The maker of the fine piece listed above was completed by none other than Mikhail Larionov, an influential Russian painter, stage designer, printmaker, illustrator, and writer. As one of the leaders of the Russian avant-garde before World War 1, he became recognized in the West through working with Serge Diaghilev and contemporary Ballet groups. Larionov was a founding member of two important Russian artistic groups Jack of Diamonds (1909–1911) and the more radical Donkey’s Tail (1912–1913). He gave names to both groups. His first solo show was for one day in Moscow in 1911. In 1913, Larionov initiated two highly influential movements: Rayism and Neo-Primitivism; during the 1920s he played a significant role within the Ecole de Paris and continued to live and work in France until his death. Larinov is currently in the highest ranking of world famous artists in the “United Artists Ranking”. The silkscreen in our collection is numbered and stamped with an “M. Larinov” stamp. Manufactured in 1919, this geometric abstraction depicting a peacock, provides a modern outlet for such a historically rich allegorical icon.
Taro Yamamoto is a Japanese-American artist who belonged to the New York School Abstract Expressionist movement. After having served in the U.S. Army during WWII, Yamamoto studied at the Art Students League under major artists such as Yasuo Kuniyoshi, Morris Kantor, Byron Browne, and Vaclav Vytlacil. The image above, Composition V, demonstrates the technique he implemented during the late 1950’s and 1960’s, a splattering effect though using highly-refined oil paints, onto paper and canvas. The end result mimics the complex compositions of Sam Francis, through his bold use of primary colors; though he does so against a taupe background, which leaves room for the viewer’s eye to breathe and to experience dramatic modern ellipses in the composition.
HENRI FANTIN-LATOUR (1836-1904)
"La Source dans les Bois"
31.7 x 49.4 cm
Ignace Henri Fantin-Latour, is a prominent 20th century artist, who was born in 1836 in Grenoble, of mixed French and Russian descent. Living and working mostly in Paris, Latour has been associated with the avant-garde, though he was considered part of the ‘establishment’, exhibited at the Salon and the Royal Academy, and was classically trained. Latour is justly remembered for his still-life paintings of flowers, and for his idyllic and dreamy lithographs, pastels and drawings, such as the work listed above, “La Source dans les Bois”. Unbenongst to many, the artist was greatly impassioned by the musical arts, among composers such as Wagner, Berloiz, and Schumann. The fantastical visions of Latour are classical and conservative in style in comparison to his impressionistic contemporaries, yet conversely, are still quite poetically amusing and imaginative. As the stunning lithograph above retains the same beauty and essence of his other works, he remains one of the most important 20th century painters of our time.
SAM FRANCIS (1923-1994)
56.5 x 76 cm
Signed Lower Left, Numbered and labeled “Printers Proof II”
Influenced by well-known abstract expressionist figures like Mark Rothko and Clyfford Still, Francis was a major influence to Modern art.
Having spent a great portion of the 1950’s in Paris and later on in Japan, Francis also acknowledged the influence of Zen Buddhism as a subtle feature of his work. Francis produced and is generally recognized for his large paintings upon which he splashes spurts of highly-refined oil onto a blank canvas, flooding the plane with brilliantly abstract forms, which contrast against the positive space of the canvas. Likewise, he founded the Lapis Press in 1984, an institution cwith the goal of publishing editions comprised of poetry, fiction, essays on contemporary art, philosophy literature and Jungian psychology.
He is likewise known for his extensive collection of intuitively-abstract and colorful stone lithographs such as the work featured above, “Blue Violet”. This would would make an excellent addition to any home and we would be happy to answer any questions you might have on the piece.
Price upon request.
MARC CHAGALL (1887-1985)- was a Russian modern artist who “synthesized the art forms of Cubism, Symbolism, Fauvism… and the influence of Fauvism gave rise to surrealism”. He became one of the most major modern avante-garde artists, having founded the Vitebks Arts College in 1922. Chagall openly addressed his desire to “cherish and publicly express his Jewish roots”, and created many works which were intended to illustrate biblical publciatons. He worked in all media, including painting, stained glass, ceramic, tapestries, and fine art lithographs. Furthermore, he created illustrations to accompany the French Publication of “Derriere le Miror” in Paris, and additionally created book illustrations as well. He was a major artist and innovator and for decades has been respected as “the world’s preeminent Jewish Artist”.
GENE CHARLTON- Born in Cairo, IL in 1909, Gene Charlton was a painter and lecturer of art. In 1941, Charlton won an honorable mention with his painting “Chartres”, which was executed with a “Modern-Primitive” aesthetic. He distinguished himself as a Modern painter that was unique to the Texan artistic climate, and was represented in the 1937 Pan-American Exhibition in Dallas. He produced a number of watercolor paintings on paper and on fabric as well, with certain works having surfaced at many auction houses over the world. His work is highly collectable and decorative, ranging in style and dimension throughout his oeuvre.
Artist Albert Urban 1909-1959 born in Germany, Studied with Beckmann, and Baumeister . Fled germany in 1940 Nazis condemned his art as decadent and was forbidden to paint. Came to this country with other leading artist. Had shows with Picasso, Chagall. Braque.
