Our Bizarre Books section contains this broadside from Huntington Hartford, the heir to the A&P grocery store fortune. As you’d expect, “Has God Been Insulted Here” (NY: 1951) is an attack on non-realistic art, and perhaps led to Tom Wolfe declaring Hartford possessed “the most flagrantly unfashionable taste anybody in New York has ever heard of.” #insultgod #huntingtonhartford #bizarrebooks #bluebloodphilistine #realism #expressionism #abstractexpressionism #markrothko #marktobey #franzkline #jackthedripper #sidneyjanisgallery #bettyparsonsgallery #bookstagram
#pietmondrian #mondrian #affiche #1980 #sidneyjanisgallery #newyork #exhibitionposter
For the art gallery scene historians out there: The 3rd magazine clip ad to promote a show by famous artist CRASH from The Bronx. This was from either 1989 or 1990. Cool artwork done to mention a show on Long Island, NY. This title of artwork is called "Raw Electricity" and is a nice design like the other two ads posted before. He still paints and does shows and keeping art buyers busy with the many ideas he paints on canvas or paper. . . #makingallstops #subwaybook #NYCtransit #MTA #IRT #BMT #IND #TheBronx #Southbronxart #NYCart #NYCartgallery #1980snewyork #hiphopbronx #bronxhistory #subwaywriters #IRTsubway #Bronxsubway #NYCpainters #artshowsNYC #Thebronxhistory #vintagegraffiti #nychistory #urbanart #urbanartist #streetartists #southbronxnewyork #crash #popart #graffitiart #sidneyjanisgallery
For the art gallery scene historians out there: A 2nd magazine clip ad to promote a show by famous artist CRASH from The Bronx. This was from either 1989 or 1990. Cool artwork done to mention a show on Long Island, NY. Crash has made many art shows to promote his work and he still paints now. That's good for anyone who can do that, make some dollars where you can. . . #makingallstops #subwaybook #NYCtransit #MTA #IRT #BMT #IND #TheBronx #Southbronxart #NYCart #NYCartgallery #1980snewyork #hiphopbronx #bronxhistory #subwaywriters #IRTsubway #Bronxsubway #NYCpainters #artshowsNYC #Thebronxhistory #vintagegraffiti #nychistory #urbanart #urbanartist #streetartists #southbronxnewyork #crash #popart #graffitiart #sidneyjanisgallery
For the art gallery scene historians out there: A magazine clip ad to promote a show by famous artist CRASH from The Bronx. This was from either 1989 or 1990. Cool artwork done to mention a show on Long Island, NY. Says he is there courtesy of the Sidney Janis gallery. He was a train writer who made it more bigtime in the art scene and has done many exhibits of his artwork...more power to him, he and Daze have teamed up for art shows and they established a name for themselves I think on the type of art they do...but we always go back to the days on Transit steel where they made it happen in more challenging conditions to do their paintings. I like how part of a subway map is used on the right side of the drawing, shows the train line going to Ditmars Blvd. in Astoria but has no connection to the location this art gallery was on Long Island. . . . #makingallstops #subwaybook #NYCtransit #MTA #IRT #BMT #IND #TheBronx #Southbronxart #NYCart #NYCartgallery #1980snewyork #hiphopbronx #bronxhistory #subwaywriters #IRTsubway #Bronxsubway #NYCpainters #artshowsNYC #Thebronxhistory #vintagegraffiti #nychistory #urbanart #urbanartist #streetartists #southbronxnewyork #crash #popart #graffitiart #sidneyjanisgallery
ca 1970 – DALLAS View of the dining room of the home of James H. and Lillian Clark From left to right: see subsequent images Regarding the last work (B270 Composition en Blue et Juane 1937), there are no color images. The image reproduced here has been colored with graphic processing. The only photos in which the work is shown in color are two installation views from 1962 and 1965 reproduced in the last images. At the #SidneyJanisGallery and #SantaBarbaraMuseumofArt respectively. It is unknown where the painting is currently located. The latest official information dates back to 1971 as part of the Davlyn Gallery collection which became the #HellyNahmadGallery in 2000. Regarding Provenance, the Welsh/Joosten Catalog Raisonné does not mention James H. and Lillian Clark. The work was last shown 54 years ago, in the "20th Century European Art" exhibition at the Sidney Janis Gallery in 1970 (see last image). ------------------------------ ca 1970 – DALLAS Veduta della sala da pranzo della casa di James H. e Lillian Clark da sinistra a destra: vedi immagini successive Riguardo l'ultima opera (B270 Composition en Blue et Juane 1937), non esistono immagini a colori. L'immagine qui rirodotta è stata colorata con elaborazione grafica. Le uniche foto nella quali l'opera è mostrata a colori, sono due installation view del 1962 e 1965 riprodotte nelle ultime immagini. Rispetteviamente presso la #SidneyJanisGallery e #SantaBarbaraMuseumofArt Non si sa dove si trovi attualmente il dipinto. Le ultime informazioni ufficiali risalgono al 1971 come parte della collezione della Davlyn Gallery divenuta nel 2000 la #HellyNahmadGallery. In merito alla Provenienza, il Welsh/Joosten Catalogue Raisonné, non menziona John and Lillian Clark. L'opera è stata mostrata l'ultima volta 54 anni fa, nella mostra "20th Century European Art" presso la Sidney Janis Gallery nel 1970 (vedere ultima immagine). #mondrian #pietmondrian #mondriaan #pietmondriaan #pietercornelismondriaan #francescovisalli #painting #oilpanting #abstractart #constructivism #neoplasticism #avantgarde #avantgardeart #geometricpainting #abstractism #konstruktivismus #destijl #arthistory #DMA #abstracted
ELLSWORTH KELLY Numéro spécial bilingue ( Français - Anglais) de la revue trimestrielle Artstudio (printemps 1992) consacrée à Ellsworth Kelly . Ouvrage broché , cousu avec dos carré . En couverture : Blue Yellow Red , 1971 , huile sur toile . 186 pp. avec plus de 120 illustrations en couleur et en noir et banc (dessins, croquis, tableaux , sculptures…) Textes de : Yve-Alain Bois ( Vertical /Horizontal), Claire Stoullig ( Kelly, Paris 1948-1954),Roberta Bernstein ( Les peintures à panneaux multiples) , Nan Rosenthal ( Les sculptures) et Tiffany Bell ( Les peintures d’aujourd’hui). Conversation ( janvier 1992, Paris . 15 pp. ) avec Ellsworth Kelly et Ann Hindry . Interview de Ellsworth Kelly par Paul Taylor( Publié dans Interview Magazine, New York, 1991 ). Biographie illustrée et bibliographie ( articles, interviews, monographies, écrits publiés, vidéo). Directeur de publication : Daniel Templon. Rédactrice en chef: Ann Hindry. Dimension : 212 X 270 mm. État : cet ouvrage est en très bon état. Trente est notre prix. #ellsworthkelly #hardeedgepainting #ellsworthkellygroupies #bettyparsons #collages #galerieadrienmaeght #sidneyjanisgallery #geminigel #jackyoungerman #agnesmartin #delphineseyrig #robertmangold #colorfieldpainting #minimalism #ellsworthkellyfoundation
