Gustavo Foppiani

"Gustavo Foppiani was born the 12th july of 1925 in Piacenza and died the 5th August of 1986 in Udine.Foppiani is probably the most important artist belonging to the so called "Piacenza School".Aesthetically speaking, he prefers a crepuscular lyricism and he uses ashen and warn tones for the passing of years on the board, that he subjects to some expert processes of getting old.
It is during the years of surrealistic and abstract landscapes, that he devotes himself to the visual research about the composition.Now, it is already present the fascination for the "symbol" that continues also during the following phases, when the author concentrates mostly about contents, especially reflecting upon the enigma and the anxiety, creating lively sensations of mystery.
Afterwards, this symbolic-existential component is developed by Foppiani on the scope of the human figure and scenery; so, this is a narrative scenery, animated by the presence of a man, who is like a "homini lupus".






The aggression theme is prevalent, so much that, making a long jump in the time and in the space, we remember the Sartre's causticity.In fact, in spite of the calculated "naiveté" of the formal description, of the gratification for the amazement, and of a certain sweet sentimentalism, picks the harshness of the problematic and dangerous situations of the dark atmosphere and of the anatomic deformation.One of the fundamental themes of Foppiani's works of art is the precariousness, that peeps out in the form of uncertainty. Sometimes this reality is mitigated by the sweetness of love, that sometimes is put on a dramatic relevance, and the author lingers over the instant that compromises the quiet and that preludes the catastrophe.Thinking about the dramatic victim's experience, Foppiani discusses also the aggression, lingering over the obsession for the guilty, for the accusation, and for the punishment inflicted by the persecutor. These feelings involve psychologically the protagonist with a such a strength that he is put in a big anguish. Or the aggression acts physically, in an ambiguous and anxious play of disability, or it raises real sentences of death.







But after the tragic moments, the ironic separation phase cannot be absent: this phase is lived with strabilliant energy and presence of mind. It can configure itself as social irony, for example he focuses the empty stylistic feature of the aristocratic portrait, but the ironic distance becomes cynic when it leaves a specific contest in order to become universal....and skeletons in the cupboard appear .When Foppiani arrives to a global reflection about the existence, suggested for instance by the symbol of book, he expresses himself with calmness, committing to the solemnity of the theme, the gravity of his conclusions. Foppiani seems to incarnating in his figures, that interrogate the moon with anxious and penetrating glance but that don't receive any answer, because the moon is a dumb witness (and "ll cantico notturno di un pastore errante dell'Asia" of Leopardi comes to our mind).(rogallery.com)






Ruben Galerme - paintings for sale

 Contact
Email: rubengalerme@gmail.com

Phone 15 6 457 9610
CABA Argentina.
Beach of Varadero. .
Oil painting on canvas in 65 x 80 cm .
Impressionist style. Value: USD 2700.00

Countryside..
Oil painting on canvas in 60 x 80 cm .
Impressionist style. Value: USD 3100.00

Autumn Delta.
Oil painting on panel of fiber in 100 x 90 cm.
Impressionist style.
Value: USD 3600.00


 http://milenaolesinska.blogspot.com/p/art-for-sale.html

Earl Cavis Kerkam

Earl Cavis Kerkam, (1891– 1965) according to Willem de Kooning, Philip Guston, Mark Rothko, George Spaventa and Esteban Vicente “was one of the finest painters to come out of America.” Gerald Norland wrote at the Earl Kerkam Memorial Exhibition in 1966:
    ”A painter of enormous poetic awareness, self-directed, almost totally without direct influence, he stands as an original American artist in the best sense.”
Earl Kerkam died on January 12, 1965 in New York City.










 

Joan Erbe

"Born in Baltimore in 1926, Joan Erbe grew up in Windsor Hills on the West Side. Her father, a coffee salesman, often took her to circus side shows, where they were soon on a first name basis with many of the “freaks”. Her mother always encouraged her to create. As a response to a young Joan’s “I’m bored” sighs, she’d lock Joan in her room and state, “You can’t come out until you do some artwork!”
Joan attended a Maryland Institute program for children at the age of 7, studying under Perna Krick (who later became Reuben Kramer’s wife). Joan loved circus animals, and one of her paintings of elephants was published in The Baltimore Sun a year later. Helen Journeay sculpted the portrait of “Joan” at about ten years old, which now resides in the Maryland Historical Society. Ms. Erbe got involved with many older artists which further inspired her to pursue art. During her late teens, she spent summers with her aunt and uncle in upstate NY, where they hosted a variety of artists and actors, many from the Art Students League, and she eventually studied under painter Louis Bouche. The rest of the year she studied under Ann Didusch Schuler, and visiting artist Jacques Maroger. She gradually leaned towards expressionistic work.






