American School
Large Modernist Abstract - "The Running Man"
Lesson: Frame first...standard size

American School
Abstract (Pair) - “Circus”
Lesson: Front & Back

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Description of Art
Pair of nice abstract oil on canvas paintings, both signed Jordan lower right. Part of a circus series, with acrobats in first, and horse and standing riders on second. As you might expect lots of listed artist with last name of Jordan. I leave the research to you. Both in excellent condition, both double sided with paintings on reverse. Each measures 28" x 20" with frames.

 
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 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Contemporary - “Scream”
Lesson: A lot of art for money...off the wall art...men & womenArt & Artist Information

Description of Art
Fabulous oil on canvas, screaming face. Original work, circa 1980.Quite impressive, really stands out. Unsigned. The artist name is W.M Ri......I'm sorry but I have lost the paper, on which I had wriiten his name. All in good condition. Large at 48" x 36". note that it is intentially unframed.

 
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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Abstract - “Invasion of Virtue”
Lesson: Period / Political symbolism...like Bracho

Art & Artist Information

Description of Art
Description: Up for auction is this Oil on canvas painting titled "Invasion of Virtue", signed and dated 1965 by 'Thau'. This fine abstract depicts  a nude, headless female torso walking forward, with blue arrows pointing to her private parts. There is an American flag replacing the head. There appears to be skull imagery on the torso. On the left is a compass device with  the words 'UP' and 'DOWN'. On the back , written in pencil on the stretcher is: "The Invasion of Virtue 10/5/65". It is signed "Thau" in the lower right corner. This painting is 16" x 20', unframed.
Virtue defined: Conforming to a standard, morality.
1965 -- Griswold v. Connecticut
The Court struck down a Connecticut statute forbidding the use of contraceptive devices by married couples. In this decision the Court appealed for the first time to the right to privacy--a right which it said was "fundamental and basic." Although no such right is explicitly recognized by the Constitution, the Court inferred the existence of a "zone of privacy" which protected the sexual relations of married couples.

 
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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Abstract - “Mediation”
Lesson: Showed me who was the artist on much larger piece...

Art & Artist Information

Description of Art
Description: A very nice oil on board abstract, signed lower right S.Kahn, and in the back, tittled; MEDITATION ..... Condition is good, size 20 by 30'' .,......

• • The Artists Bluebook
• • Mantle Fielding's Dictionary
• • Mallet's Index of Artists

 
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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Surreal Symbolist Nude - “The Order of Things”
Lesson: Personally relate + free shipping

Art & Artist Information

Description of Art
Description: HANNAH GRAUMANN (American, contemporary). NUDE ENCASED IN GLASS, signed lower right. Oil on board - 36 in. x 24 in.

 
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The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Realism - “Still Life with Book & Pipe”
Lesson: Classical period art you can afford + std size

American School
Symbolist Portraits - “Couple in Silence”
Lesson: Bad memories

Art & Artist Information

Description of Art
Description: S.E. *** (American, 20th century). TWO FIGURES, signed and dated 1971 upper left. Oil on canvas - 36 in. x 24 in.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Nanette Hoffman
Realism: “Portrait of Sophie Klein”
Lesson: Story

Art & Artist Information

Description of Art
Oil on Academy Board, 6 x 10 1/2, signed (lower right): Jessalee Sickman.
Description: NANETTE HOFFMAN (American, 20th century). PORTRAIT OF SOPHIE KLEIN, signed lower left. Oil on canvas - 20 1/2 in. x 16 1/2 in.
NANETTE HOFFMAN (American, 20th century). PORTRAIT OF SOPHIE KLEIN, signed lower left. Oil on canvas. NANETTE HOFFMAN (American, 20th century). PORTRAIT OF SOPHIE KLEIN, signed lower left. Oil on canvas - 20 1/2 in. x 16 1/2 in.  
A colorful self-portrait painting of the artist.