Josef Albers Homage to the Square: “Arctic Light” 1963…Screenprint in a 16” X 16” mat…not signed…edition of 1500…available… #albers #blackmountaincollege #bauhaus #yaleartschool #ivessillman #sidneyjanisgallery
1983 [Aone, spray paint on canvas & Quik, spray paint on canvas]. Unleashed Spray, tagging the past. Exhibition in motion, Ghost Paris. Dans les années 80, à New York, une effervescence artistique a marqué le début d'une aventure sans précédent. Les graffitis ont transformé la ville en un tableau vivant, portés par une nouvelle génération d'artistes audacieux, qui ont défié les normes. L'exposition "Unleashed Spray" raconte cette révolution artistique : le post-graffiti. Armés de bombes aérosols, ces pionniers ont transcédé la rue et ont transposé l'energie de cette dernière sur leurs toiles, créant ainsi un langage visuel varié : abstraction, figuratif et lettrage. L'exposition, reflet des années 80, célèbre la liberté artistique et la réponse audacieuse aux normes établies. Les œuvres exposées, trésors d'un nouveau paradigme culturel, sont des pièces rares illustrant chaque geste sur la toile comme une intrigue, chaque nuance de couleur comme une révélation. Le post-graffiti, impossible à théoriser, possède ses propres codes, règles, principes, styles, icônes, héros et destins tragiques. Exposées dans les années 80 par des musées, marchands et galeristes visionnaires, ces œuvres ont capturé l'essence artistique authentique de jeunes créateurs dissidents. Ils ont anticipé l'impact durable de ce mouvement dans l'histoire de l'art, transcendant les préjugés pour établir un nouvel axiome. La reconnaissance d'une contre-culture devenue mouvement, d'un mouvement à l'origine d'une culture, et d'une culture devenue histoire. In New York in the '80s, an artistic effervescence marked the beginning of an unprecedented adventure. Graffiti transformed the city into a living canvas, carried by a new generation of daring artists who defied the norm. The "Unleashed Spray" exhibition recounts this artistic revolution. #aonepainting #sidneyjanisgallery #sidneyjanis #aone #anthonyclark #quik #hansmayer #linfelton #quikgraffiti #ghostgalerie #spraylife #80sart #newyorkarea #nycpainter #nycpostgraffitioldschool #masterpiecesoldschool #newyorkgraff #newyorkcitylife #contemporaryartnewyork #arthistory #americangraffiti
The new catalogue Artists' Books & Ephemera for the upcoming auction @zwiggelaarauctions is out now! This time there’s a new section with groundbreaking group show catalogues. It’s a journey starting with New Forms New Media at Martha Jackson Gallery in New York in 1960, to early Siegelaub projects, conceptual art shows in Germany (Paul Maenz, Prospect, Blockade), The Netherlands (Op Losse Schroeven), Austria (When Attitudes become Form, Magna Feminism), Japan (Tokyo Biennale 70), Former Yugoslavia (In Another Moment), Scotland (Strategy Gets Art), Argentina (Art as Idea), ending with seminal performance shows in Belgium and Italy in 1978. The online auction takes place on Friday December 8 at 7pm #corinnegroot @zappmagazine @nataliallarchive #paulmaenz @dwan_gallery #marthajacksongallery #exhibitioncatalogue @kunsthallebern #galeriereneblock #sethsiegelaub @egressfoundation #haraldszeemann @kunsthalleduesseldorf @stedelijkmuseum #centrodearteycomunicación #sidneyjanisgallery @galeriekrinzinger @aceagrams @tokyometropolitanartmuseum
Willem de Kooning “Recent Paintings” 1956 Super rare poster for his show in April 1956 at Sidney Janis NYC. This folded poster also handed out as an invitation for a preview between 4-7 April 2. Dm any inquiries #sidneyjanis #sidneyjanisgallery #willemdekooning #sidneyjaniscollection #willemdekooningart #willemdekooningfoundation #dekooning #dekooningwoman #dekooningestate #willemdekooningwoman #bengtssonfineart
Galerie THOMAS, Munchen 1983 #nygraffitiartists1980s #galeriethomas #galerieyakikornblit #notstreetart #sidneyjanisgallery
I’m featured in an ill art show right now, 😩😩😩 1990’s funk! #georgesegal #darknessandlight #imfamousoninstagram 🤣🤣🤣 flicks from 1995! From • @artbooksephemera GEORGE SEGAL DARKNESS AND LIGHT New Photo-Sculpture Catalog for the solo exhibition at Sidney Janis Gallery, New York March -April 1995 Text by Martin Friedman #georgesegal #sidneyjanisgallery #artbooksephemera
GEORGE SEGAL DARKNESS AND LIGHT New Photo-Sculpture Catalog for the solo exhibition at Sidney Janis Gallery, New York March -April 1995 Text by Martin Friedman #georgesegal #sidneyjanisgallery #artbooksephemera
From the collection: Louis Vivin (1861 in Hadol – 1936 in Paris, France) La Porte Saint Martin, undated oil on canvas 54 x 65 cm #louisvivin #france #portesaintmartin #paris #peintresducoeursacre #wilhelmuhde #sidneyjanisgallery #bienalsaopaulo #documenta @themuseumofmodernart #zandercollection #charlottezander
Two sculptures by the Venezuelan American artist Marisol (Marisol Escobar): 1. "Dinner Date," 1963, in which the artist dines with herself over TV dinners. 2. " Portrait of Sidney Janis Selling Portrait of Sidney Janis by Marisol, by Marisol," 1967-68. Thanks to Katy Hessel / @thegreatwomenartists. #marisol #marisolescobar #marisolescobarartist #marisolescobarartista #marisolartista #venezuelanamericanartist #latinxartist #latinxsculptor #popart #popartist #popsculpture #figurativesculpture #figurativesculptures #sixtiesart #1960sart #1960sartwork #womensarthistory #greatwomenartists #womenartists #arthistory #modernarthistory #selfportrait #selfportraits #sidneyjanis #sidneyjanisgallery
#crashone #graffitibook #catalog #graffiticatalogue #sidneyjanisgallery 📚 #newyork #1986
A happy Throwback Thursday to everyone… here’s one from 1984. The original drawing to a painting that I did for an exhibition at the Sidney Janis Gallery in NYC. Dick Tracy had the iwatch way before anyone… #sidneyjanisgallery #dicktracy
#PhilipGuston #BlueTable, 1960, #oilonpaper, 42¾ x 32¾", first exhibited at #SidneyJanisGallery, #NewYork in New Paintings by Philip Guston, 1961 and then at this #retrospective at the @guggenheim Museum, New York. Quite an odd vertical work - there's only one other vertical painting painted in the same year ( #vessel). It's almost like it could've been started in a horizontal format and rotated at some stage in the process of painting. The top-heavy black forms outline the negative-space elements on the tabletop, as they slowly obscure and dissolve as they slide down the picture plane to the lower portion of the painting. 'Painting Table' of 1975 (oil on canvas, 81 x 61½") almost does a similar action as the eye moves from top to bottom, such a risky move for a painter - for fear of losing the viewer's eye as it moves vertically up/down across the canvas surface. A meta-form relating to the exterior edge of the canvas, repeated and tilted in the painting arena. Painting Table is also another rare vertical format for Guston. It's only one of the two vertical paintings made in the 50-odd paintings completed in 1975. @the_guston_foundation
