Olja Ivanjicki Mixed Media Painting

An original vintage framed by artist, this mixed media oil, brass on canvas abstract painting is very powerful and highly decorative.

Fantastic mixed media painting by Contemporary French Artist Richard Texier. A combination of watercolor, ink and collage on paper this work was is called Marges. Signed upper right corner and dated. This painting was once part of GE's corporate art collection. Colors may vary slightly. Image size is 13 inches high by 8.50 inches wide. Today Texier is regarded as one of the best living artists of his generation. He began painting at a young age and his keen interest in the history of astronomy is largely inspired by the creation of his own personnel cosmography. Known for both his paintings and sculptures he has installations throughout the world. His works are to be found in numerous important public and private collections, both in France and abroad. Many major museums around the world have exhibited his work including the National Museum of Taiwan, the National Museum of Luxembourg, the Marine Museum in Paris, the Botanical Museum of Brussels, the House of Culture Moscow and the Shanghai museum of Fine Art. He has also graced the covers of Decorating Magazines especially in France. HIs current contemporary large scale paintings retail between $28,000 and $64,000 both at auction houses like Christie's and Artcurial as well as galleries. His sculptures have even higher price points including two that reached $404,00 and $915,00. In addition he has also worked with Daum creating unique glass sculptures. Since November 6, 2015, his red bronze sculpture: Angel Bear, more than 7 meters in height which portrays a bear with wings, is placed on the Gare du Nord square in Paris. It evokes the downward spiral of polar bears due to global warming, one of his favorite themes. Selected personal exhibitions: 1982: FIAC, Gallery Claudine Bréguet, Paris, France [14] 1983: Exhibition Space, Leo Castelli, 112 Greene Street, New York City, United States [24] 1985: Gallery Kouros, Madison Avenue, New York City, United States [25] · [26] 1985: Exhibition at the museum of fine art of La Rochelle & Sainte-Croix museum, Poitiers, France [27] 1986: Richard Texier: el continente de la peonza, Museo Casa Natal de Jovellanos, Gijón, Spain [28] 1986: La Roche-sur-Yon museum, France [29] 1987: Sawaya & Moroni, Milan, Italy[30] · [31] 1988: Galerie Lea Gredt, Luxembourg 1988: Gallery of Applied Arts, New York City, United States [32] 1989: Galeria Ciento, Barcelona, Spain[33] 1991: Territoires nomades at the Musée des beaux-arts d'Angers, France [34] 1992: Galerie Mobile & Galerie Hadrien- Thomas, Paris, France [35] 1992: Moscou 92 VDNKh in Moscow, Russia [36] 1992: Histoire du Ciel, Galleria La Bussola, Turin, Italy [37] 1992: Contemporary Art Center of Moscow, Russia [36] 1993: The Botanique museum, Brussels, Belgium [33] 1994: Gallery Nii Osaka, Japan [38] 1994: Château de Chambord, France [39] 1994: Institut français de Taipei, Taiwan 1994: Galleria Grafica Tokyo, Japan [40] 1995: the Bouvet-Ladubay Contemporary Art Center, Saumur, France [41] 1995: Gallery Garando Nagoya, Japan [40] 1995: Gianni Piretti Gallery, Stockholm Art Fair, Stockholm, Sweden 1996: Museum of Fine Art of Taiwan, Taipei [42] 1996: Manufacture des œillets, Ivry-sur-Seine, France [43] 1996: Galerie Virus, Anvers, Belgium [44] 1997: Galerie Reflex, Amsterdam, Netherlands [45] 1997: Suzanne Tarasiève, Barbizon, France 1998: Feria Internacional de Arte Contemporáneo, Madrid, Spain [46] 1998: Musée national de la Marine , Palais de Chaillot , Paris , France [47] 1999: Carrousel du Louvre, Art Paris Art Fair, Paris, France [46] 1999: Villa Noailles, Hyères, France [48] 2000: Sculptures, Galerie Artcurial, Paris, France [42] 2001: Galerie J. Bastien Art, Bruxelles, Belgium[49] 2002: Suite des droits de l'homme 7 Aubusson tapistries, Musée du Président-Jacques-Chirac, France [2] 2002: Nomadic Atelier, Gallery Atelier 14, New York City, United States [50] · 2004: Les îles de la destinée, Galerie Tessa Herold, ARCO, Madrid, Spain [52] 2004: Creation of 8 stained glass windows, Abbaye d'art de Trizay, Trizay, France [54] 2005: Fine art museum of Shanghai (Shanghai Meishu Guan), China 2006: 5 large bronze sculptures, Grand Palais, Paris [52] 2007: “Opere recenti”, Galleria San Carlo, Milan, Italy,[56] 2007: Paintings on Chinese Nautical...

1960s Pop Art Mixed Media Painting by Pietro Psaier – "Home-Grown Big Joints" Original Mixed Media Artwork from the Hollywood Vine Head Shop Series...

Svetlana Gorbunova (1977- ) Modern artist from Russia. She received a Master's Degree in history and art history. Her creations are deeply influenced by her love for the world, inspi...

Svetlana Gorbunova (1977- ) Modern artist from Russia. She received a Master's Degree in history and art history. Her creations are deeply influenced by her love for the world, inspi...

1989 Postmodern Mixed-Media Painting Offered for sale is a 1989 Postmodern mixed-media with great composition and saturated colors on paper. The acrylic and pastels mixed media is n...

Layers of paper and paint make this artwork stand out on it's own. Unsigned.

Mixed-media On paper  Danish 1970s.

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...