American School
Expressionist Portraits - “Gothic Couple”
Lesson: Torn open rear

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Art & Artist Information

Description of Art
DESCRIPTION: This Vintage Original Oil Painting Pair is a Gothic or Surreal style portrait of an Old Couple. These were painted in the early 1960's and are in good condition. They appear to be painted with oil on some type of board. The boards are a bit warped toward bottom. Recently discovered in an attic of an old estate here in town. I dont know anything about them. They are quite haunting and very intesting. Each one is 23" x 35 1/2" overall in frames. They are just signed "JT" **************************************************************************************** SHIPPING TERMS: US Buyers add $8.95 s/h within Continental states, Alaska & Hawaii more, insurance extra. Outside of US email for quote, we are always happy to ship internationally but all items paid for with paypal and sent internationally, must be sent with proof of delivery, no exceptions. ***************************************************************************************** AUCTION TERMS: Check MO or Paypal. I will email at auction end with all information. Please READ description carefully and EXAMINE photos carefully, all items sold "AS IS". I try to describe each item to the best of my knowledge but I am not an expert on all items so ask any questions before the last night. Payment expected within 14 days. Items shipped within 14 business days. Paypal payments do NOT guarantee same day shipping. Nonpay alerts are issued after 14 days and in the event that payment is not made after that time, I file for credit and leave appropriate feedback. When sending payment you MUST include item number and description to ensure the item is shipped promptly. Insurance will be provided at the request of the buyer. I can not be responsible for any item not insured. Personal checks held 10 days to clear.  I answer ALL emails, if for any reason you do not receive a response to an email, I did not receive it, email again. I will leave feedback for you after you have rec'd the item and have left feedback for me letting me know you rec'd the item and are happy with the transaction. Thanks for bidding! By placing bid you are agreeing to these terms. Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Description: Mixed media, 23 x 17, signed (lower right): Stawvyzewski.
Summary: Mixed media female bust highlighted with messages of stopping smoking.
I do not know who the artist is - the signature is difficult to discern. The reverse was first covered with newspaper (The Philadelphia Inquirer, 1961) - s0 I assume the artist hails from or once resided in the Philadelphia area.
Provenance

• • Ebay

 
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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Pop Art - “Female Portrait”
Lesson: Thrifts + source of inspiration

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Description of Art

 
View Next Painting   Return to Section Index    Site Index
 
ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
“Collage - Don't Smoke”
Lesson: Pedigree

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Description: Mixed media, 23 x 17, signed (lower right): Stawvyzewski.
Summary: Mixed media female bust highlighted with messages of stopping smoking.
I do not know who the artist is - the signature is difficult to discern. The reverse was first covered with newspaper (The Philadelphia Inquirer, 1961) - s0 I assume the artist hails from or once resided in the Philadelphia area.
Provenance

• • Ebay

 
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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
“Surrealist Boy at Door”
Lesson: Story

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Tempera on Panel, 8 1/4 x 7 1/4, unsigned  
This is a charming example of a blend of folk/naive style with the high art of mid-20th century America. The style of drawing and method of paint application suggest that the maker of this work may have been well aware of the compositions being produced by some of the major naive style artists of the period.  However, the direct confrontation of the subject with the viewer serving as both viewer and respondent in so sophisticated a manner indicates that this may have been created by a fine artist working in a consciously naive style.  While this could be said of many artists, it is certainly true of Ben Shahn and the artists who surrounded him.  Shahn was born in 1898, studied in New York at the Art Student's League and was known for his involvement with the American Socialist party during the middle of the century.  Many critics have commented on the plebian or populist nature of Shahn's works, even to the common materials he used, often tempera.  However Shahn was scrupulous about signing his works; due to the lack of a signature here, as well as some subtle differences in drawing style, this painting might be assigned to the circle of Ben Shahn, but not to Shahn himself. Works of this quality and appeal come to auction fairly often, and based on those sales records and current market conditions, the appropriate auction value is cited above.
Provenance