Mark Rothko at the opening of Evsa Model, first exhibition #sidneyjanisgallery, Well, you know, the gallery was an affair of my mom and dad. And so, sort of a family affair, and I was in my senior year in high school. And so, I went to the openings, I took some photos there of artists. Some of them are printed in the book on the Sidney Janis Collection. I got a nice shot of Newman and a nice shot of Rothko in there, and Model at another show. No, these were all at the Model show. Those artists came to see Evsa Model, who was -- yes, an interesting artist. He was the husband of Lisette Model, the great photographer. Quote from #carrolljanis #modernart #markrothko #barnettnewman #moma #lisettemodel #arthistory #mastersofart #abstarctart #figurativeart
1968, Tom Wesselmann at The Sidney Janis Gallery, New York #popart #tomwesselmann #sidneyjanisgallery #newyork
SEWELL SILLMAN (1924-1992) Untitled, c. 1960s Oil on paper mounted to Dibond 17 × 22 inches Estate stamp verso Sewell Sillman was born October 24th, 1924 in Savannah, Georgia. Before entering college, he served with the United States infantry in Europe in World War I and was wounded in combat. Shortly after the war, he enrolled at the experimental Black Mountain College in North Carolina, where he studied with Josef Albers, the abstract painter and theoretician. When Albers accepted a post at Yale, Sillman followed, receiving a B.F.A. degree in 1951 and an M.F.A. in 1953. . #sewellsillman #savannah #painter #lithography #ivessillman #minimal #abstract #geometric #midcentury #modern #blackmountaincollege #josefalbers #acoblawrence #romarebearden #adreinhardt #jasperjohns #andywarhol #sidneyjanisgallery #frankstella #contemporaryart #arthistory #moma #ellsworthkelly #nycart #sollewitt #available #forsale #brockandco [email protected]
Emptying boxes, oddities #1954 #sidneyjanisgallery #wordvsimage #exhibition #magritte
/-////****////- #wassilykandinsky *All methods are sacred if they are internally necessary. All methods are sins if they are not justified by internal necessity.* ~Wassily Kandinsky In his Murnau landscapes Kandinsky forged a distinctively Russian brand of Fauvism, as may also be seen in Jawlensky’s concurrent work. Both painters made the experience of light as transformed into color a far more subjective and intensely emotional process than did the French Fauves. _________________________________________ The success of their recent collaborative efforts led Kandinsky, Münter, Jawlensky and Werefkin to establish the Neue Künstler-Vereinigung München (NKVM) in 1909, for the purposes of publicizing their aims and showing their work. In December 1909, Kandinsky wrote this statement: “Our point of departure is the belief that the artist, apart from those impressions he receives from the world of external appearances, continually accumulates experiences within in his own inner world. We seek artistic forms that should express the reciprocal permeation of all these experiences—forms that must be freed of everything incidental, in order powerfully to pronounce only that which is necessary—in short, artistic synthesis. This seems to us a solution that once more today unites in spirit increasing numbers of artists” _________________________________________ *Winterstudie mit Berg* 1908 Wassily Kandinsky (1866-1944)💙 #sidneyjanisgallery #newyork #art #artwork #painting #drawing #instaart #artgallery #abstractpainter #arte #artcollector #love #artlovers #paint #gallery #draw #paintings #artcollectors #drawings #artlover #painter
From the collection: Louis Vivin, Le Panthéon et l'Eglise St. Etienne du Mont, undated, oil on canvas, 60.5 x 72.8 cm #louisvivin #pantheon #eglise #church #paris #cityview #malerdesheiligenherzens #peintresducoeursacre #wilhelmuhde #sidneyjanisgallery #bienalsaopaulo #documenta @themuseumofmodernart #zandercollection #charlottezander
/-////****////- #franzkline At nearly eight feet tall, Light Mechanic belongs to a group of monumental canvases that Kline painted between 1950 and the early 1960s. In both physical size and artistic scope, it skillfully captures the masculine energy that epitomized Abstract Expressionism, as onto this large canvas Kline lays down bold architectural swaths of paint. As with his contemporaries (Willem de Kooning, Mark Rothko, and Jackson Pollock), Kline’s signature style harnessed the gestural brush stroke to execute a vision that filled the canvas with what Meyer Shapiro called “… the mark, the stroke, the brush, the drip, the quality of substance of the paint itself, the surface of the canvas as a texture and field of operation—all signs of the artist’s active presence” **M. Schapiro** “I’m not a symbolist,” he said. “In other words, these are painting experiences. I don’t decide in advance that I’m going to paint a definite experience, but in the act of painting, it becomes a genuine experience for me” He favored old masters especially Tintoretto, Velásquez, Goya, Rembrandt more than the Surrealists or proponents of modernism, finding inspiration in the quality of their line, and the depths of tone and contrast that they achieved. #christies #sidneyjanisgallery #newyork #artwork #art #painting #abstractpainter #abstractart #drawing #artgallery #abstractpainting #abstract #contemporarypainting #artcollector #abstractartist #abstractexpressionism #paintings
/-////****////- #markrothko “I think of my pictures as dramas, the shapes in the pictures are the performers. They begin as an unknown adventure in an unknown space. It is at that moment of completion that in a flash of recognition, they are seen to have the quality and function which was intended. Ideas and plans that existed in the mind at the start were simply the doorway through which once left the world in which they occur.” **Mark Rothko** #christies #sidneyjanisgallery “I am only interested in expressing the basic human emotions—tragedy, ecstasy, doom and so on—and the fact that lots of people break down and cry when confronted with my pictures show that I communicate those basic human emotions… The people who weep before my paintings are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationships, then you miss the point!” — Mark Rothko One of Mark Rothko’s most vibrant and dazzling paintings, Saffron epitomizes the physical and emotional drama that is contained within the artist’s majestic canvases. One of the greatest influences on Rothko’s understanding and use of color was French painter Henri Matisse. It was paintings like his Red Studio of 1911 that had given Rothko the courage to pursue his great breakthrough of 1949 when the representational forms, objects, and symbols of his art finally disappeared and dissolved into his now familiar rectangles of pure nonobjective color. The Red Studio was acquired by New York’s Museum of Modern Art in the late 1940s and was first permanently installed in the museum in 1949. As Rothko told Dore Ashton, soon after the painting went on show he would repeatedly “spend hours and hours” sitting in front it. “When you looked at that painting,” he said, “you became color, you became totally saturated with it” as if it were music #museumofmodernart #newyork #henrymatisse #artwork #painting #abstractpainter #abstractart #drawing #art #artgallery #abstractpainting #artcollector #love #abstract #paintings #gallery
