Sean Scully More Prints

Original Cinquantenaire Aeronautique vintage poster. Archival linen backed and ready to frame. Printer: Bedos & Co, Paris. A- condition. (50TH ANNIVERSARY 23E SALON INTERNATIONAL D' AERONAUTICS, JUNE 12 TO 21, 1959 * LE BOURGET AIRPORT.) This mid-century modern original French poster is for an air show...

Takashi Murakami Superflat Exhibition Poster 1999: Rare 1990s exhibit poster designed by Murakami and published by Marianne Boesky Gallery New York...

Avraham Inlender Stones III Color Offset Lithograph Year: 2003 Size: 5.9 x 5.5 inches (15 x 14 cm) Signed in pencil COA provided Avraham Inlender (1932–2003) was a Polish-born arti...

VICTOR VASARELY VASARELY CENTER NY Vintage original vintage Op-art poster published by VCNY (Vasarely Center New York), New York, 1978. Poster size - 32 x 24 inches, unframed, unsi...

Vintage gallery exhibition poster. The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was founded in 1936 in Cannes. The Paris gallery was started in 1946 by Aimé Maeght. The artists exhibited are mainly from France and Spain. Since 1945, the gallery has presented the greatest modern artists such as Matisse, Bonnard, Braque, Miró, and Calder. In 1956, Adrien Maeght opened a new parisian venue. The second generation of “Maeght” artists was born: Bazaine, Andre Derain, Giacometti, Kelly, Raoul Ubac, then Riopelle, Antoni Tapies, Pol Bury and Adami, among others. Jean-Paul Riopelle, CC GOQ (7 October 1923 – 12 March 2002) was a painter and sculptor from Quebec, Canada. He became the first Canadian painter (since James Wilson Morrice) to attain widespread international recognition. Born in Montreal, Riopelle began drawing lessons in 1933 and continued through 1938. He studied engineering, architecture and photography at the école polytechnique in 1941. In 1942 he enrolled at the École des beaux-arts de Montréal but shifted his studies to the less academic école du Meuble, graduating in 1945. He studied under Paul-Émile Borduas in the 1940s and was a member of Les Automatistes movement. Breaking with traditional conventions in 1945 after reading André Breton's Le Surréalisme et la Peinture, he began experimenting with non-objective (or non-representational) painting. He was one of the signers of the Refus global manifesto. In 1947 Riopelle moved to Paris and continued his career as an artist, where, after a brief association with the surrealists (he was the only Canadian to exhibit with them) he capitalized on his image as a "wild Canadian". His first solo exhibition took place in 1949 at the Surrealist meeting place, Galerie La Dragonne in Paris. Riopelle married Françoise Lespérance in 1946; the couple had two daughters but separated in 1953. In 1959 he began a relationship with the American painter Joan Mitchell, Living together throughout the 1960s, they kept separate homes and studios near Giverny, where Monet had lived. They influenced one another greatly, as much intellectually as artistically, but their relationship was a stormy one, fueled by alcohol. The relationship ended in 1979. His 1992 painting Hommage à Rosa Luxemburg is Riopelle's tribute to Mitchell, who died that year, and is regarded as a high point of his later work. Riopelle's style in the 1940s changed quickly from Surrealism to Lyrical Abstraction (related to abstract expressionism), in which he used myriad tumultuous cubes and triangles of multicolored elements, facetted with a palette knife, spatula, or trowel, on often large canvases to create powerful atmospheres. The presence of long filaments of paint in his painting from 1948 through the early 1950s[8] has often been seen as resulting from a dripping technique like that of Jackson Pollock. Rather, the creation of such effects came from the act of throwing, with a palette knife or brush, large quantities of paint onto the stretched canvas. Riopelle's voluminous impasto became just as important as color. His oil painting technique allowed him to paint thick layers, producing peaks and troughs as copious amounts of paint were applied to the surface of the canvas. Riopelle, though, claimed that the heavy impasto was unintentional: "When I begin a painting," he said, "I always hope to complete it in a few strokes, starting with the first colours I daub down anywhere and anyhow. But it never works, so I add more, without realizing it. I have never wanted to paint thickly, paint tubes are much too expensive. But one way or another, the painting has to be done. When I learn how to paint better, I will paint less thickly." When Riopelle started painting, he would attempt to finish the work in one session, preparing all the color he needed before hand: "I would even go as far to say—obviously I don't use a palette, but the idea of a palette or a selection of colors that is not mine makes me uncomfortable, because when I work, I can't waste my time searching for them. It has to work right away." A third element, range of gloss, in addition to color and volume, plays a crucial role in Riopelle's oil paintings. Paints are juxtaposed so that light is reflected off the surface not just in different directions but with varying intensity, depending on the naturally occurring gloss finish (he did not varnish his paintings). These three elements; color, volume, and range of gloss, would form the basis of his oil painting technique throughout his long and prolific career. Riopelle received an Honorable Mention at the 1952 São Paulo Art Biennial. In 1953 he showed at the Younger European Painters exhibition at the Solomon R. Guggenheim Museum in New York City. The following year Riopelle began exhibiting at the Pierre Matisse Gallery in New York. In 1954, works by Riopelle, along with those of B. C. Binning and Paul-Émile Borduas represented Canada at the Venice Biennale. He was the sole artist representing Canada at the 1962 Venice Biennale in an exhibit curated by Charles Comfort...