• • Ebay

The Detroit Institute of Arts presents "Common Man, Mythic Vision: The Paintings of Ben Shahn," on view July 25-October 31, 1999. The exhibition features 43 paintings created between 1936 and 1965. Although best known for his socially concerned realist art, Shahn turned to a more introspective style in the early 1940s. Through his art, he shared his own experiences as well as the historical events of his time, transforming both into commentary on social justice, humanitarian causes, and spiritual redemption. The exhibition has been organized by The Jewish Museum, New York, with sponsorship from professional services firm Ernst & Young LLP.
Known for his socially concerned realist art, from the 1940s through the end of his career Shahn began to make his works less specific critiques of social issues, developing a more introspective style. Through his art, he shared his own experiences and the historical events of his time, transforming them into meaningful commentary on social justice, humanitarian causes, and spiritual redemption.
Born in Kovno, Lithuania, 100 years ago, Benjamin Zwi Shahn was the oldest of five children in a traditional Orthodox Jewish family. Shahn emigrated with his mother, brother and sister to Brooklyn in 1906. There, they joined his father, a socialist, who had been exiled to Siberia for his subversive activities. Growing up in America, the young Shahn gradually moved away from the religious traditions of Judaism and established a secular Jewish identity aligned with the causes of labor and social reform during the 1930s.Training as a
lithographer's apprentice helped shape Shahn's mature painting style. Following study in Paris in the 1920s, Shahn shared a studio with the photographer Walker Evans and had his first solo exhibition at the Downtown Gallery in 1930. During the ensuing decade, he created works of art in response to the social, economic and political conditions of the Depression - in a style known as Social Realism. He became known as a socially and politically engaged artist and in 1932 gained fame with his series on the trial and execution of Sacco and Vanzetti, the Italian immigrant anarchists.
From 1934 to 1942, Shahn worked on various government-sponsored projects, including federally commissioned murals and as a photographer for the New Deal Resettlement Administration. He traveled throughout Pennsylvania and Delaware, and ten Southern states, gaining new insights into the character and diversity of America and its people. Shahn was deeply affected by this experience. His resulting disappointment with partisan political ideologies and his response to the horrors of World War II led to a significant change in his work. He moved from Social Realism - the American art style of the 1930s dedicated to social and political reform - toward a more subjective mode of painting.
Confronted by World War II, many of his contemporaries turned to abstraction, but Shahn continued to work within a narrative tradition. Yet, like them, he turned to the symbolic rendering of biblical and mythological themes. In allegorical works, he universalized both personal experiences and the trauma of World War II, the Holocaust, the nuclear age, and the Cold War. 
"From the Jewish school of Vilkomir to an acculturated, secular life in Brooklyn to a resurgence of Jewish feeling and heritage in his later years, Ben Shahn's dedication to humanitarian causes and his belief in the regenerative powers of art offer a fascinating example of the paradigmatic path taken in the life of an immigrant American Jewish artist, " notes Susan Chevlowe, curator of the exhibition.
The work of Ben Shahn (1898-1969) was celebrated during his lifetime when it was widely promoted and collected in this country and abroad. Born in Lithuania to a traditional Orthodox Jewish family, Shahn immigrated to New York in 1906. He and his family were reunited there with his father, a socialist who had been exiled to Siberia for anti-czarist political activities. In his art and personal life Shahn gradually moved away from religious traditions of Judaism and established a secular identity aligned with the causes of labor and social reform during the 1930s.
Apprenticed to a lithographer from 1913-1916, Shahn developed an early style based on simplified, realistic images. In the 1920s he shared a studio with photographer Walker Evans, and had his first solo exhibition of paintings in New York City in 1930. His paintings responded to the social, economic and political upheavals of the Great Depression. His realistic figural style used to narrate themes of class struggle and social reform aligned him with a group of painters known as the Social Realists.
In the mid-1930s, Shahn shifted away from Social Realism, infusing his work with personal vision gained through direct experience. While many of his contemporaries turned toward abstraction, Shahn expanded his range of subjects to include biblical and psychological themes. Many such works addressed the traumas of World War II, the Holocaust, the threat of nuclear war, and the hope for world peace. Harvard University honored Ben Shahn noting that: "Pathos, protest, wit and wisdom shape the content of this lively artist's telling work."
 