Duane Michaels - Upside Down Inside Out and Back Wards, 1989 #duanemichals #sidneyjanisgallery
From New York to Düsselrof and San Francisco the synthesis, in four images, of the "ORIGINAL SIN" which led to a historical error for two works by Mondrian Although abstract art is subject to different interpretations by the viewer, the artist who creates it has a very specific vision and therefore establishes its direction. It is the message he conveys. On this direction then the viewer can find different interpretations. IN MONDRIAN'S CASE, ROTATIONS OF HIS PAINTINGS ARE CATEGORICALLY DENIED, ONLY THE POSITION HE WANTED CAN BE CONTEMPLATED. There are a thousand examples of cases in which Mondrian in a maniacal and meticulous way provided instructions on how to hang his works. When it happens that an unfinished work lacks this specific will, in addition to the knowledge of his art, it is also necessary to have a strong sensitivity to identify it. I FEEL I CAN SAY WITH CERTAINTY THAT THE WORKS IN DÜSSELDORF AND SAN FRANCISCO NEED TO BE OVERTURNED. IT IS UNDENIABLE THAT THIS IS THE CORRECT POSITION DESIRED BY MONDRIAN. A mistake was made since the first exhibition, i think 76 years can be enough. THE TIME HAS COME TO MAKE UP FOR THE MISTAKE AND DO JUSTICE TO THE MEMORY OF AN ARTIST WHO PLAYED A DECISIVE ROLE IN THE HISTORY OF ART. #Mondrian #Mondriaan #PietMondrian #PietMondriaan #PieterCornelisMondriaan #mondrianupsidedown #sfmoma #francescovisalli #kunstsammlungnordrheinwestfalen #kunstmuseumdenhaag #originalsin #sidneyjanisgallery #newyork #sanfrancisco #dusselrdof #abstractart
#PhilipGuston in his #Chelsea #paintingstudio in 1957, #photographed by #ArthurSwoger. To Guston's right, is the #painting #TheEvidence, which is still a work in progress that year. I've dropped in a color image of the finished work, which was completed in 1957 and exhibited in early 1958 at #sidneyjanisgallery in NYC. The painting is oil on canvas, 65" x 68". At present, it's in a #privatecollection and is a promised gift to the @sfmoma #SanFranciscoMuseumofModernArt. @the_guston_foundation
Willem De Kooning 1904 - 1997 Gansevoort Street c. 1949 Oil on cardboard #willemdekooningfoundation Gansevoort Street is one of a small group of paintings from this period that are exceptions to the artist’s engagement with black and white. The painting’s red-orange palette serves a distinct representational function. Running through the heart of New York’s bustling meat-packing district, the actual street named Gansevoort was then (as today) home to a variety of wholesale meat butchers and distributors. De Kooning’s expressive use of raw, fleshlike colors, therefore, forcefully transports the viewer into the neighborhood, the artist’s addition of white and black paint suggesting bones. #stanforduniversity #andersoncollection Collage oil and lacquer with thumbtacks on paper 22 by 30 in. 55.9 by 76.2 cm. Executed in 1950. #sothebys #london "As for Mr. de Kooning’s contribution, it is of spectacular quality almost from beginning to end… It would almost be worth crossing the country to see the collage of 1950, with its big thumbtacks so firmly signposting an acrobatic tumble of cut paper. If Henri Matisse were not going to be Mr. Cut Paper until the end of time, this collage would give Mr. de Kooning the title.” JOHN RUSSELL, “TWO ARTISTS SHARE THE CARNEGIE INTERNATIONAL” #newyorktimes #sidneyjanisgallery #artwork #painting #art #abstractpainter #abstractart #drawing #instaart #artgallery #arte #abstractpainting #fineart #artcollector #love #contemporarypainting #abstract #artlovers #draw #paintings #gallery #paint #contemporaryart
Franz Kline 1910 - 1962 Blue Center oil on canvas 36 by 40 in. 91.4 by 101.6 cm. Executed in 1958. #franzkline #sothebys “When I look out the window – I’ve always lived in the city – I don’t see trees in bloom or mountain laurel. What I do see – or rather, not what I see but the feelings aroused in me by that looking – is what I paint." Franz Kline "Though some people say that black and white is color, for me color is completely different. In other words, an area of strong blue or the interrelationship of two different colors is not the same thing as black and white. In using color, I never feel I want to add to or decorate a black and white painting. I simply want to feel free to work both ways.” FRANZ KLINE A pioneer of Abstract Expressionism and prominent member of the renowned artist collective, the “New York School,” of the 40’s and 50’s, Kline’s work established a signature visual idiom marked by varied, dominant strokes imbued with exceptional energy and spontaneity. Kline’s interest in structure and composition was originally born out of more traditional illustrations of landscapes and cityscapes, capturing the industrialized forms of his New York surroundings. #sidneyjanisgallery #newyork #metropolitanmuseumofart #abstractpainter #art #artwork #painting #abstractart #drawing #instaart #artgallery #arte #abstractpainting #photography #artcollector #love #contemporarypainting #abstract #abstractexpressionism #artlovers #paintings #gallery #paint #abstraction #artcollectors
