433 results for "jackie kennedy"

The Kennedys at Hyannis Beach, nb_081c. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag pape...

The Kennedys at Hyannis Beach, nb_081c. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. ...

Denied Warhol Flowers, (Violet/Purple) Silkscreen Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Authentication Board. 24 x 24" in...

Denied Warhol Flowers, (White & Green) Silkscreen Linen Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 24 x 24" inches 2008 Lutz's 2007 ''Warhol Denied...

JFK Lifts Caroline on Beach, Forward rap_051. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag p...

JFK Lifts Caroline on Beach, Forward rap_051. Image size is 22" x 32" (for 24" x 36" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag p...

Allan D'Arcangelo (American/New York, 1930-1998), "Aspen Center of Contemporary Art", 1967 silkscreen, hand signed in pencil, dated, numbered "45/200" and blind stamped "Chiron Press, New York, NY" 32 in. x 24 in. Allan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. D'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy. D'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. "Marilyn" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be "fitted" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In "Madonna and Child," (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear. Select Exhibitions: Fischbach Gallery, New York, Ileana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery...

Denied Warhol Flowers, (White) Silkscreen Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Authentication Board. 5 x 5" inches 2008 ...

Denied Warhol Flowers, (White & Red) Silkscreen Linen Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 24 x 24" inches 2008 Lutz's 2007 ''Warhol Denied...

Allan D'Arcangelo (American/New York, 1930-1998), 1967 Cloud and Tree Note affixed to back Frame: 16 X 19 Image: 14 X 17 Hand signed in pencil and dated lower right 1967, titled bot...

Kennedys in Georgetown 1959 nb_014_015. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. ...

JFK Lifts Caroline on Beach, Forward rap_051. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo ra...

Painting for a poster, Comisky Park, Chicago White Sox Stadium 1985. Illustrator's Works Defined an Era: Bernie Fuchs, 76 By Adam Bernstein Washington Post Staff Writer Saturday, September 19, 2009 Bernie Fuchs, 76, an illustrator whose influential work for magazines ranging from Cosmopolitan to Sports Illustrated seamlessly blended qualities of traditional narrative with hints of abstract composition, died of esophageal cancer Sept. 17 at a care facility in Fairfield, Conn. He lived in nearby Westport. Mr. Fuchs was adept at balancing art and commerce. He met the needs of mass-circulation magazines accustomed to Norman Rockwell-style realism, but he injected a fresh vitality and impressionism that became hugely popular and transformed the illustration field. He even experimented with bold designs based on the abstract expressionism movement popularized by painters Jackson Pollock and Willem de Kooning. One vivid example, commissioned by McCall's magazine in the late 1950s, was a portrait of two young couples relaxing in a small room after dinner. One man is lying on the ground, his head nestled on a woman's lap and smoking a cigarette as she strokes his hair. While the image has the control and realism of Rockwell, it also has several more dynamic features taken from avant-garde techniques: the vigorous brush strokes; the tilted horizon that heightens a sense of drama; a lampshade in the foreground that appears slightly distorted; and, most strikingly, the placement of the couples in the distance instead of being the center of the picture. "Bernie combined the best of both worlds," said illustrator Murray Tinkelman, who directs the University of Hartford's master of fine arts program and chairs the New York-based Society of Illustrators' hall of fame committee. "He became the most emulated and imitated illustrator in the field through the 1980s . . . when the vogue turned to more decorative, whimsical, punkier illustrations that were influenced by underground cartoons like those of Robert Crumb." Mr. Fuchs entered the hall of fame in 1975. He was among the youngest inductees on a roster that includes Rockwell, N.C. Wyeth, Winslow Homer and John James Audubon. Bernard Leo Fuchs was born Oct. 19, 1932, in the coal mining town of O'Fallon, Ill., and his father soon abandoned the family. As a young man, Mr. Fuchs enjoyed drawing characters from Walt Disney movies...