165 results for "commedia dell’arte"

Rare and superb examples of high style Art Deco sculpture, this pair of terracotta figures depict Harlequin (Arlequin in French) and Columbine (Colombine), each bathed in a glossy bl...

Schiaparelli's Mint in Box, Sleeping perfume sachets.Of Sleeping blue silk satin, hand stiched with Schiaparelli's signature S. Still fragrent wrapped in the origional unopened celophane,tied with vibrant yellow ribbon. Excellent condition. "Sleeping," is one of many perfumes Schiaparelli designed, debuted for her summer 1940 collection. For her spring 1939 Commedia dell' arte collection, Schiaparelli had been inspired by Man Ray's 1939 painting...

This exquisite lithograph by Joan Miro (1893–1983), titled La Commedia dell'Arte (The Comedy of Art), from the folio Derriere le miroir, No. 186, originates from the 1970 edition pub...

Marco Marcola (Verona, 1711 - 1780) Carnival scene with masks from the commedia dell'arte with Harlequin Oil on canvas, 60 x 82 cm In frame 77 x 100 cm The canvas reflects ty...

Meissen, hard-paste porcelain, circa 1738-1740. The Artist The Meissen manufactory near the city of Dresden was founded by Augustus II (1670-1733), King of Poland and Electoral of Saxony, in 1710. It was the first factory in Europe to succeed in making white hard-paste porcelain. The early years of the Meissen production were focused on creating copies of Chinese porcelain. It was only when Kaendler began to work at Meissen in 1731 that the manufactory would break free from the influence of Asia and produce porcelain of true European character. The Painting A sculptor by training, Kaendler took over the direction of the manufactory in 1733. He is considered the key figure in the development of Meissen and the individual behind the transformation of the factory’s porcelain during the 18th century. Kaendler demonstrated his artistic ability by creating a variety of porcelain groups including the Italian Commedia dell’Arte, Pastoral and Crinoline groups, and Cris de Paris, which were met with widespread acclaim and made Meissen famous throughout all of Europe. Soon these porcelain figures would be used extensively alongside vases and other ornaments to decorate interiors. Provenance The themes of fête galante, pastoral idylls and masquerade themes, created by Jean-Antoine Watteau (1684-1721), and then developed further by Francois Boucher (1703-1770) and Jean-Honoré Fragonard (1732-1806), depicting amorous scenes with dancers, women and shepherds engaged in frivolous pursuits, spread all over Europe during the first half of the 18th century. This is due to the French engraver Gabriel Huquier (1695-1747), who dedicated himself to images and engravings after Francois Boucher and Juste-Aurele Meissonnier (1695-1750), who fostered the concept of Rococo style, that brought about the new trend in decorative arts. In 1738, Kaendler introduced one of his figures in pastoral costume with the Handkuss (Hand-kiss) scene under a tree. For the shepherd lovers’ scene, the German sculptor drew his inspiration from Boucher and Watteau. Since the 1730s, the Meissen manufactory has been providing Watteau’s engravings...

A Bronze Statuette of Arlequin by Charles-René de Paul de Saint-Marceaux. Cast by Barbedienne. The mischievous Harlequin, arms crossed in contemplation, wearing a grin and a mask, treading the boards of the stage, as befits his leading place in the Commedia dell'arte. Signed by the fondeur, Ferdinand Barbedienne, having the foundry cachet, and dated 1879, and the sculptor's name, St. Marceaux. French, Circa 1880. Paul de Saint-Marceaux (1845-1915) Son of a Reims wine merchant, entered the Ecole des Beaux-Arts de Paris under the tutelage of Jouffroy, exhibiting at the Salon of 1868, studying later in Italy. Considerable success followed, and he was awarded gold medals at the Paris Exposition Universelle of 1889, having been elected as a Chevalier to the Legion d'Honneur in 1880, and later becoming an officer. His public Parisian works may be seen in the Champs-Elysees (Alphonse Daudet the noted novelist) and Alexander Dumas...

Pair of vintage art deco brass on metal bookends with a minstrel, harlequin, or clown aesthetic, bookends, circa 1930s. A lovely pair of Art Deco bookends, characterized by theatrica...

Carnival scene in 17th-century Rome (in Piazza Navona) Michelangelo Cerquozzi (Rome 1602 – Rome 1660) workshop Roman school of bamboccianti (mid-17th century) Oil on canvas 74 x 96...

Walking stick with porcelain knob attributed to Franz Anton Bustelli, Nymphenburg porcelain. A charming porcelain representation of a bearded man, braided hair and jaunty black cap s...