*Property from an Import: ant European Collection* #sothebys Josef Albers 1888 - 1976 Homage to the Square (Lighted Lobby) oil on Masonite 60.9 by 60.9 cm. 24 by 24 in. Executed in 1963. This work will be included in the Catalogue Raisonné of Paintings by Josef Albers currently being prepared by the Josef and Anni Albers Foundation, and is registered under JAAF 1976.1.554 #josefalbers #privatecollection Josef Albers’s Homage to the Square (Lighted Lobby) is a superb iteration from one of the most iconic and instantly recognisable artistic series of the Twentieth Century. Albers devoted over two decades of his life to his Homages to the Square series, which remains one of art history’s greatest investigations into the perception of colour. JOSEF ALBERS, HOMAGE TO THE SQUARE: WITH RAYS, 1959 THE METROPOLITAIN MUSEUM OF ART, NEW YORK IMAGE: THE METROPOLITAN MUSEUM OF ART, NEW YORK/SCALA, FLORENCE ARTWORK: THE JOSEF AND ANNI ALBERS FOUNDATION/DACS 2022 #images #newyork #themetropolitanmuseumofart JOSEF ALBERS IN HIS STUDIO, NEW HAVEN, CONNECTICUT, AUGUST 1960. *Choices of the colours used, as well as their order, is Aimed at an interaction – influencing and changing each other forth and back.* - JOSEF ALBERS Albers’s chromatic theories were firmly embedded in the belief that colour is never to be understood rationally but always in terms of its effects on the psyche. Whereas Goethe’s famous colour circle was derived hierarchically from the wisdom of natural science, Albers’s approach was one of dialogue, juxtaposition, and above all experimentation. Albers's vast research into the nature of color and its subjective perceptions compound his visionary role as one of the most influential art teachers and theorists of the Twentieth Century. Confirming his status as one of the most important artists of the post-war era, Homage to the Square (Lighted Lobby) offers a superb blending of the Albers's conceptual brilliance and unique aesthetic. #josefalbersfoundation #sidneyjanisgallery #newyork #edwardtotahgallery #london #sidneyjanisgallery #artwork #art #love #drawing #arte #abstractpainting #abstract #fanart #paint #fineart #insta #artgallery #abstractart #dra
ROBERT RYMAN This catalogue was published to accompany the eponymous exhibition at the : Museo National Centro de Arte Reina Sofia, Madrid from 05.26- 08.16.1993 . The exhibition was also shown before at the Tate Gallery,London and at the MOMA,New York. All texts are Bilingual (English /Spanish). Softcover with french flaps and title in white embossed vertically on cover. 256 pp. illustrated with 79 full page plates in color and a lot of black and white photographs. Each of the 79 works printed on the right page are fully described on the left page. Essays by Robert Storr, Catherine Zelevansky and Linda Norden. Before the catalogue you find an interesting glossary of technical terms, and after the catalogue , the chronology, list of the one-person exhibitions and a complete bibliography. Dimension : 24 X 27,5 cm. Condition : this catalogue is in very good condition, the fragile cover due to the specific paper and the pale colours is really clean and perfect (which is very rarely the case for this catalogue). One hundred twenty is our price . #robertryman #robertrymandrawings #robertrymanpaintings #acrylycpainting #bluechalk #charcoaldrawing #gesso #jute #kraftpaper #oilpaints #pastels #waxpaper #philipguston #sidneyjanisgallery #stablegallery #jacksonpollock #franzkline #clementgreenberg #leocastelligallery #agnesmartin #panorasgallery #museumofmodernartnyc #tategallery #allanstonegallery #systemicpaintings #barnettnewman #galerieheinrichfriedrich #ps1 #diaartfoundation
Property from the Estate of Sondra Gilman ELLSWORTH KELLY (1923-2015) Blue Red-Orange #privatecollection ELLSWORTH KELLY (1923-2015) Blue Red-Orange signed, inscribed and dated ' #341 KELLY '64-'65' (on the stretcher); signed with the artist's initials and inscribed again 'EK 341' (on the reverse) oil on canvas 75 x 69 3⁄4 in. (190.5 x 177.2 cm.) Painted in 1964-1965. #ellsworthkelly Price realised USD 2,940,000 #christies In the present work, blue—a historically significant color due to its association with a number of important artists including Giotto, Claude Monet and Yves Klein—expands to almost fill the canvas. It is a color with which the artist had considerable engagement, using it many times throughout his oeuvre in various hues ranging from darker, almost purplish blues, to the warmer, more inviting blue of the present work. Red, also has a presence all its own that cannot be ignored. It is the rusty hues of Christ’s blood in Renaissance paintings, the evocative otherworldly reds of Joan Miró, and the wild, earthy colors of Claude Monet’s late work, a key inspiration for Kelly. Ellsworth Kelly, one of the most consistently innovative painters of his generation, left an indelible mark on art history with his perennial investigations of form, color, line, emotion, and the canvas itself. His Blue Red-Orange, a large-scale painting measuring nearly six feet square and executed in 1964-65, is an exemplary example of his generous and rigorous ability to draw forth feeling and human connectivity from abstract forms. In Blue Red-Orange, completing fields of vibrant color create an inherent sense of drama, one that pushes the chromatic power of color to its very limits. #newyork #sidneyjanisgallery #privatecollection #blumhelmangallery #christies #photography #love #painting #art #instagram #beautiful #artwork #drawing #style #life #instaart #draw #abstractart
[Joseph Cornell’s poetry very much warrants the risk of a follow-up post. So that:] In October 1953, our Enterprising Hero visits the Sidney Janis Gallery in New York, where he chances across a cubist oil and newsprint collage by Juan Gris, “The Man at the Café” (1914). “Juan Gris mood,” Cornell later scribbles into his diary. After extensive research (as for any of his various projects) and well into 1966, he makes a series of “shadow boxes” which all pay an eruditely playful homage to the painter and his painting(s). Their protagonist is a “Great White-Crested Cockatoo,” or, in simpler wording, a parrot. Cornell, as punningly as gracefully, ‘parrots’ Gris and sends his avian emblem on to a serial journey from the habitat of clear-cut figuration to the transcendent bounds of abstraction. #josephcornell #homagetojuangris #shadowbox #juangris #themanatthecafe #cubistpainting #cubism #americanartist #americanart #spanishart #spanishpainting #sidneyjanisgallery #nyc #modernistart #collageobject #parrotage #erudition #greatwhitecrestedcockatoo #birdsofafeather #themet #metmuseum #maryclaremckinley #leonardalauderresearchcenterformodennart #collage #collageart #assemblage #montage #scopophilia #artbookaddict #ichpackemeinebibliothekaus
Throwing back to 1988 as I worked to get ready for my solo exhibition at Sidney Janis Gallery on 57th St. this was at our old studio in 149th St, da Bronx, @dazeworldnyc #sidneyjanisgallery #sidneyjanis it was about going big or go home… #krylon #rustoleum #reddevil photo @lisa_kahane
Wow…a pre throwback Thursday moment. Stumbled on a few paintings on canvas board, 1986. I occasionally did studies for larger pieces using mixed media and here’s an example. During the Sidney Janis days… #sidneyjanis #sidneyjanisgallery gallery #w57thst.