Major contemporary artists such as Dan Flavin, have acknowledged a profound impact upon their work by the german artist. On the topic, Flavin discussed his relationship to the under-hyped artist:
"…my drawing had the personally concerned criticism of a new “American” painter, Albert Urban, a gentle unreconstructed “pariah”, who, as a young man, had had his work acclaimed in Hitler’s museum for “degenerate” art. I never studied in his studio, which Albert maintained as barred sanctuary daily from nine to five, but on several evenings, weeks apart, we sat for hours with his wife, Reva, in their spacious West Tenth Street apartment examining my papers.
After scanning a first batch of divers expression, Albert sighed, settled back into his easy chair, lighted the tobacco in a pipe and, for a while, distractedly puffed smoke through his wiry black moustache. When he finally spoke, he plainly suggested that I might better become a scholar – a religious art historian.
I was secretly shocked and grieved by Albert’s lack of recognition. In the months that followed, I fervently produced more hundreds of poor drawings and a few horrid aspirations in oil on canvas paper and similar board which I supposed must be what paintings were like.”
It is Urban’s historical importance and original style that so inspired Flavin. His original work is inevitably beckoning for further research in the area to scholars and art experts.
YAYOI KUSAMA, “Supper”, 1963. Stuffed and sewn canvas in wooden box. Signed and Dated “Kusama 1963” on the underside, 8 inches x 16 inches x 14 inches; (20.3 cm x 40.6 cm x 35.6 cm).
Yayoi Kusama is a major postwar- contemporary Japanese artist and writer whose works incorporate visceral images and provoke philosophical questions. Born in 1929 in Matsumoto City, Japan, Kusama is also a well respected fictional writer of short stories, though Kusama began her career by studying Nihonga painting, a rigorous technique developed in Japan during the Meiji period (1868-1912) which aims to distinguish the classical elements of traditional Japanese paintings from other western-influenced styles. Many of her works have a rather obsessive compulsive tendency, palpable in the repetitive visual imagery of many of her works, some containing an abundance of tiny dots and other repeated elements, which may read as neurotic or paranoid. Drawn to the international postwar art scene, Kusama moved to New York City in 1958, exhibiting her first paintings in 1959. Highly cherished, her Net paintings consist of a series of mesmerizingly vast canvases entirely covered in rhythmic undulations, of which their coils suggest ‘infinity’. Kusama returned to Japan in the early 1970’s to begin working on her own surrealistic novels, short stories, and poems, only later to revisit themes that permeated throughout her earlier works. Kusama is also treasured for her series of soft sculptures that she created from the 1960’s to the 1980’s, which are chiefly comprised of various fabrics, embellishments found or handmade objects.
Her recent works consist of freestanding sculptures and dizzying displays, a lovely frenzy of elegantly vivid forms that have been included in leading museums throughout the world, including the Museum of Modern Art, New York; Los Angeles County Museum of Art; Tate Modern, London; Centre Pompidou, Paris; and the National Museum of Modern Art in Tokyo, among many others. Kusama continues to live and work in Tokyo, where her designs extend but are not limited to a versatile scope of art forms such as theater happenings, fashion designs and dazzling mirror-filled rooms which captivate their viewer. Often praised by her peers, among them Donald Judd, Dore Ashton and Frank Stella, Kusama’s work is also presently on display at the Whitney Museum of Art. Similar soft sculptures to the one illustrated above take the form of household furniture pieces. The exhibition will be open from July 12-September 30th, 2012, alongside another solo-exhibition of the work, Fireflies on the Water, on view now.
PABLO PICASSO, ”Vallavris”, 1961. Linocut Edition, 120. Signed “Picasso”, lower right corner.
ANTONI TAPIES (Spain 1923-2012), “Untitled”, 1970-1990. Lithograph, 30. 25” x 22” inches (76.8 cm x 55.9 cm).
Antoni Tapies is a Spanish abstract painter whose work during the 1940’s was strongly influenced by Surrealist painters like Miro and Klee, until the 1950’; at which point he grew into his intrinsically individualized technique. A witness to the Spanish Civil War and the Catalan nationalist movement in his youth, a great percentage of Tapies’ work his informed by the turbulent climate of the Spanish streets.
By the late 1960’s and early 1970’s, his work began to gain momentum, with many of his ‘object works’ taking on an even more Surrealist spin. Many of these works often include rather textured materials, such as marble dust, sand, chalk and Earth, while others include found objects, sometimes even massive, extending in scale to live-sized mattresses painted with blood-like stains, others piled with straw, recalling Robert Rauschenberg.
This very interesting print by the Catalan painter-sculptor, Tapies, has many elements that are dating it to the decades 1970-1990.
Firstly some marks, usually crosses of ochre colour; there are two in our print, on the upper and lower left side.
The distinct black, white, and many hues of gray are typical of this period too. Tapies used to draw every day objects in his abstract graphic work. In this case we almost have a shirt on a blouse.
Finally, as an artist with a great sense of humor he used to play with the letters A and T, his and his wife. In this case the composition works like a lower case T, for Tapies, his family name and Teresa, his wife given name.
The print is signed on the plate, lower right and inscribed with pencil “E.A”-“epreuve d’artiste”.
The print is an excellent opportunity for a collector aiming to own a Tapies piece that is as affordable as it is gorgeous.