Kenne Grégoire (b. 1951, Teteringen, Netherlands) is a Dutch painter renowned for his masterful blending of realism and surrealism. Educated at the Rijk...

Lunar discovery is a lithograph made by Gaetano Dura. Title on the lower center. Published by Lithography Fergola, Naples (printed on lower center). On lower right is printed: Museo...

A set of coat stands Italian midcentury ceramic by San Polo Venezia. A factory for the production of artistic ceramics, active in Campo San Polo 2126 ...

Marius Sznajderman was a painter, printmaker and scenic designer living and working in the United States. Born in Paris, France in 1926 his Jewish parents had migrated to France from Poland in 1923. In November 1942 the family fled Nazi-occupied France for Spain before settling in Caracas, Venezuela. He attended the School of Fine Arts in Caracas where his teachers included illustrator Ramon Martin Durban, scenic designer Charles Ventrillon-Horber and painter Rafael Monasterios. and immigrated to the United States in 1949, where he received a Bachelor of Fine Arts and Master of Fine Arts from Columbia University in New York. He settled in Hackensack, New Jersey, where he lived and had a studio for more than 50 years before moving to Amherst, Massachusetts in 2015. His work, which includes painting, prints and collages, as well as set designs, is in more than 45 museum and public institution collections in the United States, Latin America and Israel. He held more than 40 solo exhibitions at galleries and museums and participated in more than 75 group shows around the globe. He helped found the Taller Libre de Arte, an experimental workshop for the visual arts, sponsored by the Ministry of Education. The Taller Libre de Arte was a center for young artists to work and to meet with critics and intellectuals to discuss avant-garde ideas and artistic trends from Europe and Latin America. Among the notable artists who participated in the Taller Libre de Arte were Ramón Vásquez Brito, Carlos González Bogen, Luis Guevara Moreno, Mateo Manaure, Virgilio Trómpiz...

Circa 1990 France Dramatic skirt, blouse and belt in acetate taffeta Fuschia by the Parisian designer Popy Moreni and dating from the 1990s.  Blouse blou...

Permanence in the Moon is a lithograph made by Gaetano Dura. Title on the lower center. Published by Lithography Fergola, Naples (printed on lower center). On lower right is printe...

This exquisite lithograph by Joan Miro (1893–1983), titled La Commedia dell'Arte (The Comedy of Art), from the folio Derriere le miroir, No. 186, originates from the 1970 edition pub...

This porcelain Pierrot figurine, hand-painted with underglaze techniques, embodies the charm and artistry of Spanish porcelain from the 1970s. Crafted by the esteemed "VALENCIA" man...

Venini Vase Fazzoletto in Green, Fulvio Bianconi 1950s A Fazzoletto vase in transparent green glass. Manufactured in the 1950s by Venini, Venic...

This is a wonderful pair of figures of Arlecchino and Columbina, made by the Bow Porcelain factory in about 1758. These figures formed part of a series of the Commedia dell'Arte, a very popular series of theatrical figures that served as decoration at the dinner table in the 18th Century. The Bow Porcelain Factory was one of the first potteries in Britain to make soft paste porcelain, and most probably the very first to use bone ash, which later got perfected by Josiah Spode to what is now the universally used "bone china". Bow was the main competitor of the Chelsea Porcelain Factory, but where Chelsea made very fine slipcast porcelain, Bow made a different soft paste porcelain that tended to be softer and could be pressed into moulds. Bow served a larger public generally at lower prices. The factory was only in operation between 1743 and 1774, after which the tradition got incorporated into some of the later famous potteries such as Worcester and Derby. These figures were used to adorn the dinner table when dessert was served; groups of figures served to express something about the host, the guests, or to direct the conversation. The Italian Commedia Dell'Arte, a comical form of masked theatre, was very popular in those days and Bow copied many figures of the German Meissen series that were brought out in the decades before. This pair dates from about 1758, which was at the height of Bow's ability to make beautiful figurines often copied from Chelsea or Meissen. The pair is modelled after a Meissen pair by Kaendler. The porcelain is translucent with a beautiful milky glaze - Bow was probably the first pottery using bone in its porcelain recipe. Arlecchino (Harlequin) is playing the bagpipes, dressed in an odd costume of mismatched chintz and playing cards and wearing a funny black trumpet...

Vase 'A Fasce' by Fulvio Bianconi for Venini, Venice Murano 1950s A vintage vase 'A Fasce Orizzontali' (with horizontal stripes) by Fulvio Bianconi from 1950, manufactured by Venini...

