to inspire himself and others. Nachshon paints what he sees through the eyes of an inspired painter, communicating those visions to the world. Each of his paintings can be studied in the manner of a sacred text, providing numerous and vivid insights into the workings of creation and the promises held for the future. Many of his paintings describe visions of the future, of the world after its final redemption, of a world where all is peace and joy and where the revelation of divine beneficence is clear to all. Until that time, Nachshon’s paintings offer a glimpse of what could be, of what ought to be and of what will be when the work of humanity has reached its successful completion The Artist’s Prayer I express my gratitude to you, artisan of creation, for you have endowed me with the spirit of your holy inspiration. I beseech you- in your vast kindness- impart to me more and more of your holy inspiration so that I may rejoice in you, and give cause for rejoicing to your creations. Give me inspiration to reveal your presence, even in the darkest places, because everything is from you and before your presence all darkness is also light. You created your universe, and within it crafted all of your creatures so that they would come to acknowledge you. And so- this, indeed is all I ask- kindness! For there is nothing else, no words in our mouths sufficient to thank you for having created us, having made us your children- the Children of Israel- and having brought us close to you in order to serve you. You have drawn forth our spirit and illuminated all- Well of Life. -Baruch Nachshon, Hebron, 5749\u003c\/p\u003e\u003cp\u003eParticipated in group exhibitions in the Artists' Quarter in Safed, Tel Aviv, Jerusalem, in the Chai Gallery, Chabad Chassidic Art Institute in Brooklyn, and in other art galleries in Brooklyn. Championed by the Chai Gallery in Crown Heights, Brooklyn New York, they have represented all of the major Lubavitch Hasidic artists such as Baruch Nachshon, Hendel Lieberman, Zalman Kleinman, Michoel Muchnik as well as artists such as Samuel Rothbort, Harry Mccormick, Meer Akselrod and the Rebbe photos of Fridrich Vishinsky.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628225265962,"sku":"a_12940782S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_17D6E377BB804CEDBEA5E5D5E5EDD11C_master_a1876a66-4f42-41da-9f1f-4987a890f49b.jpg?v=1780507337"},{"product_id":"machpela-cave-chevron-1969-israeli-judaica-mixed-media-print-watercolor-painting","title":"Machpela Cave Chevron 1969 Israeli Judaica Mixed Media Print Watercolor Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 19.0, W: 13.25 IN\u003c\/p\u003e\u003cp\u003eBaruch Nachshon, was born in Mandatory Palestine in 1939, in the city of Haifa. Nachshon began to paint in early childhood, and developed his relationship to art and to artists throughout his youth. During his military service Nachshon herded flocks for the IDF, an experience that imbued in him a love and appreciation for nature which figures prominently in his work until today. Upon completing his military service the young artist was torn between the temptation to travel to Paris, then the cultural center of the art world, and his deep love of the land of Israel, the spiritual center of the Jewish world. Opting to stay in Israel, Nachshon studied under Shlomo Nerani, Cezanne’s only pupil, with whom he had enjoyed a deep friendship extending back to his childhood. Nachshon, whom Nerani viewed as his spiritual heir, was the only one of his students allowed to see the master at work. Nachshon’s lifelong involvement in Lubavitch Hassidut began in his early adulthood, when he was drawn to the movement by its uniquely beautiful traditional melodies. In 1965 Nachshon was invited to an unprecedented three- hour private session with the Rebbe of Lubavitch, Menachem Mendel Schneerson, in New York. The young artist used the opportunity to share his concerns and misgivings about the role of the Jewish artist and the many inherent conflicts which confronted him. The Rebbe blessed Nachshon with the advice that for many generations the art of painting had failed to find its ultimate rectification in holiness, but that with the help of God he might come to bring about that long anticipated rectification. The Rebbe then offered to fund Nachshon’s studies in New York on the condition that he would find a program of study acceptable to Jewish religious values. Despite the difficulty inherent in such a task, Nachshon gladly received the Rebbe’s offer and devoted himself fully to the celebration of the wisdom of the Creator through visual art. In 1967 Nachshon and his wife Sara, along with six other families renewed the Jewish presence in Hebron for the first time since the city’s Jewish residents were massacred by Arabs in 1929. To underscore the significance of Jewish culture to the city, Nacshon opened a gallery of his art beside the Tomb of the Patriarchs. During this period Nachshon also used to visit the houses of Hebron’s Arab residents in order to paint the city from unique angles. On one of his regular visits to the Tomb of the Patriarchs, Nachshon met an elderly Breslov Hassid. The hassid urged him to recite Psalms every night for forty days, and assured him that if he did so he would merit profound revelation. Nachshon did so, and as soon as the forty days had passed he saw the heavens open, receiving visions that would charge his art forever. Since that first time, Nachshon has seen the heavens open many times and, indeed, the opening of the heavens is a recurring motif in his work. According to Nachshon, “the open sky means going beyond what is reality, seeing through.” Nachshon’s art covers a wide range of thematic material through equally diverse stylistic approaches, all of which are uniquely his own. He paints in order to define and to emphasize the presence of the active Divine Will in creation, and in order to inspire himself and others. Nachshon paints what he sees through the eyes of an inspired painter, communicating those visions to the world. Each of his paintings can be studied in the manner of a sacred text, providing numerous and vivid insights into the workings of creation and the promises held for the future. Many of his paintings describe visions of the future, of the world after its final redemption, of a world where all is peace and joy and where the revelation of divine beneficence is clear to all. Until that time, Nachshon’s paintings offer a glimpse of what could be, of what ought to be and of what will be when the work of humanity has reached its successful completion The Artist’s Prayer I express my gratitude to you, artisan of creation, for you have endowed me with the spirit of your holy inspiration. I beseech you- in your vast kindness- impart to me more and more of your holy inspiration so that I may rejoice in you, and give cause for rejoicing to your creations. Give me inspiration to reveal your presence, even in the darkest places, because everything is from you and before your presence all darkness is also light. You created your universe, and within it crafted all of your creatures so that they would come to acknowledge you. And so- this, indeed is all I ask- kindness! For there is nothing else, no words in our mouths sufficient to thank you for having created us, having made us your children- the Children of Israel- and having brought us close to you in order to serve you. You have drawn forth our spirit and illuminated all- Well of Life. -Baruch Nachshon, Hebron, 5749\u003c\/p\u003e\u003cp\u003eParticipated in group exhibitions in the Artists' Quarter in Safed, Tel Aviv, Jerusalem, in the Chai Gallery, Chabad Chassidic Art Institute in Brooklyn, and in other art galleries in Brooklyn. Championed by the Chai Gallery in Crown Heights, Brooklyn New York, they have represented all of the major Lubavitch Hasidic artists such as Baruch Nachshon, Hendel Lieberman, Zalman Kleinman, Michoel Muchnik as well as artists such as Samuel Rothbort, Harry Mccormick, Meer Akselrod and the Rebbe photos of Fridrich Vishinsky.