Art

6 colour screenprint with hand applied glitter on Somerset Tub Sized Satin Radiant White 410gsm Edition of 125 Signed and dated by the artist on archival label on the back Mint Sold ...

"I remember the moment that the idea for Bodyscapes® came to me. I was thinking that the shape and structure of the universe repeated itself at every level and suddenly I had the ima...

Rafael Canogar (Spain, 1935) 'Agua', 2003 silkscreen, collage on board 59.1 x 48.1 in. (150 x 122 cm.) Edition of 100 Unframed ID: CAN1030-098 Hand-signed by author _________________...

Darren Almond Fullmoon. Art Edition A Super Rare Artist's Proof (AP 15) Incl. the Signed Original Print Moonbow@Fullmoon Completely New & Factory-Sealed TASCHEN 2014 Art Edition ...

Acrylic and oil on canvas Nicole Benjamin is a French artist born in 1949 who lives & works in Bacoli, near Naples in Italy.

JOAQUÍN PALLARÉS ALLUSTANTE Spanish, 1853 - 1935 PORTE SAINT - DENIS signed "J. Pallares" (lower left) oil on canvas 10-1/2 x 15-3/4 inches (26.5 x 40...

​ JOHN ROBERTSON REID RBA, ROI, RI ​ British 1851 – 1926 “Harvest of the Sea” Oil on canvas, Signed and Framed. John Robertson Reid was born in Edinburgh and studied at the Royal Scottish Academy schools before moving to Cornwall and later London. He became interested in the social-realist movement; probably influenced by Bastien-Lepage and in 1879 his “Toil and Pleasure” was hung in the Royal Academy and bought by the Chantrey Bequest. He continued to exhibit at the Royal Academy and at the Royal Society of British Artists and also the Royal Institute, he was a member of all three Institutes. Reid’s subjects – field workers, humble people – were similar to those of Bastien-Lepage, but his handling of the paint was more dynamic and reflected his training at the Scottish Academy under Chalmers and McTaggart. He was also a good colourist, and some of his coastal scenes with fishermen and women in the foreground, have rich blues and greens, of which ours is a typical example. Reid was also a fine watercolourist in a breezy style similar to that of David Cox. Not all his work was about hard work he also painted rural people at rest or playing cricket and was always capable of brilliant work; his Venetian...

Offset lithograph Edition of 300 Signed and numbered on the front Mint, as issued Sold in the original Kaikai Kiki box

Juan Sánchez Cotán (1560 - 1627) was one of the most important still life painters in Spain and beyond. He developed a certain type of still life with a ...

Lithograph and chine appliqué 64.5 x 54 cms (25 3/8 x 21 1/4 ins) Edition 50 Paper: Arches paper; Japanese Gampi handmade paper Other Collaborators: Image transferred from Mylar to...

Flowerpot is a vintage offset print on paper realized by Josip Generalic in 1971. Original colored offset. Good condition and aged. Hand-signed and...

Grotesque - Carlo De Tommasi Italia 2012 - Oil on canvas cm. 130 x 80. Peral grey laquared wooden frame cm. 150 x 100 The painting created by the painter Carlo De Tommasi is in neoc...

"Joyful effervescence" abstract acrylique collage marble powder garnets grains on wood panel 116x86cm send in wood crate at cost It is the energy linked to creation, the one that pu...

This muscular male torso probably comes from a larger relief, which would have decorated the front part of a sarcophagus. It likely represents the figure of a satyr, standing, with t...

THE ANNUNCIATION TO THE SHEPERDS Italy, 17th Century Painting on agate in an ebonised wood, gilt bronze and semi-precious stone frame 38 x 31 cm - 15 x 12 1/4 in with frame 14 x 8.5 cm - 5 1/2 x 3 1/4 in without frame Although quite rare, across the centuries the art of painting on stone...

A fine pair of Italian miniature jasper plinths

This bronze sculpture is an exquisitely detailed representation of the god Dionysos, whose cult was one of the most popular in ancient times. Here, the god is nude, with a mantle that gently lies on his right leg. He is holding a bunch of grapes with his left hand, and a rhyton (drinking horn) with the right. The god is youthful and joyfully gazes forwards, with a crown of ivy leaves set upon his long flowing hair. These features clearly resemble those of the life-size Roman marble sculpture of Dionysos exhibited at the British Museum, acc. no. 1861,0725.2 . This statuette was probably part of a larger composition and used as a decorative element applied to a piece of furniture. Its finely wrought details, as well as the attractive olive-green patina led to its inclusion in the collection of the Fitchburg Art Museum for thirty years. PROVENANCE English Private Collection (Sotheby’s, London 17-18 July 1985, Lot 204) Royal Athena...