A Swashbuckling Spectacle in Belle Époque Paris This vibrant 1886 lithographic poster for Le Bossu at the Théâtre de la Gaîté captures the theatrical flair and colorful storytelling...

17th-century Flemish oil-on-copper painting depicting a foreshortened landscape with figures, a genre scene with a multitude of crowded characters in a street with classical architec...

Emily Joyce Pantomime, 2015 acrylic and mirror on canvas 59 1/2 x 47 inches Pantomime is part of a new body of work called "The Masks". Joyce is an artist who explores the space between vernacular visual idioms and geometric abstraction through various combinations of mediums and formats. In The Masks, a theatrical mix of painting and sculpture populate the exhibition, with works that mine twentieth century art history, universal symbols, and the 16th century Italian theater...

Meissen Rococo harlequin with bagpipes of most lovely appearance.: The lovely harlequin is sitting on a rocky base which is decorated with some flower blossoms with leaves. The male ...

An exceptional, fine and impressive antique Victorian English cast sterling silver taperstick; an addition of our ornamental silverware collection. This exceptional antique Victorian sterling silver taperstick has a circular rounded form with a shaped figural column. The cylindrical capital of this antique silver taper candlestick is encircled with moulded girdles, in addition to a shaped scalloped chased decorated border to the rim; the capital surmounts a lobed floral petal style drip pan. The exceptional cast sterling silver column has been modelled in the form of a Harlequin. This impressive figural column surmounts a domed circular shaped base ornamented with chased scrolling leaf and floral ornamentation. This Harlequin taperstick does not have a weighted base. An antique Harlequin...

'Polichinelle Et Ses Trois Chiens,' or in English 'Pulcinella and His Three Dogs,' is an original signed lithograph by the contemporary artist Claude Weisbuch – and it is an excellen...

Jacques Callot 1592 - 1635, French book by Paulette Choné, 1992. This important book was published after the Jacques Callot exhibition, held at the Lorraine Historical Museum in Nanc...

The Commedia dell’arte figurines are one of Fulvio Bianconi's most characteristic productions for Venini. Their creation can be dated around 1947-1948. The series, which originally consisted of twelve models, was exhibited at the 24th Venice Biennale in 1948. It is important to see this series of figurines as a cartoonish reinterpretation of the figurines that were very popular on the island of Murano in the 1930s. We recognize here the ironic touch of the work of Fulvio Bianconi who an illustrator was. Fulvio Bianconi uses here for each figurine a different costume and mask, the base is always made of lattimo glass decorated for polychrome glass costumes. Attitudes are also different for each character. We rarely find the heads of these figurines which were rare productions and out of catalog. Charming objects blown by masters outside the “regular” production. We present here the head of Giangurgolo, a figurine which bore the reference 2900 in the Venini catalog. The basic material of the lattimo glass head, the pink eyes...