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628227133738,"sku":"a_12940792S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_FD12F568812D4064A35C96EBFD619C64_master.jpg?v=1780507339"},{"product_id":"british-modernist-portrait-of-chaim-weizmann-president-of-israel-oil-painting","title":"British Modernist Portrait of Chaim Weizmann President of Israel Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 20.0, W: 16.0 IN\u003c\/p\u003e\u003cp\u003eAlfred Aaron Wolmark (1877 – 1961) was a painter and decorative artist. He was a Post Impressionist and a pioneer of the New Movement in Art. He was born Aaron Wolmark into a Jewish family in Warsaw, Poland who were amongst the many subsequently fleeing the pogroms of Eastern Europe. The family moved to Devon when he was six before moving to Spitalfields, East London, there along with many other Jewish immigrant émigré families. He became a British citizen in 1894. He studied at the Royal Academy Schools and exhibited there from 1901-1936. (1895-8 (1st Silver Medallist for Drawing). There he took the name Alfred Wolmark, by which he is known. Returning briefly to Poland in 1903, he painted works based his Jewish identity and faith, refraining from depicting the persecution and anti-Semitism his family witnessed on the continent and idealising the peaceful and contemplative elements of his religion. His first one-man exhibition was held at the Bruton Galleries in 1905. In July 1911, after an artistic epiphany on honeymoon in Concarneau, Brittany, he became influenced by modern French painting, his colour palette and style became post impressionist, and Wolmark jettisoned his early methods in favour of the pioneering 'colourist' path that he followed for the next two decades of his working life. He was a British fauvist and pitched his tonal divisions to a higher key than any of his contemporaries. Wolmark kept to traditional genre, and transformed his subjects through the use of flattened forms, built up with a heavy impasto. His daring use of bright colour on some paintings such as \"An Arrangement: Group of Nudes\" demonstrate a skillset akin to Andy Warhol and earned him the title of ‘The Colour King’. the early colourist, Alfred Wolmark, the so-called father of the ‘Whitechapel Boys’. This group includes painters David Bomberg, Mark Gertler and Jacob Kramer, as well as (by association) the sculptor Jacob Epstein, First World War poet-painter, Isaac Rosenberg, and the only ‘Whitechapel Girl’ Clare Winsten, all of whom made a distinct contribution to early British modernism. This work presages the portrait works of later British jewish artists R.B Kitaj and Lucian Freud. His use of colour was so bright that in an exhibition of the International Society of Artists no English painter dared hang work next to his. His work was finally placed next to Van Gogh's, a matter of considerable pride to the artist in later years. Also exhibited at \"Manet and the Post Impressionists\" in 1910 at the Grafton Gallery. Wolmark, like Van Gough, are characterized by a bold application of paint, dominated by heavy impasto. In later years Wolmark met the sculptor Henri Gaudier-Brzeska and the two became close friends. Gaudier-Brzeska warmed to Woolmark's impassioned New Art and modelled a bronze bust of the young artist in 1913 and ended up celebrating the artists individuality in a face that strongly resembled Beethoven at the time.\u003c\/p\u003e\u003cp\u003eHe visited New York in 1919, soon after the end of the First World War, and his paintings of the city were exhibited at the Kervorkian Gallery there in 1919-20. A retrospective of his work was held at Ferens Art Gallery, Kingston upon Hull in 1975. A gifted portraitist, whose sitters included Thomas Hardy, Aldous Huxley and G. K. Chesterton, Wolmark was also active as a graphic designer, producing book illustrations and posters, as well as undertaking work on costume and stage designs for two Diaghilev ballets in 1911, a set of abstract designs for the stained glass windows of the church of St. Mary’s in Slough in 1915 and a selection of decorative pottery for an exhibition the following year. He was one of the prime movers in setting up the Ben Uri Art Society, 1915. His paintings are now in many galleries around the world, including the National Portrait Gallery, London, Sheffield and Derby Museum and Art Gallery. The Tate Gallery Archives hold two complete boxes donated by Wolmarks family which contain a number of letters, papers, artworks, photographs and press cuttings including his original diary containing who some of his works were sold to.\u003c\/p\u003e\u003cp\u003eChaim Weizmann (1874-1952) was a Zionist leader and Israeli statesman who served as President of the Zionist Organization and later as the first President of Israel. He was elected on 16 February 1949, and served until his death in 1952. Weizmann convinced the United States government to recognize the newly formed state of Israel. Weizmann was also a biochemist who developed the acetone–butanol–ethanol fermentation process, which produces acetone through bacterial fermentation. His acetone production method was of great importance for the British war industry during World War I. He founded the Weizmann Institute of Science in Rehovot, Israel and was instrumental in the establishment of the Hebrew University of Jerusalem.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628227887402,"sku":"a_12952502S1","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_A849D02F9086463E8821F9B7655138CD_master.jpg?v=1780507344"},{"product_id":"expressionist-watercolor-landscape-painting-jewish-modernist","title":"Expressionist Watercolor Landscape Painting Jewish Modernist","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 11.5, W: 15.5 IN\u003c\/p\u003e\u003cp\u003esigned and bears the artist's studio label verso.\u003c\/p\u003e\u003cp\u003eGenre: Impressionist Subject: Landscape Medium: watercolor Surface: paper Country: United States Dimensions: 11.5 X15.5\u003c\/p\u003e\u003cp\u003eJennings (Yehuda) Tofel (originally Idel Taflewicz or Taflowicz) (born 18 October 1891 in Tomaszów Mazowiecki, Poland, died 7 September 1959 in New York City), Jewish American painter, poet and essayist.\u003c\/p\u003e\u003cp\u003eHe was born in Tomaszów Mazowiecki (now in Poland) in a Jewish middle-class family as Idel Taflewicz (or Taflowicz). His father Jacob Josef Taflewicz\/Taflowicz (b. 1864) was a woman dress’s tailor in Tomaszów Mazowiecki and had his own workshop in home. Jennings’s mother was Alta Haya née Berliner (d. 1899).\u003c\/p\u003e\u003cp\u003eAfter the death of Idel’s mother (1899), his father replaced with the family to Łódź and after some months he returned to the native town Tomaszów Mazowiecki. Idel as a 10-year boy had been injured and a month later his father noted his son’s “raised shoulder”. In his fall, a bone had been fractured, and Idel would have a deformed body for the rest of his life. In 1905 Jacob Josef Taflewicz immigrated with the family to New York, where they were reunited with other relatives. In New York Idel Taflewicz received the English name Isadore Tofel. Later he changed it into Jennings Tofel, though the Jewish name Yehuda (= Yiddish Idel) was also used. In New York the artistic talent of young Tofel was recognized, and he entered the Townsend Harris Hall Preparatory School. In 1917 he as Jennings Tofel was represented in a group exhibition at the Whitney Studio called “Introspective Art” (together with Claude Buck, Abraham Harriton, Benjamin Kopman). His first one-man exhibition came in 1919 at the Bourgeoisie Galleries. That same year, and for the next several years, he was represented in several group exhibitions in the North East, with artists such as Oscar Bluemner, Gaston Lachaise, and Joseph Stella. In 1925, Tofel left for Europe to further his art studies in France, Italy and Germany, especially in Paris and Berlin. He returned in 1928 to New York. In 1929 Jennings Tofel received a new grant and made his second artistic journey in Europe. While visiting his native city of Tomaszów Mazowiecki, he met his relative, Sura Perla Wajsberg (later Pearl Tofel in U.S.A.), and after a few days of courtship quickly got married. Jennings and Pearl Tofels returned to New York where they never had a permanent address. In 1931 he had a one-man exhibition at the SPR Gallery, New York and in 1932 the Whitney Museum of American Art purchased “Hagar”. He was also represented in prestigious group exhibitions at the Jewish Museum in New York and the Butler Institute of American Art in Youngstown, Ohio.