Laura Fiume

Abstract Italian Woman Artist Modern Metallic Foil Mirror Lithograph Laura Fiume

This is not signed or numbered. it is from a folio of prints. Laura Fiume was born in Urbino, central Italy in 1953. Her education took place in Milan at t...

This is not signed or numbered. it is from a folio of prints. Laura Fiume was born in Urbino, central Italy in 1953. Her education took place in Milan at t...

This is not signed or numbered. it is from a folio of prints. Laura Fiume was born in Urbino, central Italy in 1953. Her education took place in Milan at t...

This is not signed or numbered. it is from a folio of prints. Laura Fiume was born in Urbino, central Italy in 1953. Her education took place in Milan at t...

This is not signed or numbered. it is from a folio of prints. Laura Fiume was born in Urbino, central Italy in 1953. Her education took place in Milan at t...

Johnny Friedlaender (26 December 1912 – 18 June 1992) was a leading 20th-century artist, whose works have been exhibited in Germany, France, Netherlands, Italy, Japan and the United States. He has been influential upon other notable artists, who were students in his Paris gallery. His preferred medium of aquatint etching is a technically difficult artistic process, of which Friedlaender has been a pioneer. Gotthard Johnny Friedlaender was born in Pless (Pszczyna), Prussian Silesia, as the son of a pharmacist. He was graduated from the Breslau (Wrocław) high school in 1922 and then attended the Academy of Arts (Akademie der Bildenden Kunste) in Breslau, where he studied under Otto Mueller. He graduated from the Academy as a master student in 1928. In 1930 he moved to Dresden where he held exhibitions at the J. Sandel Gallery and at the Dresden Art Museum. He was in Berlin for part of 1933, and then journeyed to Paris. After two years in a Nazi concentration camp, he emigrated to Czechoslovakia, where he settled in Ostrava, where he held the first one-man show of his etchings. In 1936 Friedlaender journeyed to Czechoslovakia, Switzerland, Austria, France and Belgium. At the Hague he held a successful exhibition of etchings and watercolours. He fled to Paris in 1937 as a political refugee of the Nazi regime with his young wife, who was an actress. In that year he held an exhibition of his etchings which included the works: L ‘Equipe and Matieres et Formes. From 1939 to 1943 he was interned in a series of concentration camps, but survived against poor odds. After freedom in 1944 Friedlaender began a series of twelve etchings entitled Images du Malheur with Sagile as his publisher. In the same year he received a commission to illustrate four books by Freres Tharaud of the French Academy. In 1945 he performed work for several newspapers including Cavalcade and Carrefour. In the year 1947 he produced the work Reves Cosmiques and in that same year he became a member of the Salon de Mai, which position he held until 1969. In the year 1948 he began a friendship with the painter Nicolas de Staël and held his first exhibition in Copenhagen at Galerie Birch. The following year he showed for the first time in Galerie La Hune in Paris. After living in Paris for 13 years, Friedlaender became a French citizen in 1950. Friedlaender expanded his geographic scope in 1951 and exhibited in Tokyo in a modern art show. In the same year he was a participant in the XI Trienale in Milan, Italy. By 1953 he had produced works for a one-man show at the Museum of Neuchâtel and exhibited at the Galerie Moers in Amsterdam, the II Camino Gallery in Rome, in São Paulo, Brazil and in Paris. He was a participant of the French Italian Art Conference in Turin, Italy that same year. Friedlaender accepted an international art award in 1957, becoming the recipient of the Biennial Kakamura Prize in Tokyo. In 1959 he received a teaching post awarded by UNESCO at the Museum of Modern Art in Rio de Janeiro. By 1968 Friedlaender was travelling to Puerto Rico, New York City and Washington, D.C. to hold exhibitions. That year he also purchased a home in the Burgundy region of France. 1971 was another year of diverse international travel including shows in Bern, Milan, Paris, Krefeld and again New York. In the latter city he exhibited paintings at the Far Gallery, a venue becoming well known for its patronage of important twentieth-century artists. From his atelier in Paris Friedlaender instructed younger artists who themselves went on to become noteworthy, among them Arthur Luiz Piza, Brigitte Coudrain...

John Baldessari (American, 1931-2020) Zorro (Two Gestures and One Mark), 1998 Medium: Offset lithograph and screenprint on Arches paper, and flip book Dimensions: 25.4 x 20.3 cm (10 ...

Robert Irwin Cacophonous (hand signed by Robert Irwin), 2015 Softback exhibition catalogue with stiff wraps (hand signed by Robert Irwin) Hand signed by Robert Irwin on the title pag...

Valerio Adami vintage post is an offset and screen print on paper realized by Valerio Adami in 1977. Good condition and aged. The artwork is the poster for the artist's exhibition ...

Valerio Adami Poster Exhibition is a mixed colored offset and screen print realized in 1972 This print was realized on the occasion of the exhibition dedicated to the artist and he...

Screenprint and offset lithograph in colours, 1987, on wove paper, signed in pencil by the artist, one of 10 printer's proofs, aside from standard edition of 72, published by Lincoln...

Josef Albers Munich 1972 Olympic Games (Danilowitz 213), 1970 Color silkscreen on 250-gram Schöllers Hammer paper. Signed, dated and numbered 183/200 in graphite pencil on the front 40 × 25 1/2 × 3/10 inches Catalogue Raisonne Reference: Danilowitz, 213 Unframed Pencil signed and numbered from the limited edition of 200. By Josef Albers - famous color theorist and longtime influential head of the Yale University Art Department. This 1970 silkscreen was exhibited in the show "On Black Mountain: The Bauhaus Legacy in America", April 5, 2019-April 27, 2019 at the Sager Braudis Gallery in Columbia, Missouri. It is reproduced on page 8 of the exhibition catalogue. It features Albers signature ‘cinetic window’, and is an impressive piece of art and sports history. This is one of only 200 hand signed, dated and numbered prints - (NOT to be confused with the open poster edition of the same image on different paper, which, unlike the present work, only bears the artist's printed signature.) The present work was created in 1970 for the 1972 Munich Olympics. In anticipating of hosting the 1972 summer Olympics, Germany sought to create a positive image for itself. As Arnold Schwarzenegger would write in his memoir "Holding the Olympic Games in Munich was meant to symbolize West Germany's transformation and reemergence in to the community of nations as a modern democratic power". The Munich Olympics were billed as "the happy games" - a term that would become tragically ironic. In spite of, or rather because of, the ruthless killing of Israeli athletes by terrorists during the Munich Olympics, prints like this Albers silkscreen have become a poignant symbol of the enduring power of art to bring cultures together and promote peace. This Josef Albers Olympic...