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Paul en Pierrot (Paul as Pierrot), from the album, Pablo Picasso, 1930, originates from the 1930 edition published by Editions des Chroniques du Jour, Paris, and printed by L'Atelier Desjobert, Paris, 1930. Paul en Pierrot (Paul as Pierrot) exemplifies Picasso’s tender and theatrical portrayal of his son Paul, rendered with the lyrical charm and painterly sophistication that defined his neoclassical period. Through the combination of lithographic precision and pochoir color, the work evokes both the intimacy of family life and the dreamlike symbolism of commedia dell’arte, merging affection and artistry in a composition of striking emotional balance. Executed as a lithograph and pochoir on velin paper, this work measures 11.38 x 9.09 inches. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship of Editions des Chroniques du Jour and the technical excellence of L'Atelier Desjobert, one of the premier Parisian workshops specializing in pochoir and fine art lithography. Artwork Details: Artist: After Pablo Picasso (1881–1973) Title: Paul en Pierrot (Paul as Pierrot), from the album, Pablo Picasso, 1930 Medium: Lithograph and pochoir on velin paper Dimensions: 11.38 x 9.09 inches (28.9 x 23.1 cm) Inscription: Unsigned and unnumbered as issued Date: 1930 Publisher: Editions des Chroniques du Jour, Paris Printer: L'Atelier Desjobert, Paris Catalogue raisonne references: Cramer, Patrick. Pablo Picasso, The Illustrated Books: Catalogue Raisonne. Patrick Cramer, 1983, illustration 18; Bloch, Georges. Pablo Picasso: Catalogue of the Printed Graphic Work 1904–1967. Kornfeld & Klipstein, 1968, illustration 98; Reusse, Gerhard. Pablo Picasso: The Illustrated Books, Catalogue Raisonne. Verlag Gerd Hatje, 1983, illustration 31 Condition: Well preserved, consistent with age and medium Provenance: From the album, Pablo Picasso, published by Editions des Chroniques du Jour, Paris, and printed by L'Atelier Desjobert, Paris, 1930 Notes: Excerpted from the album, This volume has been printed in MCC numbered examples, of which DL (LI to DC) constitute the edition in French and DCL (DCI to MCCL). The edition in English has been printed on behalf of E. Weyhe, 794 Lexington Avenue, New York (DCI to MC) and of A. Zwemmer, 78 Charing Cross Road, London, W. C.2. (MCI to MCCL). There have also been printed L examples on Arches paper with a lithograph by Picasso (I to L) distributed between the two editions, and some press examples. About the Publication: The album Pablo Picasso, published in 1930 by Editions des Chroniques du Jour, Paris, under the direction of Christian Zervos, stands among the earliest major printed tributes to the artist’s emerging international acclaim. Conceived as part of the publisher’s broader initiative to document and celebrate the modernist vanguard, the volume presented a series of lithographs and pochoirs interpreting Picasso’s drawings, watercolors, and gouaches from the preceding decade. Executed at the esteemed Atelier Desjobert, the edition combined the lithographic precision of line with the pochoir method’s hand-applied color, producing images of exceptional tonal depth and fidelity. Issued in both French and English, with distribution in Paris, New York, and London through E. Weyhe and A. Zwemmer, the album was limited to MCC copies, including a special suite of L examples on Arches paper containing an original lithograph by Picasso. The publication represented a vital collaboration between artist, publisher, and printer—uniting the intellectual rigor of Zervos’s art criticism with the material beauty of fine French printmaking. Today, Pablo Picasso, 1930 is recognized as a landmark in 20th-century art publishing, reflecting both the refinement of interwar Parisian craftsmanship and the international reach of Picasso’s genius. About the Artist: Pablo Picasso (1881–1973) was a Spanish painter, sculptor, printmaker, and ceramicist whose extraordinary vision revolutionized modern art and defined the visual language of the 20th century. A child prodigy from Malaga, Spain, Picasso's career spanned more than seven decades and encompassed an astonishing range of styles and innovations—from the melancholic Blue and romantic Rose periods to his pioneering invention of Cubism with Georges Braque, which shattered conventional notions of perspective and form. Influenced by the bold expressiveness of El Greco, the structure of Cezanne, and the vitality of African and Iberian sculpture, Picasso became a central figure of the Paris avant-garde, working in creative dialogue with contemporaries such as Henri Matisse, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. His insatiable experimentation extended across painting, drawing, printmaking, ceramics, and sculpture, forever expanding the boundaries of artistic expression. A master of reinvention, Picasso profoundly shaped generations of artists who followed—from Andy Warhol, Roy Lichtenstein, David Hockney, and Jean-Michel Basquiat to Jeff Koons and Banksy—cementing his status as a timeless cultural icon whose works remain among the most sought after worldwide. His landmark painting Les Femmes d'Alger (Version O) achieved a record-breaking sale of 179,365,000 USD at Christie's, New York, on May 11, 2015, affirming Picasso's enduring legacy as one of the most influential and valuable artists in history. Pablo Picasso Paul en Pierrot (Paul as Pierrot), Picasso 1930, Picasso Desjobert, Picasso pochoir...

20th Century French Terracotta Bust depicting a serenading figure holding a lute. This finely modeled sculpture captures a sense of lighthearted charm with its expressive features, r...

Fazzoletto Zanfirico Vase by Fulvio Bianconi for Venini, Venice Murano 1950s A rare Fazzoletto (handkerchief) vase in transparent glass with turned white rod decorations called 'Lat...

Unidentified Artist, 18th Century – Theatrical or Satirical Scene Medium: Oil on canvas Dimensions: 80 x 116 cm (unframed), 82 x 119 cm (framed) Provenance: Private collection No s...

Painted painting by BOWES DAVID, Untitled from 1986. Details: Signature and year at upper left. Technique : drawing on Fabriano Watermark. His figures have a theatrical air, especially those with the appearance of Pierrot and Columbine and other Commedia dell'Arte characters. Consciously flirting with the decorative, Bowes often compresses the background and foreground, as in wallpaper, and there is a suggestion of fabric design in the way he repeats his patterns at intervals on the surface. In some images, patterns emerge. In others, the pattern overwhelms itself Provenance; Lucio Amelio Collection, Naples; Private collection. Slight defects. David Bowes...