\u003c\/p\u003e\u003cp\u003eTofel was a friend of Georgia O'Keefe and Alfred Stieglitz.\u003c\/p\u003e\u003cp\u003eIn the last years of his life (1950–1959), Jennings Tofel exhibited at two-year intervals at the Artist’s Gallery. His later years were a time of uninterrupted work. Adventures, confrontations and victories appeared in his art. His color became more fluid and contrasting than ever\u003c\/p\u003e\u003cp\u003eRetrospective exhibitions and publications A retrospective exhibition was held at the Zabriskie Gallery in New York in 1964, and Tofel’s art was represented in the Art Dealers Association of America’s 2nd Annual Show at the Park Bernet Galleries. In 1976 Arthur Granick, a close personal friend and patron of Jennings Tofel, compiled a beautiful volume which contains 63 colorplates and 129 black-and-white illustrations, including Jennings Tofel’s photographs.\u003c\/p\u003e\u003cp\u003eSources M. Baigell, Jewish Art in America: An Introduction, Plymouth 2006, pp. XIX, XXIV, 30-32, 46, 79, 118, 122, 125-126, 128, 235, 239-240, 242, 244, 246, 249; Samantha Baskind, Encyclopedia of Jewish American Artists, Greenwood Press 2006, p. 281; Arthur Granick, Jennings Tofel, introduction by Alfred Werner, New York 1976, passim (phot.; illustrations); J. R. Hayes, Jennings Tofel: The Human Form, [in:] T. Fountain (ed.), Jennings Tofel, Mahwah, New Jersey 1984, pp. 8–30; Jerzy Malinowski, Malarstwo i rzeźba Żydów polskich w XIX i XX wieku [Painting and sculpture of the Polish Jews in the 19th and 20th century], Warszawa 2000, pp. 151, 164-5, 178; Krzysztof Tomasz Witczak, Słownik Biograficzny Żydów tomaszowskich The Biographical Dictionary of the Jews from Tomaszów Mazowiecki, Łódź – Tomaszów Mazowiecki 2010, ISBN 978-83-7525-358-0, pp. 245–247 (Jennings Tofel's biographical note; phot.). J. Zilczer, Artist and Patron: The formation of the Hirshhorn Museum's Willem de Kooning collection, “Journal of the History of Collections”.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628227952938,"sku":"a_12952512S1","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_F366A4A3BEBE490EBB9647A1E966EDF3_master_a1eda4c5-c589-4b36-a716-16fcaeab9089.jpg?v=1780507346"},{"product_id":"mixed-media-painting-sculpture-construction-1980s-brazilian-political-art","title":"Mixed Media Painting Sculpture Construction 1980s Brazilian Political Art","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 35.0, W: 54.5 IN\u003c\/p\u003e\u003cp\u003eInteresting Latin American art collage\/assemblage of images. bears elements of Arte Povera. it is mounted onto a wood construction.\u003c\/p\u003e\u003cp\u003eSigned verso and bears label from Stux Gallery. Well Known Brazilian political artist and collector. Showed at Stux Gallery (they showed Doug Anderson and then Mike and Doug Starn at the time) Elga Wimmer Gallery and Jeffrey Neale gallery. Was reviewed by Barry Schwabsky in Artforum and was published in the Paris Review. He was included in the\u003c\/p\u003e\u003cp\u003eWhite Columns Twentieth Anniversary Benefit Exhibition in 1990 along with artists Ross Bleckner, Richard Prince, Marilyn Minter, Vik Muniz, Andres Serrano, Cindy Sherman, Felix Gonzalez-Torres, Robert Longo and John Currin.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628229132586,"sku":"a_12959512S1","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_08A028ECD7B846DEB8842450230BC4C7_master_56bebf50-d498-4e75-80f0-eed610c8503a.jpg?v=1780507357"},{"product_id":"judaica-modernist-oil-painting-know-thyself-israeli-kibbutz-pioneer-prophet","title":"Judaica Modernist Oil Painting 'Know Thyself' Israeli Kibbutz Pioneer, Prophet","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 22.0, W: 28.0 IN\u003c\/p\u003e\u003cp\u003eMortimer Borne, Printmaker, painter, sculptor, and educator was born in Rypin, Poland in 1902 and emigrated to the US in 1916. He studied at the National Academy of Design, The Art Students League, The Beaux-Arts Institute of Design, and with Charles Webster Hawthorne, founder of the Cape Cod School of Art in Provincetown. Painted in a thick impasto style similar in technique to Samuel Rothbort and David Burliuk. Borne himself taught at The New School for Social Research in New York City from 1945-1967.\u003c\/p\u003e\u003cp\u003eFrom the 1920s through the 40s he was a prolific producer of New York City cityscapes and genre scenes.\u003c\/p\u003e\u003cp\u003eIn later decades, he adopted a more modernist style apparently influenced by Picasso, producing color drypoints of abstracted figures.\u003c\/p\u003e\u003cp\u003eHis works were widely exhibited in museums in the U.S. and abroad from 1931 and later, including the Art Institute of Chicago, the American Institute of Graphic Arts, Museum of Modern Art, Metropolitan Museum of Art, Corcoran Gallery of Art, New York Public Library, Carnegie Institute, and Royal Society of Painters, Etchers and Engravers in London.\u003c\/p\u003e\u003cp\u003eHe taught at The New School for Social Research in New York City from 1945-1967, and at the Tappan Zee Art Center, which he established in Nyack, New York after moving there.\u003c\/p\u003e\u003cp\u003eBorne was a member of the Society of American Graphic Artists.\u003c\/p\u003e\u003cp\u003eHis prints are the subject of the book Borne: Drypoints, Etchings, Color Drypoints by R.S. Biran Borne was the inventor of the color drypoint technique. He worked in oil, drypoint, and sculpture.\u003c\/p\u003e\u003cp\u003eMortimer Borne's work is in the permanent collections of many museums, but his largest holding is at the Metropolitan Museum of Art which has over a hundred images. Mortimer and his wife,\u003c\/p\u003e\u003cp\u003eRay, lived in Nyack, New York, for fifty years.\u003c\/p\u003e\u003cp\u003eSelected Collections: British Museum, London Victoria and Albert Museum, London National Gallery, Washington Israel Museum, Jerusalem Museum of Modern Art Philadelphia Museum of Art\u003c\/p\u003e\u003cp\u003eThe Brooklyn Museum, New York. The Metropolitan Museum of Art The Museum of Modern Art The Smithsonian Institution Harvard University Museum\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628229198122,"sku":"a_12967312S1","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_7EC2E66956FB44169080340936D297BB_master_46566f96-cef6-4078-9e96-e6bbca8f5037.jpg?v=1780507358"},{"product_id":"still-life-with-bread-and-vegetables-oil-painting","title":"Still Life with Bread and Vegetables Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 21.0, W: 23.0 IN\u003c\/p\u003e\u003cp\u003eClassic still life composition of bread, tomatoes, radishes and beans on kitchen counter. signed illegibly.