 

 
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The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
“Impresionist Woman with Fruit”
Lesson: Style you love...

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Original on-line purchase price: $1,323.00
Want to buy a painting like this one? The key buying strategy for this piece is called Playing Old-Maid.

Art description: Original oil on painting on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).

Terms & links used to describe this art & artist:

• • This style of art is known as: realism
• • This art's lineage is: early American
• • Other site-terms associated with this art, include:
• o heavily listed artist
• o period forgery

• • Aage Bertelsen
• • Alphonse Marie De Neuville Neuville
• • William Fridericia

• • Common damage: what does it look like?
• • Do-it-yourself art cleaning & restoration techniques
• • Interview with my art conservator: Susan Jones

• • Common damage: what does it look like?
• • Do It Yourself art cleaning & restoration techniques
• • Interview with an art conservator: Susan Jones

• • A period forgery - these are tougher
• • The signature doesn't appear so obviously added later
• • Adding a signature of a noted artist to an unsigned painting of the same period done in the style of the artist - some are really bad examples
• • Peto / Harnett story & example
• • A recent copy

• • Jon Frederick Peto
• • Greuze
• • Anthony Van Dyck: Sir Thomas Hamner

• • Common damage: what does it look like?
• • Do It Yourself art cleaning & restoration techniques
• • Interview with an art conservator: Susan Jones

• • Helme: use of a piece of a painting as a forgery
• • Do It Yourself art cleaning & restoration techniques
• • Interview with an art conservator: Susan Jones

• • Ebay

• • Who Was Who in American Art 
• • Davenport's Art Reference and Price Guide
• • The Artists Bluebook
• • Mantle Fielding's Dictionary
• • Mallet's Index of Artists

• • AskART.com
• • Peter Blake Gallery

• • Professional cleaning & restoration:           200.00
• • Framing:                                                   165.00

 
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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
“Abstract - Geometric in Bright Colors”
Lesson: signed & numbered toilet paper...great decorating piece + "printer's proof"

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Art & Artist Information

Description of Art
This was listed last week and taken down by eBay as we compared this work to another artist and that was unacceptable to eBay.
This excellent, probably late 1960's or early 1970's abstract color litho very much reminded me of a Pop Art master whose name eBay will not let us mention,  It combines elements of Abstract art and Pop-Art.
I can't read the illegible pencil signature in the margin - looks to be a long name perhaps similar to Charles ??? Hagelmann ??? No Idea!!  Inscribed Printer's proof at lower center.
24 1/4" x 17 1/4" (image)   29 1/2" x 22" (sheet)
Unmatted and unframed
Very good condition.  One area of light soil on the reverse.
SHIPPING: Priority Mail with insurance. Shipped in rigid flat pack. There is a $6.00 packing & handling + exact shipping fee.
We combine shipping for like items based on largest object and total insurance. We will hold paid items while you bid on additional ones - just pay winning bid amount of each invoice and email us you’re still bidding.
Payment by PAY-PAL only
Oil on Board, 8 x 10, signed (lower right): Flourobi (Signature Indiscernible) titled: Fishing Wires and numbered: 1905. Titled in pencil on reverse "Old Lyme, 1905" and dated again with inventory code October 20 1905 A.
A still life painting of chrysanthemums in a vase.
Provenance

 
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The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
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from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
“Realism - Titled: Fishing Wires”
Lesson: signed & numbered toilet paper...great decorating piece

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration
Signed and numbered lithographs are the usual repertoire of the beginning collector situated in middle America.
However, they need not be expensive.


Art & Artist Information

Description of Art
Oil on Board, 8 x 10, signed (lower right): Flourobi (Signature Indiscernible) titled: Fishing Wires and numbered: 1905. Titled in pencil on reverse "Old Lyme, 1905" and dated again with inventory code October 20 1905 A.
A still life painting of chrysanthemums in a vase.
Provenance

• • Ebay

 
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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
“Symbolist Portrait - Titled as: "The Termination”
Lesson: Gift

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Original on-line purchase price: $0.00 - it was a gift
Want to buy a painting like this one? The key buying strategy for this piece is called Benefits of being a known collector.