The 1966 Picasso exhibition poster, featuring "Arlequin Barcelona Espagne", is a striking piece that was created to promote the Museu Picasso in Barcelona, Spain. The image on the po...

Claude-Lévy, 1895 – 1942 Alice Nikitina in the role of Flora, from the Dukelsky/Braque production of the ballet Zephyr & Flore at the Ballets Russes, 1925 Cast Stone Signed and dated: Claude-Levy 1925 on rear face of self-base. The present sculpture is as rare as it is delightful. Mademoiselle Claude-Levy, as the catalogues of the period list her, was one of the truly original talents of the Art Deco period. Painter, architect, decorator, and sculptor, she was a friend of the Parisian, Modernist sculptors, Chana Orloff, Henri Laurens and the Martel brothers, to whom her work was often compared. The ingenuity of her models brought her great critical acclaim, but she seems to have stopped producing in the early 1930s. Her output, although fine, is rare. Claude-Levy’s gentle Cubism might be better described as Purism in sculpture. It is characterized by simplified surfaces, rounded (as opposed to angular) forms, and smooth, lustrous surfaces. The Purist movement included the painters Léger, Ozenfant and Le Corbusier in its ranks. Claude-Lévy, along with other artists of the avant- garde living in the Gallic capital (Czaky, Zadkine, Archipenko, Lipchitz, Lambert Rucki Miklos, Nadelman, Vörös, Orloff) helped to develop a collective twentieth century figurative sculptural idiom that exploited the daring and rich possibilities of geometric abstraction. The present work is Claude-Lévy’s Commedia dell’Arte figures inspired by the Stravinsky/Picasso Ballet...

Art Deco bronze with green and brown patina around 1930. Bronze clown on Portor marble base. Signed Roland Paris on the embankment. Notes of micro scratches on the marble. Total height: 53cm Base: 13cm x 46.5cm Weight: 16 Kg Friedrich Richard Roland Paris (March 18, 1894 in Vienna, Austria-Hungary - May 4, 1945 in Swinemünde, Germany) was a German caricaturist, writer of satirical verse, graphic designer, painter and Art Deco sculptor. Roland Paris attended the Grand-Ducal Realgymnasium in Weimar from 1905. From 1909, he was a student at the Saxon Grand-Ducal School of Applied Arts in Weimar. Here, in 1912, he received second and third prizes as well as 25 points in a competition for the design of emblems for student associations, which he continued to produce for two or three years. Some of these works showed the influence of Art Nouveau, others included more modern approaches. In 1912, Paris took a course in sculpture at the Saxon Grand-Ducal School of Art in Weimar with the sculptor Gottlieb Elster. He then went to Munich, where he completed internships with several sculptors. In 1913, he returned to the school of Fine arts in Weimar and studied painting with Walther Klemm. In June 1915 he received his call up order for the Eastern Front of World War I and served first in a commando unit and then in the Air Force Inspectorate (IdFlieg) . After his return in 1919, he settled in Berlin. In 1924 he married Elisabeth Lisl Austen (b. 1897), a dancer at the Théâtre des Westens who modeled most of his female characters; he depicted himself for the facial parts of his male characters. The marriage remained childless. Their shared one-bedroom apartment in the backyard of Xantener Strasse 11 in Berlin-Wilmersdorf was also the Paris Studio, where he designed and made many of his sculptures, as well as graphics and paintings...

- Marc Saint Saëns - The Foolish Virgins (Les Vierges Folles) - Signed by the artist - Aubusson tapestry woven in the Tabard workshop. - With label Jean ...

"July" by Olga Suvorova is an Oil on Canvas painting measuring 37x46 in. and is a prime colorful example of Russian figurative realism at its finest. Her...

Alfred Cohenartist, 1920-2001 Brilliant colourist famed for portraits of the stars and landscapes Although his professed heroes were Rembrandt and Picasso...

This exquisite heliogravure after Henri Matisse (1869–1954), titled L'Enterrement de Pierrot (The Burial of Pierrot), from Henri Matisse, Jazz, originates from the 1983 second editio...