Large roman carved marble fountain head representing a lion Rome, I-II Century AC Bonham's London, 22 September 1998, lot 485; formerly in the pr...

Evgeni Chuikov was a master impressionist during the Soviet Era and after. His lyrical impressionism was highly celebrated even though it went against the official art style of the ...

Fahamu Pecou is a visual artist and scholar whose works combine observations on hip-hop, fine art and popular culture. Pecou’s paintings, performance art, and academic work addresses...

Evgeni Chuikov was a master impressionist during the Soviet Era and after. His lyrical impressionism was highly celebrated even though it went against the official art style of the ...

Signed lower right: W Bradford

Fables is an original Modern Rare book engraved by Sir William Blake (London, 1757 - London, 1827) and written by John Gay (Barnstaple, 1685 – London, 1732) in 1793. Full title: "Fa...

Anthony Hunter 61 Deep Abstract Painting Gloss on Panel 60 x 75 inches, piece can be vertical or horizontal Anthony Hunter was born in Lancashire, England 1987. He graduated from Leeds Metropolitan University in 2009 from the ‘Contemporary Art Course’ where he worked collaboratively with his twin brother focusing on painting and a little bit of performance. After graduating, Anthony and his brother landed a job sitting for Damien Hirst at the exhibition 'POP LIFE' at Tate Modern, London, which involved them sitting underneath a pair of Hirst’s spot paintings...

Anthony Hunter "Curious Big Black Square Running Away from Black Blob Over there Painting" Gloss on Panel 41 inches x 61 inches Framed (piece can be vertical or horizontal) Style: Minimalism Black and White abstract Anthony Hunter was born in Lancashire, England 1987. He graduated from Leeds Metropolitan University in 2009 from the ‘Contemporary Art Course’ where he worked collaboratively with his twin brother focusing on painting and a little bit of performance. After graduating, Anthony and his brother landed a job sitting for Damien Hirst at the exhibition 'POP LIFE' at Tate Modern, London, which involved them sitting underneath a pair of Hirst’s spot paintings...

Anthony Hunter was born in Lancashire, England 1987. He graduated from Leeds Metropolitan University in 2009 from the ‘Contemporary Art Course’ where he worked collaboratively with his twin brother focusing on painting and a little bit of performance. After graduating, Anthony and his brother landed a job sitting for Damien Hirst at the exhibition 'POP LIFE' at Tate Modern, London, which involved them sitting underneath a pair of Hirst’s spot paintings...

Anthony Hunter Tokyo Painting Gloss on Panel 62 x 41 inches framed, piece can be vertical or horizontal Anthony Hunter was born in Lancashire, England...

Anthony Hunter Super Duper Pinky Yellow Scrape with Dark Green Blob on Top Painting Gloss on Panel 62 x 41 inches framed, piece can be vertical or horizont...

Anthony Hunter Scrape, Scrape, Scrape From the Tableside of My Heart Painting Gloss on Panel 62 x 41 inches framed, piece can be vertical or horizontal Anthony Hunter was born in L...

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

Raymond Pettibon (untitled) Clock drawing 1995: Medium: ink and graphite on paper. 1995. Dimensions: 121⁄4 x 12 7/8 inches (31 x 33 cm.) Dimensions including frame: 16x16 inches. V...

LUCIEN BOULIER "NUDE WITH RED HAIR" OIL ON PANEL, SIGNED FRANCE, C.1930 26 X 20 INCHES Lucien Boulier 1882-1963 Lucian Boulier was born Verdun...

SPRING BEAUTY - Oil on canvas painting by Angelo Granati, Italy 2011 Gold leaf gilded, pleated silk and mirror wooden frame ext. mis. cm. 164x106. This is his reinterpretation of pa...

Liz Jaff creates intricate constructions which use repetition, patterns and forms from nature and architecture to explore ideas of love, commitment, sacrifice and memory of time and ...

Harvest, Surrey England. Signed and titled antique gold leaf frame. John Horace Hooper was born in 1851-1906 England. Known for his captivati...

Gasstation (Stranger than Paradise) - 2000 Edition of 9/10. 3 x 58 x 56 x 0.3 cm, 58 x 188 cm installed. 3 Analog C-Prints, hand-printed by the artist based on 3 original Polaroids....