Art description: Oil on board, 22 x 30, signed (lower left): A.H. CALDWELL and dated: 30 (1930).

Terms & links used to describe this art & artist:

• • This style of art is known as: expressionism
• • This art's lineage is: mid-century American
• • Other site-terms associated with this art, include:
• o unknown artist
• o period forgery

• • Aage Bertelsen
• • Alphonse Marie De Neuville Neuville
• • William Fridericia

• • Common damage: what does it look like?
• • Do-it-yourself art cleaning & restoration techniques
• • Interview with my art conservator: Susan Jones

• • Common damage: what does it look like?
• • Do It Yourself art cleaning & restoration techniques
• • Interview with an art conservator: Susan Jones

• • Ebay

 
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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Jesus Ferreira "Chucho" Reyes
“Modernist Styled Girl”
Lesson: After the auction + perfect frame

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
After the Auction
This artist continues to come up at big name auctions and gets mentioned more often with some of the heaviest hitters amongst Latin American art.
Framing. Of all the pieces I've seen dramatically improved by a proper frame job - this one takes the cake. My framer simply outdid himself on this piece and made me quite proud of my stand off approach to getting framing done.
Full name of artist on search engines. 
On Line translation tools.

Top of Form

Bottom of Form

• • Ebay

 
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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Guillermo Meza
Surrealism: “Pastel Nude Female Drawing”
Lesson: Relate to...investment value original receipts + books & well-listed
 
 
 

Oil on Canvas mounted on board

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

A Lesson in Geography: Value in Expatriated Artworks (brief article / engaging headline format)
Suppose you hoped to find an adorable early American impressionist painting: where you might you look? Perhaps the last place you would begin your search is a junk-seller in Belgium. Alas, that's exactly where I scored this little jewel off ebay in 2006.
Expatriated art is a common occurrence: a collector from another country buys a piece...
Additional Collecting Lessons related to this artwork are included:

Additional Collecting Lessons related to this art & artist:

• heavily listed artist

  o

• period forgery

  o

• • Galerie de Art de Mexicano
• • Dr. Edgar S. Bowerfind
• • Corcoran Fine Arts, Ltd.
• • Sotheby's / Ebay.com

Guillermo Meza Alvarez – son of Melitón Meza García, a pure race Indian tailor from Tlaxcala,  and of Soledad Álvarez Molina, was born on September 11, 1917 in Mexico City. This was the year that Guillaume Apollinaire gave meaning to the word surrealism; this concept was used later by André Breton in his first Manifest of Surrealism, published in 1924.
Guillermo went to primary school in 1926 and three years later, attracted to music, started studying various instruments. He ended his studies at the age of 19. His other passion was drawing (since the age of 8) and so he attended the Night Art School for Workers number 1. There he took engraving classes with professor Francisco Díaz de León and drawing classes from Santos Balmori, with whom he traveled to the city from Morelia to become an assistant. He used the income from this job to continue his study of painting at the Escuela España México. Here he met Josefa Sánchez, whom he married in 1947. They had four children: Carolina, Federico, Magdalena and Alejandro. “Pepita” died on May 6 1968 at her home in Contreras. In 1940, he was introduced to Ines Amor by means of a letter from Diego Rivera. She was the director of the Mexican Art gallery and she organized his first exhibition. Guillermo Meza’s work started with impressionism, as a symbol of the rupture and a criticism of society. During his development as an artist, he passed from the denial of Dadaism (an intellectual revolt against society) to post Dadaist affirmation (imaginative freedom): from pure anarchy to a positively achievable freedom. His creative spirit allowed him to overcome his rebelliousness (so characteristic of youth) and he adopted a clear revolutionary position, similar to surrealism that is based on responsible freedom. He was able to express himself through this conciliatory approach, and to face the reality of his own truths.
As an admirer of Breton, the spiritual guide of the surrealist movement, and of Freud – the great theorist on individual freedom – he came to poetic surrealism, a spiritual synthesis where all is fantasy, without going to the extremes of deformity of Salvador Dalí.
“Change life”, said Rimbaud; “Transform the world”, added Marx; “It is necessary to dream”, affirmed Lenin; “It is necessary to act”, concluded Goethe. Meza does not try to change life or transform the world but he does actively dream about his painting, an essential part of his life, and he works on his endless and critical denouncements of the economic and cultural abandonment suffered by the Indians.
Meza has overcome the limits of his profession; he has a profound and vivid knowledge (not empirical) of Indian thoughts on magic – the heritage of his Tlaxcalan ancestry in the Puebla Sierra – that transcends suffering and non-masochistic acceptance of pain.
This artist believes in the myth and mystery that exist in the beyond, after this fleeting life; a mystery that tries to disembowel by means of its figurations that are nearly always surreal, but also symbolic-fantastic.