You can find the content of this topic by visiting my profile and searching for the same picture in a previous post. . . . . #Mondrian #Mondriaan #PietMondrian #PietMondriaan #PieterCornelisMondriaan #SidneyJanis #SidneyJanisGallery #ValentineGallery #ValentineDudensing #Abstraction #Exhibition #ArtHistory #Rkd #Rkdnl #fondationbeyeler #GalerieBeyeler #CercleetCarré #AndrewBonacina #FrancescoVisalli
(if you feel like it, then continue in the images) Mondrian's solo exhibitions are 15 organized by Sidney Janis, if we also include the short exhibitions of FIAC '80 and Art Basel '81: in 1949, 1951, 1953, 1957, 2 exhibitions in 1962, 1974, 2 exhibitions in 1980, 1981, 2 exhibitions 1988 and the last 2: “Mondrian Flowers in American Collections” in 1991 Other 2 important exhibitions organized by Sidney Janis, are those in which Mondrian was approached to other artists: Examples of the classic phase of Arp & Mondrian 1960 Brancusi + Mondrian 1982 An exhibition, the latter, that I was lucky enough to see, in addition to the good fortune of having met Janis. The memory is that of having met an affectionate grandfather, certainly an elderly man, but full of vitality and enthusiasm for his work, with an exceptional charisma and great elegance. I was just a 22-year-old rebellious young architecture student. While I was contemplating Mondrian's works and fantasizing about how they could be transformed into architectural compositions (transposition that I started applying only seven years ago..it's never too late), my super rich LA girlfriend was trying to buy a Brancusi sculpture. #Mondrian #Mondriaan #PietMondrian #PietMondriaan #PieterCornelisMondriaan #SidneyJanis #SidneyJanisGallery #ValentineGallery #ValentineDudensing #Abstraction #Exhibition #ArtHistory #Rkd #Rkdnl #fondationbeyeler #GalerieBeyeler #CercleetCarré #AndrewBonacina #FrancescoVisalli
A rare image of Sidney Janis in 1980, with three works by Mondrian that were in his collection. From left to right: B301 - "New York City 1942" since 1984 preserved at the Musée National d'Art Moderne (Center Pompidou), Paris B300 - "New York City 1 (unfinished) 1941" from 1980 preserved at the Kunstsammlung Nordrhein-Westfalen, Düsseldorf B302 - “New York City 2 (unfinished) 1942” since 1998 preserved at SFMOMA #Mondrian #Mondriaan #PietMondrian #PietMondriaan #PieterCornelisMondriaan #SidneyJanis #SidneyJanisGallery #ArtHistory #CentrePompidou #kunstsammlungnrw #Rkd #Rkdnl #FrancescoVisalli
JANIS DANCER Not many people know that Sidney Janis (July 8, 1896 - November 23, 1989) before becoming one of the most important collectors and gallerists of all time and even before being an entrepreneur of shirts (M'Lord), was also a professional dancer. Between 1914 and 1917, afer leaving Technical High School, Buffalo, in senior year, Janis works as professional dancer with partner Grace Hickie at Palais de Danse, Buffalo, and later on the Gus Sun Time vaudeville circuit. Travels and demonstrates at cabarets and nightclubs new ballroom dances, hesitation waltz, one-step, and tango. (from the book "Three Generations of Twentieth-Century Art - The Sidney and Harriet Janis Collection of the Museum of Modern Art" 1972) Pictured, Sidney Janis and Grace Hickie, c.1914 #Mondriaan #PietMondrian #PietMondriaan #PieterCornelisMondriaan #SidneyJanis #GraceHickie #SidneyJanisGallery #PalaisdeDanse #Buffalo #ArtHistory #Rkd #Rkdnl #historicalphotos #FrancescoVisalli
A small part of my #Mondrian archive. I have finally arranged the #SidneyJanis and #SidneyJanisGallery collection of books and catalogs. It also includes some magazines where interesting articles on Mondrian written by Janis and his wife (Harriet Grossman) were published: in Decision Nov-Dec 1941, Arts & Architecture Jan. 1945, Oct. 1953. In about sixty years of history, from 1935 to 1996, 88 exhibitions were held with the presence of works by Mondrian (between solo and group exhibitions), obviously I'm only talking about those referring to Sidney Janis. Of these (with a few years of research) I managed to collect 68 catalogs, brochures and folded sheets (for the catalog of the 1957 "Mondrian" exhibition I collected two copies because there is a small but substantial difference between the two). It should be noted that the same catalog has been used in 12 exhibitions (Sidney and Harriet Janis Collection - Circulating Exhibition in USA and Europe). For another 4, no catalog or leaflet was published. Ultimately 4 catalogs are missing, but perhaps these too have never been published. The reference for the research was the most important publication on Mondrian's life, namely the Catalogue Raisonné by Robert P. Welsh and Joop M. Joosten published in 1996. Some catalogs I collected were published after 1991-92, years in which the research carried out by Welsh/Joosten ended. #Mondriaan #PietMondrian #PietMondriaan #PieterCornelisMondriaan #CatalogueRaisonné #Abstraction #Exhibition #ArtHistory #Rkd #Rkdnl #pietmondrianconservationproject #FrancescoVisalli #MoMA #MuseumofModernArt #ArtBook #ArtCatalog
(Part 3 of 3) Based on this consideration, this work was most likely also exhibited on the occasion of the “School of Paris” exhibition held at the Valentine Gallery from January 17th to February 26th 1944, just while Mondrian was very ill. He will die on February 1st of the same year. In the catalog of this exhibition, the work is indicated at no. 19 as "Composition" 1935-42 (2nd image). Robert M. Coates, in the review in "The New Yorker" of 29 January 1944 on page 64, defines the work "..one of the handsomest things he has done .." (3th image) In the meantime, other exhibitions with works by Mondrian had already taken place, in particular in 1943: "11 Modern Painters - 11 Abstract Paintigs" between January and February (I have not identified Mondrian's work), "Maria: New Sculptures and Mondrian: New Paintings "between March and April (with 6 works by Mondrian) and" 20 Modern Paitings and Sculptures "that Joosten places in April 1943, but the reviews of Art Digest are from December '43 and January '44 (an exhibition aimed at to the sale of the works, in which work B322 was exhibited now in the MoMA). 4th and 5th image Few publications exist with the reproduction of this work in its first state. Among the most significant: Max Bill in Das Werk 8, 1938; "Plastic Art and Pure Plastic Art" by Harry Holtzman in 1945; Max Bill in Domus 206 Feb. 1946 (6th,7th and 8th images). Finally, there is a detailed photo of the work in its first state (unfortunately undated) preserved in the Anna Bergman archive in RKD (9th image). The latest exhibition organized by Valentine Dudensing, "Mondrian. Paintigs ", will take place in March 1946, with 17 works (10th image), but the work we are talking about was not exhibited. It had been in the collection of Henry Clifford in Radnor, Pennsylvania since 1945. In the spring of 1947, the Valentine Gallery went out of business, it was then the gallery owner Sidney Janis (starting in 1949) who gave the definitive impetus to the art and market of Mondrian's works (a gallery owner whom I personally adore).