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628229460266,"sku":"a_12967332S1","price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_7031FAA8D97A4572B75035C72A5AF661_master.jpg?v=1780507360"},{"product_id":"hungarian-rabbi-judaica-oil-painting-hasidic-rabbi-with-shtreimel","title":"Hungarian Rabbi Judaica Oil Painting Hasidic Rabbi with Shtreimel","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 24.0, W: 20.0 IN\u003c\/p\u003e\u003cp\u003e20th century Jewish Chassidic Rabbi with fur hat portrait, Judaica Oil Painting\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628229984554,"sku":"a_12967342S1","price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_A6BB2022948142969F6EDF7325692D13_master_81d0b85c-d09e-44ef-aa6a-cbc2d2d1b020.jpg?v=1780507362"},{"product_id":"don-giffin-finish-fetish-abstract-alkyd-pigment-painting-los-angeles-california","title":"Don Giffin Finish Fetish Abstract Alkyd Pigment Painting Los Angeles, California","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 76.0, W: 52.0, D: 3 IN\u003c\/p\u003e\u003cp\u003eDon Giffin (American, 1948-2003) Phone in the Desert, 1999 Mixed media painting Hand signed Don Giffin, titled and dated (verso) 76 x 52 inches. (including frame) This can hang either vertically or horizontally\u003c\/p\u003e\u003cp\u003eDon Giffin, Born in Chicago in 1948, Giffin earned his bachelor’s and master’s degree at what is now Cal State Northridge. An abstract painter who expanded the Southern California modes of “color and light” and “finish fetish” art, melding impressions of photography, printmaking and painting into a single work. Giffin, a master printmaker as well as a painter. In 1995 he mounted the first of his five solo exhibitions at the Christopher Grimes Gallery in Santa Monica. David Pagel described the artist’s work in a Los Angeles Times review as perfectly smooth, glass-like surfaces when viewed from afar that seemed to decay as one approached. They make pain palpable and evoke mortality’s inevitability, Pagel wrote of Giffin’s creations, which used layers of paint, gesso and tar that he pulled apart as they dried. “His corporeal abstractions bypass your mind to hit you in the stomach.” Giffin was one of 10 Los Angeles, California\u003c\/p\u003e\u003cp\u003eartists whose work was featured in the 1997 Biennial of the Orange County Museum of Art. (including Robert Blanchon, Jessica Bronson, Julia Couzens, Terri Friedman, Don Giffin, Dennis Hollingsworth, Carlos Mollura, Carter Potter, Monique Prieto, and Chris Wilder.) In reviewing that exhibition for The Times, Cathy Curtis wrote: Don Giffin reinvents stain painting by layering color in such a way that it emits an inner radiance verging on iridescence. The artist continued to push boundaries, and when he displayed his 6 X 5-foot acrylics at the Grimes Gallery in 2000, Pagel described them as mesmerizing works. The cross-fertilization between painting and photography that has been cropping up in some of the most intriguing works being made today takes breathless shape in Don Giffin’s physically resplendent paintings,” the critic wrote. “When I work,” he once said, “it’s like I’m doing a dance with the painting, and I’m not always leading. When the imagery is mysterious, the surface is perfectly smooth and the color contrast is just right with that glow of pale color coming through it’s sheer delight. Finish Fetish denotes a style of art related to the LA Look, pop art, minimalism, and light and space originating in southern California in the 1960s. Artwork of this type often has a glossy and slick finish and features an abstract design on a two-or three-dimensional surface made from fiberglass or resins. The style is similar to the simplicity and abstraction of minimalism and the bright colors and reference to commercial products found in pop art. To the world of postwar art it was a substantive addition. Artists included Peter Alexander, Larry Bell, Billy Al Bengston, Judy Chicago, Joe Goode, Robert Irwin, Craig Kauffman, John McCracken, Kenneth Price, DeWain Valentine, Don Dudley. Works are often reminiscent of automobiles and surfboards. Artists have \"used new resins, paints and plastics, and adopted highly innovative fabrication processes from the industrial world to create seamless, bright, and pristine-looking objects directly inspired by California culture. In doing so, they often blurred the boundaries between painting and sculpture, 2D and 3D, handcrafted and industrially-produced objects.\" He was also associated with the Light and Space movement, a loosely affiliated art movement related to op art, minimalism and geometric abstraction originating in Southern California in the 1960s and influenced by John McLaughlin. It is characterized by a focus on perceptual phenomena, such as light, volume and scale, and the use of materials such as glass, neon, fluorescent lights, resin and cast acrylic, often forming installations conditioned by the work's surroundings. Ron Cooper, Mary Corse, Bruce Nauman, Maria Nordman, Eric Orr, Keith Sonnier and James Turrell.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628230279466,"sku":"a_12977922S1","price":10000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_4FC194AEFBAA4F5BA52607D92912D011_master_89e54100-72e3-4ae0-a99a-3c6e14ba1a6f.jpg?v=1780507367"},{"product_id":"abstract-with-figures-israeli-mid-century-modernist-woodcut-watercolor-painting","title":"Abstract with Figures Israeli Mid Century Modernist Woodcut Watercolor Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 34.0, W: 22.0 IN\u003c\/p\u003e\u003cp\u003eAn abstracted composition containing a kneeling figure . this is a stamped print, woodcblock most likely artfully combined with moody watercolor.\u003c\/p\u003e\u003cp\u003eStefan Alexander, born Czechoslovakia. In World War II sent to forced labour camps. 1945-49 Member of Czech Academy of Arts. 1952 Settled in Safed and participated in permanent exhibition there. Education 1928-34 Academy of Fine Arts, Prague 1934-36 Advanced studies, Paris 1936-38 Advanced studies, Italy and Yugoslavia Awards And Prizes 1965 Nordau Prize for Art 1934 Academy of Fine Arts, Prague, First prize\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628231393578,"sku":"a_12980232S1","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_A31226FC940448DDA8302D8133F8EE98_master_1614dc8e-6753-4990-97d0-66d1a8c3aa0a.jpg?v=1780507374"},{"product_id":"abstract-expressionist-watercolor-fiery-sky","title":"Abstract Expressionist Watercolor Fiery Sky","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 18.0, W: 24.5 IN\u003c\/p\u003e\u003cp\u003eGenre: Expressionist Subject: Landscape Medium: Watercolor Surface: Paper Country: United States Dimensions w\/Frame: 16\" x 28\"\u003c\/p\u003e\u003cp\u003eMurray Hantman (1904–1999) was a painter, muralist, and teacher. Over the course of his career Hantman's work progressed from realism to abstraction. His later work shows a mastery of color and form. Based out of New York City Hantman spent summers on Monhegan Island. Like many of his generation, Hantman ultimately rejected explicit narrative in his paintings for a more primal expression of experience.\u003c\/p\u003e\u003cp\u003eEducation: Detroit Museum of Art School, 1916 Detroit School of Design, 1917 The Art Students League, studying with Jan Matulka and Boardman Robinson, 1928-1930\u003c\/p\u003e\u003cp\u003eTeaching Positions: Queens College Youth Center, New York, 1946-48 Private art classes, NY, 1948-59\u003c\/p\u003e\u003cp\u003eBrooklyn Museum Art School, Brooklyn, New York, 1959-79\u003c\/p\u003e\u003cp\u003eFellowships: MacDowell Colony, Peterborough, New Hampshire, 1970\u003c\/p\u003e\u003cp\u003eLike many of his contemporaries, Hantman’s work was shaped by the times in which he lived—by the exhilarating sense of the potential of art in the modern era coupled with the harsher realities of American life during the Great Depression and World War II. Those forces combined in Murray Hantman to create an artist profoundly committed to art as an agent of social good and spiritual renewal. As a painter for more than 60 years, and a teacher for 30 of those, he devoted himself to the nurture of creativity and the practice of art.