Meza paints the extreme hieratic nature of his subjects, the dejection of a race wasted by abandonment and continuous and systematic exploitation, a race that takes refuge in the little that it has left: its myths and magic (manifested in religious syncretistic celebrations) that has also been left to waste. These serve as a refuge because the Indians find themselves in the middle of two forms of faith they can no longer fully accept, as neither provide them with true spiritual support. As a result, they feel attracted to other philosophies that gradually leave them more empty and isolated from their medium.
Guillermo Meza records all these painful and changing sociocultural aspects of their race with his magical, theurgical brush. Faces impregnated with arcane mysticism, covered by untruthful masks, touched by archaic and animalesque helmets; faces with an apparently absent look that is, at the same time, sharp and scrutinizing. Bodies covered with blankets or volatile layers of feathers or bubbling sea foam; bodies dressed with unlikely armor made with secret, unknown materials; mutilated, lying bodies suffering terrible torment; bodies cruelly impaled on the thorns of a maguey plant or exquisite female bodies in suggestive, erotic poses.

Fantasy landscapes that seem to come from other galaxies; nocturnal views of illuminated cites; sudden meteorites that become celebrated UFOs; foggy, volatile mountains. Bygone pyramids from ancient forgotten cultures that emerge from steamy, moving leaves.
Meza gets on the same wavelength as the universe through his marvelous art. He prefigures his hallucinations and chimera with his potently creative vision: entelechies shrouded in mystery, icons of non-reality that are the truth to his complex spirit. He projects his eidetic images on the canvas, his fictions previously conceived and invented in his fecund conscience, through which he establishes his own symbols; signs that acquire significance when they become aware of his prolific thoughts of magic, so that he can thus communicate to us his dream fantasies and splurge his own particular, rich spiritual harmony on the canvas.
His knowledge of music meant that his paintings had composition, rhythm and harmony, which make his paintings more comprehensible if we look at them and “listen” to them, as though they were a musical poem based on sharp contrast and counterpoint, in accordance with the shapes, colors and dissimilar sounds.
His artistic works have a great deal of color in them, through which he manages to achieve a rich variety of visual “sounds” and “silences”. He harmonizes and complements the resonance of his shapes and colors by means of a dominating tone. Meza’s palette is as full of sound and magic as his thoughts, a worthy complement to his creative spirit.
It is painting to be contemplated and understood, whose content changes between the magical, the terrible, the playful and the sensual; it is painting of dreams and fantasy that the active conception of Meza brings to us in the form of beautiful, rhythmic, visual poetry in harmonious combination with his bright, voluptuous sense of tropical color.
Eminently nationalistic, Meza’s work transcends through its universal content, its human message of positive acceptance of suffering and through its constant search for peace. In the hope of creating something valid and sincere, this artist makes a rite out of his profession; from this rite new ideas emerge; ideas that are mythical and eternal because they are perennial and infinite.
Source: México en el Tiempo # 8 august-september 1995

Listed In:

• • Who Was Who in American Art 
• • Davenport's Art Reference and Price Guide
• • The Artists Bluebook
• • Mantle Fielding's Dictionary
• • Mallet's Index of Artists

 
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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Nehemy Jean
Primitive: “Hatian Female”
Lesson: Reading the fine print

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Key buying strategy: Reading the Fine Print.