(Part 2 of 3) Dudensing had scheduled a solo show for Mondrian in 1937, which was first postponed and then canceled. It will only be in 1942 that the exhibition will finally take place when Mondrian was already in New York where he emigrated in October 1940. This will be Mondrian's first solo exhibition in the USA. The work in question was definitively completed by Mondrian about a year after his arrival in New York. As happened with other works called "Transatlantic Paintings", he transformed it by adding the blue planes in the upper left and a small red rectangle on the right edge defined by a vertical segment. In the 2nd image, the comparison. Although it is a work dated 1937-42, Mondrian actually completed it towards the end of 1941. In fact it was exhibited for the second time with its final appearance, on the occasion of the "Program" exhibition organized to inaugurate the new headquarters of the Valentine Gallery at 55 East 57th St. in New York. (3th image). The certainty that it was already completed comes from a review of the exhibition that appeared on ART News December 15-31, 1941 where, on p. 16, James W. Lane describes in detail the painting on display and there is only one work that corresponds perfectly to this description, namely Composition with Blue, Red and Yellow - 1937/42. (4th image). After a few days, it was exhibited for the third time during the first solo show in the USA, at the Valentine Gallery from January 19th to February 7th 1942 entitled “Paintings and Drawings by Mondrian”. In the catalog it is indicated in Abstractions at n.13 1935 - 1942. (5th image - however it cannot be ruled out that it may be the work B257.306 even if unlikely) For many years this work had the title "Composition 1935-42" or "Rhythm of Straigth Lines 1935-42" (just consult all the catalogs and publications where it was cited or reproduced), but it is only with the publication of the Catalogue Raisonné by Welsh / Joosten (1998) which took the title of Composition with Blue, Red and Yellow and dating 1937-42. According to Hans Janssen in "Een nieuwe kunst voor een ongekend leven", the unidentified work at no.3 of the exhibition at Valentine could be B282
(Part 1 of 3) Up to now it has been assumed that this work by Mondrian had never been exhibited in its original configuration. Let's talk about Composition with Blue, Red and Yellow - 1937/42 (since 1965 kept at the Kunstsammlung Nordrhein-Westfalen Museum in Dusseldorf). In the Catalogue Raisonné of Welsh / Joosten it is coded with B311 Second State and B276 First State - Rythme de Lignes Droites 1937. In 2017, during my research, I found (by chance as often happens) this image in the photographic archive of the Baltimore Museum of Art. It represents the exhibition "Modern Painting Isms and How They Grew" held at the same Museum from 12 January to 11 February 1940 (2nd image the catalog). It was an exhibition that compared emerging modern styles with traditional works. Mondrian most likely created this work in 1937 while he was in Paris in his second studio on Boulevard Raspail. A composition of vertical and horizontal lines with a small yellow rectangle at the bottom right defined by a segment. A fragment of this work is visible in the 3rd image in a photo taken by Rogi André (Rozsa Klein) in 1937. The following year Mondrian sent this work to Valentine Dudensing on consignment, along with three other works (B273, B274. 310, B275.320). However, the relationship with Dudensing began as early as 1936, when the Valentine Gallery decided to promote Mondrian's art in the USA. A decidedly focused choice, of the 5 works that Mondrian had sent, four were sold immediately: B265 not immediatelyù; B266 purchased by A.E. Gallatin now in the Philadelphia Museum of Art; B267 purchased by Katherine Urquhart Warren now in a Private Collection; B244 purchased by Walter P. Chrysler Jr. now in the Kunstsammlung Nordrhein-Westfalen Museum; B245 purchased by Mrs. Charles H. Russell Jr. work which in April 1985 will be destroyed in the fire of the house of Niomar Moniz Sodré Bittencourt in Rio de Janeiro, but this is another story!
Post Graffiti (1983) Original catalogue, New York, 1983. Text in English. Unpaginated (20 pages). 27.7 x 21.3 cm. Condition: Very good. If the graffiti movement has its roots in the late 60s and especially in 1972/1974, and despite some exhibitions with little media coverage, the exhibition at the Sidney Janis Gallery can be considered one of the great firsts in the established world of contemporary art. Organized in December 1983, it brought together a large number of pioneers of New York graffiti: Lee Quinones, Lady Pink, Futura 2000, Rammellzee, Daze, A-One, Crash… but also artists gravitating around such as Jean-Michel Basquiat, Keith Haring or Marc Brasz. Rare testimony to the entry of graffiti into the institutional scene. For Sale. DM for Info. Link in Bio 👉www.galeriebabylone.com #postgraffiti #crashone #leequinones #dondiwhite #futura2000 #basquiat #ladypink #sidneyjanisgallery #keithharing #wildstyle #graffiti #subwaygraffiti #newyorkgraffiti #borninthebronx
3 of 3: Robert Motherwell created a series of numbered paintings titled “Je t’aime” in the mid 1950s, a time of great emotional tumult in his life. Motherwell has described these paintings as expressions of longing, cries from the heart, the desperate outpourings of his desire to love at a time when he was trapped in a loveless marriage. Four of Motherwell’s Je t’aime paintings were included in his first solo show at the Sidney Janis Gallery. Pictured here is “Je t’aime No. II” Robert Motherwell, “Je t’aime No. II,” 1955, oil and charcoal on canvas, 54 x 72 in. #Motherwell #RobertMotherwell #Dedalus #DedalusFoundation #AbstractArt #Abstraction #AbstractExpressionism #ArtofInstagram #Painting #OilPainting #Drawing #Collage #ModernArt #Modernism #Museum #ArtMuseum #Contemporary #NewYorkSchool #AmericanArtist #Archive #Inspiration #Explore #ExploreArt #Jetaime #SidneyJanisGallery