\u003c\/p\u003e\u003cp\u003eAfter a migratory childhood in Pennsylvania and the Midwest, Hantman’s formal training took place at New York’s progressive Arts Students League, where he had the opportunity to work on two major public mural projects—assisting on a cycle of murals depicting the history of commerce for the Kaufman Department Store in Pittsburgh and working with Thomas Hart Benton on the America Today murals created for the New School for Social Research in New\u003c\/p\u003e\u003cp\u003eYork. Hantman carried those experiences west with him when, while living in southern California for a period in the early 1930s, he joined David Alfaro Siquieros’s “Bloc of Painters” and worked alongside that great Mexican muralist on several outspoken public paintings.\u003c\/p\u003e\u003cp\u003eReturning to New York in the mid-1930s, Hantman became a member of the Easel\u003c\/p\u003e\u003cp\u003eDivision of the Works Progress Administration, rising to the role of supervisor. He also joined the activist Artist’s Union, which advocated for the labor rights of creative workers, where he met his future wife Jo Levy, a sculptor. Together they participated in the lively artistic culture of that time—creating art for the public good, agitating for artists’ rights, and debating, rallying, and socializing with their peers.\u003c\/p\u003e\u003cp\u003eAt the start of World War II, Hantman was deemed physically unfit for military service and instead contributed to the nation’s defense by working as a designer in a tool shop (an experience jazzily evoked in the painting Machine Shop Symphony). During the war years he began taking painting trips to coastal New England and Canada. In 1945, he visited Monhegan, a small island 17 miles off the coast of Maine, for the first time. Captivated by the island’s dramatic rocky coast and expanses of surrounding sky and sea, he returned to paint there for 30 summer seasons.\u003c\/p\u003e\u003cp\u003eLike many of his generation, Hantman rejected explicit narrative in his paintings for a more primal expression of experience. Even as he moved away from representation into abstraction, nature remained the touchstone for his art. The unique quality of Maine’s summer light, the sense of endless space looking out over the ocean, and Monhegan’s distinctive geology all informed the development of Hantman’s mature painting style. Using what he described as a process of subtraction, Hantman worked within the limits of simple forms—rectangles, circles, dots and lines—found everywhere in nature.\u003c\/p\u003e\u003cp\u003eWhile his paintings from this period were largely inspired by summers in Maine, they clearly show an awareness of developments in the larger world of art, from the rise of Abstract Expressionism to the development of styles concerned with optical perception. New York remained the Hantmans’ permanent home and Murray continued to be a presence in that art world, exhibiting in distinguished venues and teaching for 20 years at the Brooklyn Museum School.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628231622954,"sku":"a_12980252S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_95FF1FFDEC9D4FAD892F11C8BFCA10A0_master_0f9ec7f5-e171-48fa-8076-2a619f987762.jpg?v=1780507376"},{"product_id":"op-art-1971-kinetic-oil-painting-pop-art-artist","title":"Op Art 1971 Kinetic Oil Painting Pop Art Artist","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 23.75, W: 23.75 IN\u003c\/p\u003e\u003cp\u003eJosef Alan Levi (1938) is an American artist whose works range over a number of different styles, but which are unified by certain themes consistently present among them. Josef Levi began his artistic career in the 1960s and early '70s, producing highly abstract and very modernist pieces: these employing exotic materials such as light fixtures and metallic parts. By 1975, Levy had transitioned to painting and drawing still lifes. At first these were, traditionally, of mundane subjects. Later, he would depict images from art history, including figures originally created by the Old Masters. Around 1980, he made another important shift, this time toward creating highly precise, though subtly altered reproductions of pairs of female faces which were originally produced by other artists. It is perhaps this work for which he is most well known. Since around 2000, Josef Levi has changed the style of his work yet again: now he works entirely with computers, using digital techniques to abstract greatly from art history, and also from other sources.\u003c\/p\u003e\u003cp\u003eLevi's works of art in the collections of the Museum of Modern Art, NYC, the National Gallery of Art, and the Albright-Knox Museum, among many others. Levi's art has been featured on the cover of Harper's Magazine twice, once in June 1987, and once in May 1997. Josef Levi received a Bachelor of Arts degree in 1959 from the University of Connecticut, where he majored in fine arts and minored in literature. From 1959 to 1960, he served to a first lieutenant in the U.S. Army, and from 1960 through 1967 he was in the U.S. Army Reserves.\u003c\/p\u003e\u003cp\u003eIn 1966, he received the Purchase Award from the University of Illinois in 1966, and he was featured in New Talent U.S.A. by Art in America. He was an artist in residence at Appalachian State University in 1969, taught at Farleigh Dickenson University in 1971 and was a visiting professor of art at Pennsylvania State University in 1977. From 1975 to 2007, Levi resided in New York City. He now lives in an apartment in Rome, where he is able to paint with natural light as he was unable in New York. From 1959 to 1960, Josef took some courses of Howard McParlin Davis and Meyer Schapiro at Columbia University which initiated him into the techniques of reproducing the works of the Old Masters. His first works, created in the 1960s, were wood and stone sculptures of women. His first mature works were abstract pieces, constructed of electric lights and steel.\u003c\/p\u003e\u003cp\u003eIn 1970, Levi's materials included fluorescent light bulbs, Rust-Oleum and perforated metal in addition to paint and canvas. By 1980, Josef Levi's art had transformed into a very specific form: a combination of reproductions of female faces which were originally depicted by other artists. The faces which he reproduces may be derived from either portraits or from small portions of much larger works; they are taken from paintings of the Old Masters, Japanese ukiyo-e, and 20th-century art. Artists from whom he has borrowed include: Vermeer, Rembrandt, Piero della Francesca, Botero, Matisse, Utamaro, Correggio, Da Vinci, Picasso, Chuck Close, Max Beckmann, Pisanello, Lichtenstein. The creation of these works is informed by Levi's knowledge and study of art history. Josef Levi's paintings from this period are drawn, then painted on fine linen canvas on wooden stretchers. The canvas is coated with twenty-five layers of gesso in order to produce a smooth surface on which to work. The drawing phase takes at least one month. Levi seals the drawing with acrylic varnish, and then he may apply layers of transparent acrylic in order to approximate the look of old paintings. After the last paint is applied, another layer of acrylic varnish is sprayed on to protect the work. Most of the figures in his contemporary pieces are not paired with any others.\u003c\/p\u003e\u003cp\u003eSELECTED\u003c\/p\u003e\u003cp\u003eCOLLECTIONS\u003c\/p\u003e\u003cp\u003eMUSEUM OF MODERN ART, NEW YORK, NY ALBRIGHT- KNOX GALLERY, BUFFALO, NY ALDRICH MUSEUM OF CONTEMPORARY ART, RIDGEFIELD, CT NATIONAL GALLERY OF ART, WASHINGTON, DC BROOKLYN MUSEUM OF ART, BROOKLYN, NY SMITHSONIAN NATIONAL MUSEUM OF AMERICAN HISTORY, WASHINGTON, DC CORCORAN GALLERY, WASHINGTON, DC UNIVERSITY OF NOTRE DAME ART GALLERY, NOTRE DAME, IN ARKANSAS ART CENTER, LITTLE ROCK, AR HOOD MUSEUM OF ART, DARTMOUTH COLLEGE, HANOVER, NH BANK OF NEW YORK, NEW YORK, NY CHRYSLER CORPORATION, DETROIT, MI EXXON CORPORATION, NEW YORK, NY AT\u0026amp;T CORPORATION, NEW YORK, NY BOWDOIN COLLEGE MUSEUM OF ART, BRUNSWICK, ME NEW BRITAIN MUSEUM OF AMERICAN ART, NEW BRITAIN, CN STORM KING ART CENTER, MOUNTAINVILLE, NY YALE UNIVERSITY ART MUSEUM, NEW HAVEN, CT\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628231688490,"sku":"a_12980262S1","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_B2733950202F4919AA0CAF52D4045AAD_master_daec41f9-6b6c-45f7-b97d-ebf332612521.jpg?v=1780507377"},{"product_id":"french-gestural-abstract-expressionist-textured-oil-painting","title":"French Gestural Abstract Expressionist Textured Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 25.5, W: 21.5 IN\u003c\/p\u003e\u003cp\u003eRene Couturier lives in the Netherlands and France.