Art Description: Oil on canvas, 12 x 20, signed (lower right): N. JEAN

Lesson One: The impact of professional art cleaning & restoration

Read the Fine Print
On occasion, you might find yourself with adequate time to truly meander one by one through the thousands of paintings offered each week on ebay. I find this to be a healthy occasional exercise for more than one reason.
First, it gives you a better grasp regarding the vast amount of art that is available to you - and the prices for which pieces might sell for.
Second - and relevant to this particular painting - it can unearth an occasional "find". 
I suspect if I a person had the free time, they could discover several such opportunities each week at every auction site.

Artist Information

Nehemy Jean (1853-1932, Haitian)
recent poetry was published in a compilation of writing of 117 Haitian woman in many fields called "Les voies de nos silences "by Marie Alice Theard. I am listed in "Who's Who of American Women", "Who's Who in the World." I participate in many locals as well as out of town gallery shows. Seven Art Galleries represent my work. I have had over 27 gallery shows; a combination of both collective and solo shows. My first Art teacher was Haitian artist Mr. Ramponeau. I also took Art classes at academy Nehemy Jean in Port-au-Prince Haiti. I am available for consultation for beginning artists and I lecture on themes related to Creativity and our spiritual Self.
Art Studies Mr Ramponeau private teacher Haiti Academy Nehemy Jean Haiti Miraflores Art Center Lima Peru Beading classes with Kevin Davenport and Roberta Vermillon, Colorado
SELECTED BIBLIOGRAPHY
1989 - The Many Faces of Haitian Painting, Winston-Salem, NC
1982 - Artists In Tune With Their World – Masters Of Popular Art In The American & Their Relation To The Folk Tradition , Selden Rodman , NY
1998 - Caribbean Art by Veerle Poupeye
1978 - The World of Haitian painting – From the Collection of Claude Auguste Douyon
1978 – Haitian Art by Ute Stebich 
Peintures Haïtiennes, Editions Delroise,
1986 - La Peinture Haitienne, Haitian Arts,  Nadal & Bloncourt
 

Email This Article

 
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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
 Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Angel Bracho
“Camino de Coamitl (Road to Coamitl) Caracas”
Lesson: Everything!

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

  •

• This art's lineage is: Contemporary American

  •

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Stupid is as Stupid Does
Last minute...


Art & Artist Information

Description of Art

Oil on board, 13 x 15, signed (lower right): Bracho, titled: Caracas, and dated: 43 (1943).

Angel Bracho (1894 - 1973, American)
Artist: Angel Bracho     (Mexican, b. 1911) Year: 1946 Medium: lithograph Dimensions: 11-1/4 x 14² Signature: in pencil lr Edition Size: not stated Annotations: N/A Reference: TGP p. 59 illustrated Paper: heavy cream wove State: N/A Publisher: TGP Price: $150.00  