The Magicians Message From Cuevas' Comedies. Screenprint with collage additions and five lithographs from a portfolio of ten lithographs (one with screenprint and embossing, one with embossing) and five screenprints (two double-sided, one with collage additions). Pencil signed and dated 1971, edition 84/100, blindstamp visible, published by Collector's Press, San Francisco. Framed under Plexiglas. Jose Louis Cuevas was born in Mexico City in 1933 -2017. A master draftsman, Jose Luis Cuevas played a pivotal role in Latin America's drawing and printmaking renaissance of the sixties and seventies. He is also associated with Latin America's neofigurative movement, along with artists such as Fernando Botero and Antonio Segui. By the age of fourteen, he had illustrated numerous periodicals and books and had had his first exhibition in Mexico City. In 1953 Cuevas published La cortina del nopal (The Cactus Curtain), an article condemning aspects of the Mexican Mural movement and advocating greater artistic freedom. This philosophy inspired the founding in 1960 of the group Nueva Presencia, which he joined for a brief time. It promoted individual expression and figurative art reflecting the contemporary human condition. Cuevas' work was influenced by the graphic art of Goya and Picasso as well as by Posada and Orozco, whose representations of deformed creatures, degraded humanity and prostitutes were of particular thematic interest. Over the years, he has paid homage to his favorite painters as well as writers, such as Dostoevsky, Kafka, Quevedo and Sade, in numerous series of drawings and prints. Cuevas has said that his drawing represents the solitude and isolation of contemporary man and man's inability to communicate. It is for this reason that he often distorts and transforms the human figure to the point of uniqueness. Cuevas has had solo exhibitions in museums and galleries throughout the world including the: University of Texas, Austin, 1961, the San Francisco Museum of Art, California,1970, the Museo de Arte Moderno, Mexico City, 1972, Museo de Arte Contemporaneo, Caracas, 1974, Phoenix Art Museum, Arizona, 1975, Musee d'Art Moderne, Paris, 1976. His work was included in Four Masters of Line: Jose Luis Cuevas, Alexander Calder, Stuart Davis, and Morris Graves, Musee de la Napoule, France, 1957 and in The Emergent Decade, Cornell University and Solomon R. Guggenheim Museum, New York, 1965. Among his many awards are First International Prize for Drawing, Biennial of Sao Paulo, 1959, First Prize, International Black and White Exhibition, Lugano, Switzerland, 1962, First International Prize for Printmaking, Triennial of Graphic Arts, New Delhi, India, 1968, First Prize, III Latin American Print...

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Catalogue refere...

Artist: Dan May (American, 1955-) Title: "Devil Painting his Models" *Signed and dated by May lower left Year: 2001 Medium: Original Acrylic Painting on...

Pair of Antique Paintings With Cherubs After Francois Boucher (1703-1770) Boucher is known for his idyllic and voluptuous paintings on classical themes, decorative allegories, and pastoral scenes. Pair of charming late 18th or early 19th Century oil paintings with Putti playing with bow and arrow...

The young man sitting is an etching realized by Giambattista Tiepolo in 1785.  Sheet 23 x 30 cm. Good impressions on paper, with wide margins. ...

CYRC vintage poster is an offset print on paper realized by J. Czevniawski in 1974. Original colored offset. Good condition and aged.