\u003c\/p\u003e\u003cp\u003eRene Couturier is known for abstract still life, figure and landscape painting. Rene' Couturier is an artist whose works displays bold figurative lines of the \"Jeune Painture\" Movement, (Francoise Adnet, Richard Bellias, Bernard Buffet, Simone Dat, Michel de Gallard, Raymond Guerrier, Roger Lersy, Bernard Lorjou, Andre Minaux, Jean Pollet, Paul Rebeyrolle and Michel Thompson) and has an Abstract dimension, and a challenging, distinctive color technique.\u003c\/p\u003e\u003cp\u003eWith a palette knife, Couturier's blends superimposed layers of sand and oil paint with the goal of creating a composition that is a vigorous contrast of color on texture, texture on dimension, dimension on line. Born in 1933 in Dieppe, Normandy, a coastal town of France, Rene began drawing before he could walk.\u003c\/p\u003e\u003cp\u003eAs an adolescent, he attended a watch making school and later went on to study at l'Ecole des Beaux Arts of Marseille. From 1958 to 1968 he was represented in several group and salon shows in France. A world renowned artist respected for his technical skill with the palette knife and vision.\u003c\/p\u003e\u003cp\u003eAdditionally, he abstract style coupled with bold lines, and brilliant color has garnered much acclaim.\u003c\/p\u003e\u003cp\u003eHis images are enhanced by the impeccable use of texture that creates create contrast not only in the finish but in dimension and color.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628231721258,"sku":"a_12980272S1","price":2400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_2CE07C6E28F048099685B03E5BC60D7E_master.jpg?v=1780507379"},{"product_id":"river-walk-american-modernist-oil-painting-landscape-with-river-and-boats","title":"River Walk, American Modernist Oil Painting Landscape with  River and Boats","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 20.0, W: 24.0 IN\u003c\/p\u003e\u003cp\u003eGenre: Impressionist Subject: marine landscape Medium: Oil Surface: Board Country: United States Dimensions: 20X24\u003c\/p\u003e\u003cp\u003eDonald Roy Purdy is an American painter whose work evolved through a range of styles and subjects over the course of his long career.\u003c\/p\u003e\u003cp\u003eBorn in 1924, the self-taught artist seldom used models. Rather, Purdy worked largely from the memory and impressions certain subjects and objects left upon his mind. The artist only occasionally paints on canvas, preferring masonite which he considers to be a stronger and longer-lasting material. Though he admits to using gesso, Purdy is known for his special preparations of painting surfaces through a method he keeps secret.\u003c\/p\u003e\u003cp\u003ePurdy first began painting in an abstract style. He later combined the abstract techniques with representational subject matter, and would continue experimenting with new styles. In the 1970s and early 1980s, Purdy became influenced by the palette of the Barbizon painters and developed a unique approach, melding abstraction with the rigid Realist techniques to produce his signature Impressionist style.\u003c\/p\u003e\u003cp\u003eBefore pursuing a career as an artist, Purdy earned a B.A. from the University of Connecticut and an M.A. in Psychology from Boston University.\u003c\/p\u003e\u003cp\u003eTwo Purdy paintings were included in the US State Department's \"Art in America\" show which recently toured Europe and several \"First Awards\" have been given to Purdy in competition with major artists. Among these is the Gold Metal of Honor from the National Academy in New York City.\u003c\/p\u003e\u003cp\u003ePurdy's pieces are exhibited by the noted Van Diemen-Lilienfeld Gallery, which shows his work alongside the works of Vlaminch, Derain, Pissaro, Monet, Chagall and Picasso. His one man exhibitions have been seen in New York at the Ruth Butler Galleries, and in Masachusetts and Connecticut. He has shown at the Bernhein-Jeune Gallery in Paris, as well.\u003c\/p\u003e\u003cp\u003ePurdy's art is held in the private collections of the Cincinnati Museum of Art, Columbus Museum of Art, Bridgeport Museum of Art, the Butler Institute, Chase Manhattan Bank, and the Walter P. Chrysler Museum.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628231950634,"sku":"a_13001622S1","price":1700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_555D8BD122654FE6AD7CD589140C3814_master_6f93de61-2b7f-46d2-a233-5a6bcdbab87d.jpg?v=1780507390"},{"product_id":"modernist-israeli-judaica-mixed-media-painting-rabbis-walking-in-jerusalem","title":"Modernist Israeli Judaica Mixed Media Painting Rabbis Walking In Jerusalem","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 22.0, W: 17.75 IN\u003c\/p\u003e\u003cp\u003eMoshe Katz (Romanian Israeli), 1937- an Israeli citizen, studied art at the Bezalel Academy of Art in Jerusalem, as well as at the Chicago Academy of Fine Arts.\u003c\/p\u003e\u003cp\u003eAlthough not an exponent of one dominating technique of painting, Moshe has been fascinated in recent months with the textures and expressions he is able to obtain with the pallette knife.\u003c\/p\u003e\u003cp\u003ePicasso, Cezanne and Gaugin are his idols, and the power of Mexican art has a deep fascination for him. With elements of Folk Art combined with a sophisticated technique. He enjoys working in clay but finds painting in oil his greatest outlet for the stories he has to tell through his pictures. In addition to an outstanding collection of books featuring the works of the great masters, his shelves are lined with texts about hypnosis. Studying about the art of hypnotizing provides him with a mental exercise far removed from his highly developed art of expressing himself on canvas. He has exhibited with the Painters and Sculptors Association in Israel, Haifa and the North along with artists: Yaacov Agam, Sela (Blaustein), Emanuel\u003c\/p\u003e\u003cp\u003ePinhassi,\u003c\/p\u003e\u003cp\u003ePasternak, Anna, Chaltiel, Joseph\u003c\/p\u003e\u003cp\u003eSchwartz, Nira\u003c\/p\u003e\u003cp\u003eShemer, Aviva,\u003c\/p\u003e\u003cp\u003eFadel, Mohamed\u003c\/p\u003e\u003cp\u003eBishara, Sana,\u003c\/p\u003e\u003cp\u003eMenashe Kadishman, Menashe\u003c\/p\u003e\u003cp\u003eShalhevet, Yitzchak Frumin, Moshe\u003c\/p\u003e\u003cp\u003eRosen, Maureen\u003c\/p\u003e\u003cp\u003eMoshe was born March 2, 1937 in Bucherest, Romania with his parents, he fled from the Nazis and after stops in many countries, reached Israel. His paintings have been displayed by Arts International in galleries across the country since the fall of 1965. He received second prize in the Israeli Group Artist Show in Halfa in 1959.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628232474922,"sku":"a_13001642S1","price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_53A316E0D88A499FA5263528EADB1112_master_c10ca1cc-4ac1-44e4-b45e-223182d55fb0.jpg?v=1780507392"},{"product_id":"jerusalem-tower-of-david-sabra-israeli-british-modernist-impasto-oil-painting","title":"Jerusalem Tower of David, Sabra, Israeli British Modernist Impasto Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 19.0, W: 17.25 IN\u003c\/p\u003e\u003cp\u003eEarly modernist Israeli Judaica painting, by British mid-century artist. Israel Old City of Jerusalem scene.