Marius Sznajderman was a painter, printmaker and scenic designer living and working in the United States. Born in Paris, France in 1926 his Jewish parents had migrated to France from Poland in 1923. In November 1942 the family fled Nazi-occupied France for Spain before settling in Caracas, Venezuela. He attended the School of Fine Arts in Caracas where his teachers included illustrator Ramon Martin Durban, scenic designer Charles Ventrillon-Horber and painter Rafael Monasterios. and immigrated to the United States in 1949, where he received a Bachelor of Fine Arts and Master of Fine Arts from Columbia University in New York. He settled in Hackensack, New Jersey, where he lived and had a studio for more than 50 years before moving to Amherst, Massachusetts in 2015. His work, which includes painting, prints and collages, as well as set designs, is in more than 45 museum and public institution collections in the United States, Latin America and Israel. He held more than 40 solo exhibitions at galleries and museums and participated in more than 75 group shows around the globe. He helped found the Taller Libre de Arte, an experimental workshop for the visual arts, sponsored by the Ministry of Education. The Taller Libre de Arte was a center for young artists to work and to meet with critics and intellectuals to discuss avant-garde ideas and artistic trends from Europe and Latin America. Among the notable artists who participated in the Taller Libre de Arte were Ramón Vásquez Brito, Carlos González Bogen, Luis Guevara Moreno, Mateo Manaure, Virgilio Trómpiz...

Marius Sznajderman Hand signed and dated lower right, with an inscription on the verso 40 X 30 inches Oil or acrylic on canvas. Machu Picchu is an Incan citadel set high in the Andes Mountains in Peru, above the Urubamba River valley. Built in the 15th century and later abandoned. The lost city of the Incas. Expressively capturing the mystique of the famed Incan ruins, this 1983 exprerssionist painting by Marius Sznajderman, titled Machu Picchu Courtyard, showcases his signature blend of bold color and dynamic brushwork. The composition features a stylized interpretation of Machu Picchu's verdant landscape and ancient stone structures, rendered in an abstracted yet recognizable form. Sznajderman's use of undulating greens, deep blues, and earthy tones imbues the work with an almost dreamlike quality, emphasizing the spiritual and historical significance of the site. Marius Sznajderman was a French-born American painter, printmaker, and scenic designer. Born in Paris in 1926 to Polish-Jewish parents, he fled Nazi-occupied France in 1942, eventually settling in Caracas, Venezuela. There, he studied at the School of Fine Arts and co-founded the Taller Libre de Arte, an influential experimental art workshop. In 1949, he immigrated to the United States, earning both Bachelor and Master of Fine Arts degrees from Columbia University. Over his extensive career, Sznajderman explored themes ranging from Latin American culture to Jewish heritage, with his works held in numerous public collections, including the Smithsonian Institution and the Museum of Modern Art in New York. Artist: Marius Sznajderman (French-American, 1926-2018) Issued: 1983 Dimensions: 41"L x 31"H Country of Origin: France/United States Marius Sznajderman was a Jewish Venezuelan painter, printmaker and scenic designer living and working in the United States. Born in Paris, France in 1926 his Jewish parents had migrated to France from Poland in 1923. In November 1942 the family fled Nazi-occupied France for Spain before settling in Caracas, Venezuela. He attended the School of Fine Arts in Caracas where his teachers included illustrator Ramon Martin Durban, scenic designer Charles Ventrillon-Horber and painter Rafael Monasterios. and immigrated to the United States in 1949, where he received a Bachelor of Fine Arts and Master of Fine Arts from Columbia University in New York. He settled in Hackensack, New Jersey, where he lived and had a studio for more than 50 years before moving to Amherst, Massachusetts in 2015. His work, which includes painting, prints and collages, as well as set designs, is in more than 45 museum and public institution collections in the United States, Latin America and Israel. He held more than 40 solo exhibitions at galleries and museums and participated in more than 75 group shows around the globe. He helped found the Taller Libre de Arte, an experimental workshop for the visual arts, sponsored by the Ministry of Education. The Taller Libre de Arte was a center for young artists to work and to meet with critics and intellectuals to discuss avant-garde ideas and artistic trends from Europe and Latin America. Among the notable artists who participated in the Taller Libre de Arte were Ramón Vásquez Brito, Carlos González Bogen, Luis Guevara Moreno, Mateo Manaure, Virgilio Trómpiz...

A nude Native American Indian girl, crowned with a feathered headdress, poses on the Burlesque stage while male onlookers visually devour her. The paintin...

Polar bear riding on a sled, dressed as Pierrot from Commedia dell'arte

Schiaparelli Haute Couture Harlequin Brooch, Spring 1939 Jean Schlumberger. The 12 Dictates. Some of which still reign true... 1. Since ...