Artist Information

Bracho (Mid 20th Century - Venezuelan)
In researching this artist, there are no sales records for an artist who signed under this name during this time frame.  
It is likely that this was produced by a local artisan/ painter who sought to express these feelings presented within a view of his native Caracas. 
The 25 of May of 1915 are born in the Ports of Altagracia, state Zulia, the painter Gabriel Bracho, muralista par excellence, formed in the Mexican School. It studied Plastic Arts in Caracas, Chile, Mexico, Paris and New York. It made numerous exhibitions in Latin America, the United States and Europe.
It obtained first prizes in the halls D'Empaire and Julio T. Arce and a third prize in the Planchart Hall. In 1977 it gained for Latin America the Realistic Painting Prize It jeopardize in Bulgaria. It made the Boyacá mural that is conserved in the Palace of Miraflores, and other murals in Educational Institutes. In 1978 it shaped the cupola of the new seat of the Ministry of the Defense, in a structure of vitrales of 234 meters, only in his sort in Latin America.
For more than 20 years Bracho was fighting against a cancer, that little by little was consuming its body; nevertheless, with that spirit of always present fight, it continued developing his work. One of its last works was a wonderful interpretativo picture of Antonio Jose de Sucre, acquired by the Interior of the State Sucre in the occasion of the Bicentennial of the Birth of the Great Marshal of Ayacucho, the 3 of February of 1995. It made several murals in his native city, the Ports of Altagracia; and the house where it was born turned it museum for cultural benefit of its coterráneos. Today House is called Museum Gabriel Bracho.
Gabriel let exist in Caracas, the 6 of March of 1995. Shortly before dying the National Prize of Plastic Arts was granted to him, inexplicably late, which could not receive in life.
He was born in the Ports of Altagracia (Edo. Zulia) the 25 of May of 1915 and died in Caracas the 6 of March of 1995. Fantoches. Between 1939 and 1942, the zuliano made studies in the School of Applied Arts of Santiago of Chile. During this time the policy received great importance in its life and its work, and discovered the expressive force of the social average art as of fight. The contact with the Mexican muralismo, specially with the techniques and ideas of David Alfaro Siqueiros, increased its conception of the social importance of the art.  
The work of Bracho is full of a great realism, emphasized by pinceladas vigorous and strong resistances expressed in the color and the form. During his artistic formation, Gabriel Bracho traveled by Europe and Latin America. In 1851, he exposed in the Museum of Beautiful Arts of Caracas, and in 1957, he exhibited his work in the Room of the Friendship the International of the National Museum of Plastic Arts (Palace of Beautiful Arts of City of Mexico). Also, he participated in individual and collective exhibitions in Hungary, Bulgaria and Russia. On 1958 he founded, next to other Venezuelan artists, the Factory of Arte Realista (TAR) to promote this style and to give popular character him. The thematic one of its works takes a walk, as of the Sixties, by the folklore and history, without leaving of side the social commitment. In 1976, it gained the prize in the Realistic Painting Exhibition It jeopardize, in Bulgaria. Some of their works are: Venezuela , Merciful Linen and its time , Boyacá , this last one located in the Palace of Miraflores, Caracas. Today, its residence of the Ports of Altagracia is a museum that takes its name.

 
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ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited
 
ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Venezuelan School
“Caraacas”
Lesson: Venezuelan dollars

Oil on Canvas mounted on baord

• This style of art is known as: social expressionism

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• This art's lineage is: Contemporary American

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EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
 
Ebay links…to buy a painting just like this one
 
Links to this artist / info
 
 
To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration

From a collecting standpoint - I would term this piece a "successful failure". Why? I "thought" - or better stated - I "hoped" this piece was by a rather well listed Mexican artist by the name of Angel Bracho. Upon subsequently researching the style and signature of Angel Bracho - I discovered this item was most decidedly not by "him".
However, for a purchase price of $99.00 - I had secured an old folk painting full of political history -- and possessing a delightful array of colors to brighten any wall.
When attempting to unearth a more important piece of art - it is helpful when we consider the intrinsic value of the art to exceed the purchase price of the painting. when this works out - even when we 'lose" - we win.

Art & Artist Information

Description of Art

Oil on board, 13 x 15, signed (lower right): Bracho, titled: Caracas, and dated: 43 (1943).
This is a very interesting piece which documents in a very real manner, the political leanings in Venezuela during WWII. The scene is presented in a folk style much like the native painting styles found in the neighboring Caribbean region of Haiti and the Dominican Republic.  The figures are roughly drawn and placed in a setting which is evenly lit and free of shadows.  The entire scene is composed as if this were a theatrical setting with a clear screening off of the left and right sides of the painting.  And between the wings, the stage is populated with a host of small vignettes. The image of this village during the time of WWII is also interesting for the references to Hitler whose impact was felt even in South America.  These anti-Hitler sentiments as expressed in this work, may be an expression of the feelings of the German expatriates who had settled in the region as much as anything from the native population.  It is additionally interesting that Bracho has reduced the city of Caracas to this rather modest setting, when it was one of the largest cities in South America by this time.
Provenance

• • Ebay