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628232835370,"sku":"a_13001652S1","price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_E1537310B6E94EFEBAC4480CD6F4CF88_master.jpg?v=1780507394"},{"product_id":"ink-drawing-man-in-suit-and-hat-with-nude","title":"Ink Drawing Man in Suit and Hat with Nude","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 10.5, W: 8.0 IN\u003c\/p\u003e\u003cp\u003eProvenance: Hinckley \u0026amp; Brohel Gallery Jonathan Shahn, Born 1938 has been making sculpture, drawings and prints of the human figure since the early 1960s. He teaches at the Art Students League in NYC. He has exhibited his work frequently, both in the United States and in Europe. His most recent one-man show in New York was in 2010 at Lori Bookstein Gallery. Mr. Shahn has taught at the Tyler School in Rome, Boston University, and the Maryland Institute, among others. The son of famed Social Realist artist Ben Shahn and Bernarda Bryson Shahn, the photographer\/muralist who worked alongside Walker Evans and Diego Rivera, and his painter\/illustrator wife. Both are credited with establishing Roosevelt as the arts community it became after the federal government’s failed effort to create farmsteads for New York City’s garment workers during the 1930s. Ben Shahn’s famous mural in the Roosevelt Public School depicts the escape from New York’s dark tenements and sweatshops to Louis Kahn-designed, light-filled homes and cooperative farms and a factory out in the country.\u003c\/p\u003e\u003cp\u003eExhibitions Go Figure, George Billis Gallery, New York Family Business, Susan Teller Gallery, New York Disegno!, National Academy of Design Annual, New York Sculpture, George Krevsky Gallery, San Francisco Hackett-Freedman Gallery, San Francisco (solo) Cantor Fitzgerald Gallery, Haverford College, Haverford, PA (solo) The Making of a Monument: Drawings, Maquettes, Models for the Martin Luther King, Jr., Memorial in Jersey City Material Language: Small Scale Sculpture after 1950, Princeton University Museum, New Jersey State Council on the Arts Fellowship Exhibition Simon Gallery, Morristown, NJ (solo) National Academy of Design Annual Smith College, Northhampton, MA (drawings) (solo) O’Hara Gallery, NYC Readers: Works from the Donald Oresman Collection, Grolier Club, NYC Real People: Six Artists, Bristol-Myers Squibb Gallery, Princeton, NJ The Lawrenceville School, Lawrenceville, NJ (solo) Sculpture Center, NYC (solo)\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628233261354,"sku":"a_13001692S1","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_6F4B2561BDA4408397A973D2DFD8FA91_master_85cf5289-41e5-421c-bfc7-ab5d3b8690d8.jpg?v=1780507397"},{"product_id":"preacher-rabbi-der-maggid-judaica-oil-painting-wpa-jewish-artist-maurice-kish","title":"Preacher Rabbi Der Maggid Judaica Oil Painting WPA Jewish artist Maurice Kish","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 21.75, W: 18.0 IN\u003c\/p\u003e\u003cp\u003eGenre: Modern Subject: Hasidic Rabbi preaching in Synagogue Medium: Oil Surface: Board, size includes artist decorated frame\u003c\/p\u003e\u003cp\u003eCountry: United States Hand signed lower right and titled verso\u003c\/p\u003e\u003cp\u003eThe imagery of Maurice Kish (1895-1987), whether factories or carousels, reliably subverts expectations. His vision hovers just around the unraveling edge of things, where what is solid and clear becomes ambiguous. He is fascinated, often delighted, by the falling apart. This unexpected, fresh perspective results in oddly affecting pictures of a now long-gone New York.\u003c\/p\u003e\u003cp\u003eBorn Moishe in a town called Dvinsk, Russia (what is now Daugavpils, Latvia), Kish came with his family to New York when he was in his teens. The family settled in Brownsville, and for the rest of Kish’s life Brooklyn remained his home, though he moved from one neighborhood to another. He was close to his parents, who recognized his talent and supported his desire to become an artist.\u003c\/p\u003e\u003cp\u003eKish attended the National Academy of Design as well as Cooper Union. His fellow students included many other immigrants and children of immigrants who were particularly receptive to the Modernism coming from Europe. As his career progressed, Kish himself applied different strains of Modernism to different purposes. For him, the story was held above all else.\u003c\/p\u003e\u003cp\u003eFor years, Kish used the skills he acquired in art school to earn his living at a Manhattan glass factory where he painted floral designs on vases. During the Depression, Kish became a WPA painter in the Federal Art Project (FAP). FAP artists were given a mandate to create works that celebrated labor. The artists tended to be socially progressive, as Kish certainly was. Kish's work from this period, with its dark colors and rolling clouds, reveals the influence of Social Realists like Thomas Hart Benton. Apparent, too, is Kish's interest in the urban monumentality of Charles Sheeler. Kish's structures, however, lack Sheeler's almost dehumanized precision. Rather than the soulless, sleek machines of a typical modern urban dystopia, Kish's factories are shaggy old beasts as worn out as the laborers who troop through their doors. In End of Day's Toil, now at the Smithsonian, the viewer feels some affection for that rambly grandfather of a building all the tired small workers are leaving behind.\u003c\/p\u003e\u003cp\u003eMuch of Kish's work, for the FAP and elsewhere, undermines received truths in a similar way. Some early works with themes from Yiddish culture are overtly humorous: a painting of a big jolly wedding guest, looking invitingly over her shoulder; a Rabbi,\u003c\/p\u003e\u003cp\u003ea big fiddler on a small roof. Later, the humor becomes more ironic and reflective. In another work, the rather imposing organ grinder of the late 1930s looms above a child, yet his intermediary the cockatoo is bright and appealing, and offers the girl a fortune with his beak. This could read as an allegory for capitalism as easily as a straightforward colorful street scene. A small painting of a snowy day in Washington Square gives a bird's eye view of people bent against the wind walking alone or in pairs. The huge triumphal arch at the middle of it has no connection to their movements or their lives. Kish makes its size and centrality a quiet joke about the futility of grandiose gestures. Like the buildings in his FAP works, the arch has a personality. It is a landmark that looks a bit lost.\u003c\/p\u003e\u003cp\u003eA favorite location for Kish was Coney Island. For the laborers of the city, this was a place of great freedom and possibility. There were no bosses! Anyone could go to ride the rides and swim in the sea. For Kish, Coney Island, and especially Luna Park, became a place richly symbolic of workers’ rights. For the dreamlike paintings he set there, Kish looked past the Social Realists to the Expressionists. His colors are brilliant and his lines are wild. These images, joyfully unrestrained, give full voice to an anarchic vision merely hinted at in other works. If the structures of the earlier pictures came further out of the background than expected, these Coney Island structures completely take over the scene.\u003c\/p\u003e\u003cp\u003eKish made several variations on the theme of the carousel as a site of revolution. In the moonlight, the horses have broken from their poles and spin away from the calm center. The workers have come to manic life, have released themselves from the yoke of labor and have abandoned their master, the merry-go-round. They escape to different corners of the pleasure park, dance together and ride the ferris wheel. One horse pretends to be a ticket seller. It is another allegory, one that depicts a worker's holiday paradise in carnival fashion.