Perez Celis (American, Argentinian 1939-2008) Oil and mixed media on canvas 1993 Latin abstract expressionism oil painting depicting a color block and drip motif Hand signed and dated to lower left. In gilt gold frame. Approximate dimensions: canvas h. 14", w. 21"; frame h. 24", w. 31", d. 2.25". Celis Pérez (1939 – 2008) was an Argentine artist usually referred to as Pérez Celis. He earned international recognition for his paintings, sculptures, murals and engravings. Pérez was born in San Telmo on the South side of Buenos Aires, and grew up in Liniers, on the opposite end of town. Working as a newsboy during childhood, he learned the basics of drawing and painting via correspondence classes. In 1954 he entered the Manuel Belgrano National School of Fine Arts, and under the guidance of teachers like Leopoldo Presas, Santiago Cogorno, and Libero Badii, Pérez Celis developed his interest in abstraction. He first exhibited at age 17, at Galería La Fantasma. Following his entry into the professional arts world, he began using his name in a reversed form. At the start of his career he has been influenced by Hungarian artist Victor Vasarely during a 1957 retrospective of the latter's works at the National Fine Arts Museum. Some of his later works bear the influence of Gerhard Richter. He married Sarah Fernández in 1959 and relocated to Uruguay for less than a year invited by Carlos Páez Vilaró . Took part in the "Group of 8" – proponents of abstract art among the normally conservative local audiences. "Grupo de los 8", was a movement of Latin American, Uruguayan and Argentine artists formed in 1958 together with Oscar García Reino, Miguel Ángel Pareja, Raúl Pavlovsky, Lincoln Presno, Américo Sposito, Alfredo Testoni and Julio Verdie in order to promote new tendencies in painting. In 1960 they were invited by art critic Rafael Squirru to join the international exhibition at the Buenos Aires Museum of Modern Art (of which he was creator and first director) with artists such as Willem de Kooning, Roger Hilton and Lucio Fontana. He returned to Buenos Aires in 1960, and opened a downtown atelier with the support of Guido Di Tella, his first mecena. Pérez Celis explored geometric art, and builds his first mural, Fuerza América, in 1962. Indigenous patterns and colors would reappear in many of his productions during the 1960s and 1970s, and distinguished him from most other local artists, among whom pop art and figurative art was more influential. His work had a more raw, Art Brut , Brutalist feel to it. He was featured in more than 120 solo shows during his career, notably the Galerie Bellechasse, Anita Shapolsky Gallery New York, (he showed with Agustin Fernandez, Rodolfo Abularach, Giancarlo Puppo and Cuban artist Mario Bencomo) Arteconsult, Boston & Panama, Witcomb, etc. and his art was purchased for many private collections and first-rate museums, including the Museum of Modern Art in New York. He received commissions from the Argentine government, which placed his works in the Ministro Pistarini International Airport, from other governments, and from prominent individuals and businesses. In 1977, following his wife's passing in an automobile accident he remarried and lived in Caracas, Paris, New York City, and Miami in subsequent years. He shared his time between Buenos Aires and New York in 1994, a retrospective of his work was hosted at Biblioteca Nacional visited by more than 300000 persons. He continued exhibiting in Latin America, in the Sanyo Gallery in Tokyo, the Anita Shapolsky Gallery in New York City, and at numerous universities. Among his numerous recognitions in later years was the Alba Award at the 61st Salón Nacional de Artes Plásticas Argentino, and he was proclaimed a Distinguished Citizen of the City of Buenos Aires in 2001. He also created several literary illustrations, notably those for Jorge Luis Borges' Spanish-language translation of Walt Whitman's poem Leaves of Grass. A fan of the Club Atlético Boca Juniors football team, he created two murals in 1997 for the team's La Bombonera Stadium in Buenos Aires: "Idolos" (Idols) and "Mito y Destino" (Myth and Destiny), both Venetian mosaics and bronze sculpture on cement. Museum of Modern Art (MOMA), New York, NY Museum of Modern Latin American Art...

This is an exclusive handprinted limited edition cyanotype. "Pacific Ocean Currents (Blue Border)" is a handmade cyanotype print of rough water texture resembling Pacific Ocean swell...

Brooklyn Waterfront Lithograph, 1931 Signed, titled, and dated in pencil by the artist Edition: Undetermined (very small), plus artist's proofs Printed by Meister Schulz, Berlin Provenance: Estate of the artist Virginia Dehn, the artist's widow Dehn Quests Bibliography: Lumsdaine and O'Sullivan 152 Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 9.14, page 213 (This impression) Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer, the publisher of the most notable modernist art and poetry magazine...

Diego Glazer's "Shadow's Edge" is a captivating representation of nature's untouched beauty. Painted in 2022, this oil on canvas piece stretches across dimensions of 60 x 72 x 3 inch...

TOTEM - Brass (2023) ​ MATERIAL Brass (brushed) / Volcanic stone ​ DIMENSIONS 25 x 15 x 15 cm Presented at Design Week Mexico 2023 Signed About the Artist José Luis Meyer (1981)...

Lithograph in colors printed on off-white wove paper. Signed and numbered "AP 4/25" by the artist. Robert Indiana often referred to himself as a "painter of signs." Framed in a simp...