Original Vintage Event Poster created 1967 by one of the best known Japanese graphic artists, Yusaku Kamekura; in 1960 he was a founding member, then ...

Color offset lithograph. Signed and dated in felt-tip pen and pink ink, lower right. Published by Tony Shafrazi Gallery, New York.

Set of 3 color offset lithographs. The last panel is signed in pencil. Printed by Drukkerij Luii & Co., Amsterdam. Published by the Stedelijk Museum, Amsterdam. This is a reproductio...

Dee Shapiro is a Contemporary American artist and writer associated with the Pattern and Decoration movement. I have seen this referred to as Hejaz. Dee Shapiro was inspired to be an Artist in her early years of education. Dee's career started in the 1970s as a pattern painter with her works of art included in the Pattern and Decoration at P.S. 1 (other artists included Mary Grigoriadis, Valerie Jaudon, Joyce Kozloff, Robert Kushner, Kim MacConnel, Miriam Schapiro, Betty Woodman, Robert Zakanitch.) She researched and explored the Fibonacci Progression in color on graph paper and also explored geometric complexity of architectural designs, leading her to create the small horizontal oil paintings of cities and landscapes. Dee Shapiro became a Yaddo fellow in 2017. Dee Shapiro obtained her bachelor's degree in 1958 and Master of Science in 1960 from Queens College, City University of New York. Dee Shapiro is an artist that sees the subject on a large scale, but what she creates is on a diminutive scale. Shapiro's strength is the ability to give expressive power on canvas that makes her work seem larger than they are. Dee Shapiro has been a teacher, lecturer, and writer through career. "I have been concerned with women’s issues most of my life. I have worked to enhance the position of women in society through supporting the work of women artists. As a contributor to Heresies Magazine and a founder of a women’s cooperative gallery as well as developing a body of work that references women’s work and more currently focuses on female sexual imagery, I identify with feminist matters and affairs." Group exhibitions 2018 The American Dream, Emden, Germany Solo exhibitions 2016 Art 101, Brooklyn, NY 2015 Andre Zarre Gallery, NYC 2015 Five Points Gallery, Torrington, CT 2012, 2010, 2009 Andre Zarre Gallery, NYC 2010 Norfolk Library, Norfolk, CT 2009 George Billis Gallery 2006 Harrison Street Gallery, Frenchtown, NJ 2004 The Mercy Gallery. Loomis Chafee, Windsor, CT. 2004,2002, 1998 Andre Zarre Gallery, NY C, National Arts Club, NYC 2000 Principle Gallery, Alexandria, VA 1998 Nassau County Museum of Fine Art, Roslyn, NY 1997 Andre Zarre Gallery, NYC 1996 North Winds, Port Washington, NY 1994, Andre Zarre Gallery, NYC 1984 Ana Sklar Gallery, Miami, FL 1983 Andre Zarre Gallery, NYC 1982 Everson Museum, Syracuse, NY, Andre Zarre Gallery, NYC 1981 Dubins Gallery, Los Angeles, CA, Zenith Gallery, Pittsburgh, PA 1980, 1976 Andre Zarre Gallery, NYC 1979 Gallery 700, Milwaukee, WI Andre Zarre GalleryNYC 1978 St. Mary's College, Notre Dame, IN 1977 University of Arkansas, Little Rock, AK 1975, 1973 Central Hall Gallery, Port Washington, NY, Nassau County Museum of Fine Art, Roslyn, NY Selected bibliography James Panero, Supreme Fiction The Hudson River School Revisited, March, 2010 Piri Halaz, From the Mayor’s Doorstep, April 2010 Steve Starger, Art New England, Dee Shapiro: “On The Horizontal,” Feb/Mar 2005 Maureen Mullarkey, The New York Sun,”The Last Time I Saw Cuba,” April 15, 2004 James Kalm, NY ARTS, International Edition, April 2000 Helen Harrison...

Alexander Calder - Original Lithograph - from "Derriere le Miroir"Behind the Mirror 1976 Framed Dimensions: 38 x 56 cm Source: Derrière le miroir (DLM), n°141, 1976 Alexander Cald...

Georg Baselitz (German, b. 1938) Der Berg, 1991/93 Medium: Color offset print Dimensions: 100x 63.5 cm Edition size: Undisclosed (presumably 100-200) Markings: Hand-signed and dated ...

Artist: Risaburo Kimura– Japanese/American (1924-2014 ) Title: City 365 Year: circa 1972 Medium: Serigraph Sight size: 25 x 19.75 inches. Sheet size: 28.75 x 22.75 inches. Signatur...