\u003c\/p\u003e\u003cp\u003eA painter who embraced ambiguity, Kish was himself a man who occupied many worlds simultaneously. Even during the period when he had shows at prestigious galleries and belonged to several artists' groups, he identified most strongly as an outsider, a Yiddischer. He wrote poetry in Yiddish throughout his life. In 1968, he published a volume of fifty years of these poems, Di Velt ist Mayn Lid (The World is My Song) in Yiddish, with no English translation, for his peers. Kish also translated English-language poetry into Yiddish and acted as a guide to help other Yiddish writers. Long after the art organizations ceased to provide meaning and fulfillment, Kish was a devoted member of the Yiddish Culture Association.\u003c\/p\u003e\u003cp\u003eIn addition to painting and poetry, Kish was a dancer who taught during the summers at various Jewish resorts in the Catskills. Small but lithe, he also spent some years as an amateur boxer. Well into his eighties, Kish was proud of the quality of his handball game.\u003c\/p\u003e\u003cp\u003eBy the 1940s, Kish’s career was going well, but his descriptive style of working began to fall out of fashion, supplanted by a more formal Abstraction. Kish was never able to support himself solely through his art, yet in the midst of all of his other activities, Kish continued to create his distinctive images of an immigrant's New York. He departed far from the mainstream, and in later years, seldom showed his work, preferring to keep it for himself (although he sometimes traded paintings for rent).\u003c\/p\u003e\u003cp\u003eOf making art, Kish said, \"It is a sacred mission to enrich, to elevate and to make our lives more complete.\" His works, though frequently playful, encourage a second look at ordinary things. His irreverence elevates by revealing flaws where his audience, all workers and outsiders of a kind, can get a purchase. Kish's art fondly celebrates the beauty of the irregular.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628233294122,"sku":"a_13019062S1","price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_B775BF643E754CCCB5591CF2EFE19E5F_master_185b2e73-0991-4092-b2bb-8667558db1d0.jpg?v=1780507402"},{"product_id":"chassidic-rabbi-with-shtreimel-rare-judaica-oil-painting-signed-in-hebrew","title":"Chassidic Rabbi with Shtreimel, Rare Judaica Oil Painting Signed in Hebrew","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 16.25, W: 18.0 IN\u003c\/p\u003e\u003cp\u003eRare Judaica Art. Jewish genre scene. In the tradition of Moritz Oppenheim, Isidor Kauffman and Maurycy Gottlieb and later of Tully Filmus, Zalman Kleinman and Itshak Holtz the artist captures this Jewish Hasidic rabbi with a particular sensitivity.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628233425194,"sku":"a_13019112S1","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_9A439086C6164D2A838089D08BF22A99_master_5700065b-f92e-45a4-b6dc-cab20e9b05c7.jpg?v=1780507407"},{"product_id":"french-surrealist-trompe-l-oeil-apples-oil-painting","title":"French Surrealist Trompe L'oeil Apples OIl Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 15.5, W: 17.5 IN\u003c\/p\u003e\u003cp\u003esize uncludes frame. Lucien Mathelin, born in 1905 in Binche, A province of Hainaut, in Wallonia, Belgium, and died in 1981 in Paris. French painter. His work was influenced by surrealism andtinged with irony.\u003c\/p\u003e\u003cp\u003eLucien Mathelin was born in a family of artists and has benefited from\u003c\/p\u003e\u003cp\u003eartistic training since childhood. He made his first oil on canvas at the age of 15 in 1920. In 1924, he exhibited at the Salon d'Automne which he became a member. He did not study plastic arts, but traveled to Morocco (1925-1926) and Greece (1933-1934), where he enriched his palette. In 1937, Mathelin worked for a while for Raoul Dufy to realize the gigantic painting of La Fée Electricité . Although this painter was never formally part of the group of surrealist artists, his daughter, Marie, described his work as \"trompe-l'oeil surrealism\". Indeed, many of his paintings, made according to the technique of trompe l'oeil , refer to this pictorial movement. One of his main paintings, L'Atelier de Galanis, painted in 1946, was given by his son, Jean Mathelin, to the museum of Montmartre in Paris. The painting represents the interior of the workshop of the engraver Galanis. It shows an accumulation of heterogeneous objects (armchair, table, telescope or navy, sundial, terrestrial harmonium, empty frames ...) and the engraving press that belonged to Edgar Degas. These paintings of Lucien Mathelin created a scandal during an exhibition of the ARC at the Museum of Modern Art of the city of Paris in 1971. The Arc de Triomphe is represented in the form of a cook, and the French flag as a towel drying. In Les Invalides , the dome is replaced by a skull. The columns of La Bourse become columns of coins and tremble under the weight of gold. In The Beggar before the Elysee , the Palace grinds gruyère all eyes, while a beggar stays away. Mathelin is censored and supported by the exhibitors. The museum will close for four days. At the Paris Biennale of the same year, Mathelin was a critical success. With this series of paintings, Mathelin enjoys diverting certain classics of painting from their representations and their senses. He does not hesitate to attack the Mona Lisa who offers us her enigmatic smile, to the Venus of Botticelli by showing it to us in the shower, to Lubin Baugin's Still Life with Wafers by painting a mouse on the plate, to mix Goya and Piero di Cosimo on the same canvas.\u003c\/p\u003e\u003cp\u003eGoat, hen, donkey, horse ... Lucien Mathelin used to paint animals by assembling agricultural objects, craftsmen and everyday objects of which he was a fervent amateur. A wall in his studio at Villa des Arts was covered. He also made portraits. Unusual assemblies on canvas, poetic, tinged with humor as it should be at Mathelin.\u003c\/p\u003e\u003cp\u003ePublic collections\u003c\/p\u003e\u003cp\u003eParis , National Museum of Modern Art :\u003c\/p\u003e\u003cp\u003eParis, museum of Montmartre : Atelier Galanis , 1946, oil on canvas Dallas (United States) Gothenburg (Sweden)\u003c\/p\u003e\u003cp\u003eSolo exhibitions\u003c\/p\u003e\u003cp\u003e1925. Gallery of the Star, Paris 1933. Athens, Greece. André Gallery, Paris. 1946. Galerie Bailly, Lille. 1949. Vachon Gallery, Saint-Tropez 1957-1960-1961. Galerie Weil, Paris. Galerie de la Proue, Rennes 1965. Gallery ML André, Paris 1965. Galerie Hébert, Grenoble 1966. Mirage Gallery, Aix-en-Provence 1966. Netzel Gallery. Worpswede (Germany) 1966. Galeria Marco Polo, Madrid 1967. Kuntsalon Fisher Bielefeld (Germany) 1968 to 1970. Recio Gallery, Paris 1968. Galleria of Arte il Punto Catania (Italy) 1968. Shapes and Graphics, Saint-Paul-de-Vence 1971. Isys Brachot Gallery, Brussels 1972. The Brod Gallery, London 1974. Tokyo. Osaka (Japan) 1975. \"Monumensonges\", Gallery of the Passerelle, Paris 1975. Gallery of the Eye, Saint-Rémy-de-Provence 1978. Novotel, Lyon 1978. The Estérel, Paris 1979. Christiane Vallée Gallery, Clermont-Ferrand 1980. Galeire Schemes, Lille. 1981. Kaganovitch Gallery, Paris Tribute to the 1985 Salon d'Automne Since 1981, the Galerie Pascal Gabert has represented the work of Lucien Mathelin.\u003c\/p\u003e\u003cp\u003eGroup Exhibitions\u003c\/p\u003e\u003cp\u003eSalon Comparison Salon of the Young Painting Tuileries Salon Museum of Modern Art of the City of Paris (ARC), 1971 Biennial of Paris, 1971 Imaging Salon Summer Salon, Deauville Autumn Salon (member) from 1978 to 1981 Salon des Independants (member) National Society of Fine Arts (member) Painters Witnesses of their Time, Paris, Musée Galliera, from 1978 to 1981\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628233523498,"sku":"a_13025372S1","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_784EF169877849F0872DFBF9DAE7B5AA_master_6ffc9329-54d4-4159-9328-c7da6b16ccdb.jpg?v=1780507410"}],"url":"https:\/\/lionsgallery.com\/collections\/paintings.oembed","provider":"Lions Gallery","version":"1.0","type":"link"}