1 of 3: Robert Motherwell created a series of numbered paintings titled “Je t’aime” in the mid 1950s, a time of great emotional tumult in his life. In the Catalogue Raisonné of Motherwells Paintings and Drawings, Jack Flam writes that the Je t’aime paintings “are quite revealing of his emotional state at the time that his marriage to Betty Little was in the course of breaking up. The declarations of love that are written across these paintings vary from what he himself characterized as ‘tenderly’ to a ‘shriek.’ He has described them as expressions of longing, cries from the heart, the desperate outpourings of his desire to love at a time when he was trapped in a loveless marriage.” Four of Motherwell’s Je t’aime paintings were included in his first solo show at the Sidney Janis Gallery. Pictured here is “Je t’aime No. IIA” Robert Motherwell, “Je t’aime No. IIA,” 1957, oil on canvas, 71 1/8 x 53 ¼ in. #Motherwell #RobertMotherwell #Dedalus #DedalusFoundation #AbstractArt #Abstraction #AbstractExpressionism #ArtofInstagram #Painting #OilPainting #Drawing #Collage #ModernArt #Modernism #Museum #ArtMuseum #Contemporary #NewYorkSchool #AmericanArtist #Archive #Inspiration #Explore #ExploreArt #Jetaime #SidneyJanisGallery
George Segal , (1924-2000 )Girl resting , 1970 , 23/75 Shown with catalogue from the opening show at Sydney Janis gallery , photo showing Segal and the girl resting along with other fragments . Available . #theronware #theronwarehudson #theronwareantiques #theronwareworksofart #interiordesign #interiordesigner #antiquesdealersofinstagram #interiordesign #shophudson #shophudsonny #shophudsonvalley #shopwarrenstreet #warrenstreet #warrenstreethudson #hudsonny #hudsonnewyork #haadahudsonny #peterbusa #modernart #popart #segal #georgesegal #georgesegalsculpture #antiquesinhudsonny #antiquesinhudson #sidneyjanis #sidneyjanisgallery #sidneyjaniscollection
Robert Motherwell’s “Mediterranean Interior with Humor and Black Table” is an early example of his incorporation of fragments from daily life into collages. Circled in black crayon at the center of the collage is a mailing label containing both his New York and Provincetown addresses during the summer of 1956. He chose this work to be featured on the poster for his first solo exhibition at the Sidney Janis Gallery, which opened in May of 1957. Robert Motherwell, “Mediterranean Interior with Humor and Black Table,” 1956, Oil, pasted papers, and crayon on board, 30 x 20 in. #Motherwell #RobertMotherwell #Dedalus #DedalusFoundation #AbstractArt #Abstraction #AbstractExpressionism #ArtofInstagram #Painting #OilPainting #Drawing #Collage #ModernArt #Modernism #Museum #ArtMuseum #Contemporary #NewYorkSchool #AmericanArtist #Archive #Inspiration #Explore #ExploreArt #Mediterranean #NewYorkArt #ProvincetownArt #SidneyJanisGallery
Sidney Janis Gallery, Duane Michals, Questions Without Answers, Folded Card, 1994 Gallery 98 specializes in announcement cards, posters, publications and other art ephemera from the 1960s - 1990s. Check out our extensive holdings at: www.gallery.98bowery.com #duanemichals #duanemichalsphotography #questionswithoutanswers #sidneyjanisgallery #sidneyjanis #artephemera #ephemera
Sidney Janis presents AMERICAN GRAFFITI. Exhibition poster. 1983. . Image: Detail of painting by ARBITRATOR KOOR: R-13, 1983. . #thearbitratorkoor #koolkoor #sidneyjanisgallery #graffiti
Piet Mondrian Vintage Poster , 1980 , Sidney Janis Gallery . 37 1/2” x 25 1/2” #theronwareworksofart #theronwareantiques #theronware #antiquesdealersofinstagram #interiordesign #shophudson #shophudsonny #shophudsonvalley #hudson #hudsonny #haadahudsonny #warrenstreethudson #warrenstreet #antiques #antiquesforsale #design #designer #antiquesforsale #forsale #shophudsonvalley #shopcolumbiacounty #minimalism #popart #hudsonantiques #interiordesigner #popposters #pietmondrian #forsale #antiquesinhudsonny #antiquesinhudson #sidneyjanisgallery #modernartposters
調査難航というよりは、このインヴィテーションカードの価格に店主がびっくりしてしまって、納得するのに時間がかかった・・というのが本当のところ。 お待たせしました💦 とても美しくて歴史的にも資料価値の高い、稀少なエファメラとなっております 【インヴィテーションカード】マルセル・デュシャン Marcel Duchamp Sidney Janis Gallery 1959 [31019638] https://telescopeart.thebase.in/items/59975672 #marcelduchamp #sidneyjanisgallery #invitationcard #ephemera
実はこちらのマーク・ロスコーのインヴィテーションカード、Sidney Janis gallery 1958 この稀少な資料もタタさんにお任せしてあります。 店主が調査難航している同ギャラリーのデュシャンのカードの事で昨夜も散々相談させていただいた次第💦 こちらのカードはまだタタさんの所にあるそうです。 企画展も開催中なので是非お運びください♪ #ephamera #markrothko #sidneyjanisgallery
Exhibit announcement for paintings by Josef Albers 1949… #blackmountaincollege #bauhaus #yaleartschool #sewellsillman #sidneyjanisgallery #charlesegangallery #nyc #pvd #boston #ephemera #abstractart #opart #responsiveeye
Mario Schifano at Galleria Odyssia in 1963 in front of what is definitely one of my favourite works in the sale @christiesinc - In this work Schifano is taking on and deconstructing “Landscape” genre and at the same time the way we see and perceive art and images by writing Cielo for “sky”, Alberi for “trees” in the corresponding parts of the image rather than colouring them with the colours associated to these words. - The present owner bought the piece from that exhibition and it is at auction for the first time having been exhibited in most (there have not been enough) exhibitions on the artist. A young, and seemingly shy, Schifano stands in front of the work but by 1963 he already had shows at #SidneyJanisGallery and #IleanaSonnabend . The best of the best at the time! He is the enfant terrible of the Rome’s “Piazza del Popolo” school of 1960s and I find him a great artist and an enormously underrated one. - #MarioSchifano #Schifano #italianart #contemporaryart #christies #christiesauction #london
Mañana de pintura.... Óleo / tela En proceso DETALLE. #painting #pinturas #oilpainting #sanpedrogarzagarcia #curators #museoscdmx #arte #artgallery #sidneyjanisgallery #curadoresdearte #oilpaintingoncanvas #museumlovers #nftart
New Paintings by Crash. 💥 Exhibition catalogue for a show of 24 new paintings by Crash (John Matos) at the Sidney Janis Gallery from March 13 – April 12, 1986. . . . . . . . #newpaintingsbycrash #crash #graffitiart #johnmatos #johnmatoscrash #crashgraffiti #sidneyjanisgallery #exhibitioncatalogue #booksforquacks #quack
Vassarely exhibition catalogue Sidney Janis 1972 #vassarely #opart #sidneyjanisgallery #1972 #painting #collage #sculpture#