Joan married at 18 years of age and had two daughters, Joan and Constance. In her early 20’s she received two scholarships to Maryland Institute; she decided to study portraiture with Leonard Bahr. Along with painting, she also delved into ceramics, sculpture and printmaking. She studied her reflection in a jar or any round metallic surface, and developed a style of Botero-like characters with faces stretched abnormally wide, and painted in rich earth tones.
Joan married George Udel in 1954. (He was a founder of the Baltimore Film Forum; Raoul Middleman memorialized him in a painting which hangs in the lobby of the Charles Theatre.) Joan had another child, Jacob, and showed her work in movie theatres and in group shows, until she had her first solo exhibit at the Baltimore Museum of Art in 1966, with many more shows to come at the IFA Gallery in D.C., many notable universities, the Corcoran Gallery, the Library of Congress, and numerous galleries across the nation. She received many honors, awards and prizes along the way. Joan had always painted in oils, but made the transition to acrylics in the 1980’s, and developed a new vibrant color palette for yet another generation of collectors to fall in love with. Since the 1990’s she was represented locally by Gomez Gallery, the Heineman Myers Gallery in Bethesda, and currently at Fleckenstein Gallery.







Joan loved nearly all expressionist painters, and many see a bit of Chagall in her art, though she wouldn’t necessarily call him an influence. She was very intrigued by the patterns in Matisse’s work, as well as the colors in the art of Mexican painters: it’s no surprise then, her repeated use of skeletons and her interest in the inherent design in them, especially the skulls and the rib cage. She always had an active imagination and constantly created, though in her later years she had been more limited to drawings and watercolors. Regardless, her subject matter was still as feisty as she was. For several years she taught a group of professional women artists at the Myerberg Senior Center in the Pikesville/Mt. Washington area. On August 21, 2014, she peacefully passed away at the Gilchrist Center in Baltimore."(fleckensteingallery.com)





Minimalism - Charlotte Posenenske

Charlotte Posenenske, née Mayer (1930–1985) was a German artist associated with the minimalist movement who predominately worked in sculpture, but also produced paintings and works on paper.
Posenenske worked in a variety of mediums, her practice becoming more abstract through the course of the 1960s.While other artists of the period worked in multiples, where a finite edition of a work could be produced, Posenenske worked in series, meaning that there was no limit to the editions. Posenenske rejected the commercial art market, offering her work for sale at its material cost. Reconstructions authorised by the artist’s estate are not replicas, and they are outwardly identical to the original prototype. Only the certificate differentiates the unsigned work from other commodities.
In 1968 Posenenske published a statement in the journal Art International referencing the reproducibility of her works, and her desire for the concept and ownership of the piece to be accessible:
I make series
because I do not want to make individual pieces for individuals,
in order to have elements combinable within a system,
in order to make something that is repeatable, objective,
and because it is economical.
The series can be prototypes for mass-production.
They are less and less recognisable as "works of art."
The objects are intended to represent anything other than what they are.
Poseneske stopped working as an artist in 1968, no longer believing that art could influence social interaction or draw attention to social inequalities. She retrained as a sociologist and became a specialist in employment and industrial working practices until her death in 1985. During this period of self-imposed exile Posenenske refused to visit any exhibitions, and did not show her work.Wikipedia














Landscapes - watercolors - Chen Chi

Chen Chi (1912–2005) was a renowned Chinese painter who became a United States citizen, where he lived and worked for much of his career.Chi was born in Wuxi, Jiangsu, China in 1912. He taught painting at the Wu Pen and Huai Chiu high schools for girls from 1938 to 1944, and at the St. John's University School of Architecture in Shanghai from 1942 to 1946. He first began exhibiting his work in annual art exhibitions in Shanghai in 1940.In 1947 Chi relocated to the United States through a cultural exchange program to paint and exhibit his work. His first one-man show in the United States was at the Village Art Center in New York City in 1947. Chi lived and worked at the National Arts Club in New York for 40 years, and in 1966 received the National Arts Club Gold Medal for Lifetime Achievement. In 1954 he was elected into the National Academy of Design as an Associate Academician, and became a full Academician in 1964.Chi's works have been shown extensively throughout the United States including at the Portland Museum of Art in Maine and the Museum of Fine Arts, Houston (1948); the Miami Beach Art Center (1952); the La Jolla Art Center and the Witte Museum (1953); and the Charles and Emma Frye Art Museum in Seattle (1955). He was the first living Chinese artist to be honored with a one-man retrospective of his oeuvre at Versailles, in conjunction with the first World Cultural Summit in June 2000.Chi died in 2005. In addition to his artwork in Shanghai, a collection of his papers is at Syracuse University.Wikipedia