Salvador Dali (Spain, 1904-1989) 'La Cour du Lion', 1974 Serie: Le Bestiaire de La Fontaine dry point, aquatint on japanese paper 30.6 x 22.7 in. (77.5 x 57.5 cm.) Edition of 250 Unframed ID: DAL2001-007 Hand-signed by author It appears reviewed in the catalog raisonné: The official catalog of the graphic works of Salvador Dalí. Albert Field. Page: 2/93. Nr. 74-1 J. ______________________________________________________ Salvador Felipe Jacinto Dalí i Domènech was a Spanish painter, sculptor, engraver, set designer and writer of the 20th century. An artist associated with surrealism, he is one of the most important figures in 20th century art, representing the archetype of the spectacular contemporary multifaceted artist. He develops his creative activity in various fields through the most diverse cultural formulas: painting, written media, performing arts, cinema, or public appearances in the press, radio, cinema, advertising, television, etc. Master of the most refined pictorial technique, especially drawing, along with various aesthetic languages - from impressionism, cubism, purism or late ultraism with Dadaist edges to the most radical surrealism, hyperrealism, pop-art or art optical—, will absorb every influence that is useful to build its own and personal language, halfway between technical tradition and thematic avant-garde. His paranoid-critical method is his main contribution to the surrealist movement and to the history of art as a new creative model with which Dalí's theories acquire theoretical entity - thanks to the successive interpretations that the Empordà artist made of his readings of Dalí's work. Sigmund Freud—and practice, applying it as a revealing liquid of images that can be represented plastically through multiple images, anamorphisms, relational mirages, irrational and heterogeneous symbolic images, pseudohallucinations, childhood memories, atavisms, obsessive ideas, etc., and recreating a polyphonic method capable of critically relating any visual or sensitive experience. With his method, Dalí makes paranoid delirium a whole mode of expression of an art that introduces us to the concrete irrationality that inhabits every creative process, constructing not only his works, but also his own character. as an artist. In Dalí, the relationship between his work and his personal history becomes evident. Much of the most significant biographical facts for the artist are implicitly or explicitly present in the content of his work and are the explanation of his complex and contradictory personality. In 1910, at the age of 6, he was enrolled by his father in the Hispano-French school of the Immaculate Conception of Figueres, where he learned French, his future language of culture. Dalí's first contact with Impressionism occurred in 1916, when he spent some time on the outskirts of Figueres, specifically at the Molí de la Torre estate, property of the Pichot family (intellectuals and artists), where he was the collection of the painter Ramón Pichot. In 1919 he participated for the first time in a group exhibition in the halls of the Societat de Concerts, and with a group of friends from the institute founded the magazine Studium, in which he published his first writings. A year later he moved to Madrid to study at the School of Fine Arts. In 1922 he won his first prize at the Concurs-exposició d'obres d'art originals d'students, held at the Galeries Dalmau (Barcelona). This same year he attended the School of Painting, Sculpture and Engraving in Madrid (Royal Academy of Fine Arts of San Fernando), and lived in the Student Residence, where he became friends with prominent personalities such as Luis Buñuel, Federico García Lorca, Pedro Garfias , Eugenio Montes, or Pepín Bello. However, a year later he was expelled from the Academy for his rebellious and revolutionary character, accused of leading a protest. It would be in 1927 when his surrealist period began, after having traveled to the Netherlands and France, meeting Flemish painters and Picasso. In Paris itself, in 1929, through Joan Miró, he came into contact with a group of surrealists headed...

Flowers - Carlo De Tommasi Italia 2013 - Oil on canvas mis. cm. 110x90. Gold leaf gilded and laquered wooden frame ext. mis .cm. 130x110. The painting by the painter Carlo De Tommas...

Robert Indiana screen print with letterpress and embossing, pencil signed and numbered by the artist. In 1996 when Robert Indiana created The Book of Love Portfolio, he chose to inse...

Robert Indiana screen print with letterpress and embossing, pencil signed and numbered by the artist. In 1996 when Robert Indiana created The Book of Love Portfolio, he chose to inse...

"Angel" , Mix media , 2022 , Limited Edition 10/10 + option to add wood frame + 60 euro from collection " New Age" - The New Age series of 12 artworks was created as a personal pro...

This is an exclusive handprinted limited edition cyanotype. "Mediterranean Blue Sea Waves" is a handmade cyanotype print of the subtle tidal flow moving in on the Mediterranean Sea. ...

"Architectural Fantasies" is a 44" x 34" oil on canvas abstract painting of geometric shapes and forms, giving the illusion of a three dimensional, architectural structure. The paint...

ICARUS 2 is an original hand-drawn lithograph created in 1986 by the French American artist Marius Sznajderman, printed in neutral warm grays and intense black on archival Arches pa...

Poch Romeu was one of the most relevant and renowned landscape painters who originated in the second half of the 20th century. His technique was oil on can...

"Need for lightness" abstract acrylic paper collage marble powder sand on canvas linen beige ochre send in wood crate at cost stay positive in a heavy social environment fight again...