Robert Sterling Neuman

Robert Sterling Neuman (9 September, 1926 – 20 June 2015) was an American abstract painter and print maker and an art teacher.Neuman's career as an artist spanned over sixty years, with a resulting body of work that "defies traditional expectations of what an artist's canon should look like". As an artist, he took "a staunchly individualistic approach to his work by never giving in to fads, the demands of the commercial sector or bowing before the critics".Instead, his body of work is characterized by extended series of paintings that explore a particular motif or symbol and are heavily influenced by events in the artist’s own life, in addition to global culture and history.At the beginning of his artistic career, Neuman's work followed in the vein of traditional Abstract Expressionism. Later on, although Neuman continued to use abstract forms in his work and to define himself as an Expressionist, he focused more on the use of symbols in his work. His unique approach to abstract painting prompted former Boston Globe art critic Robert Taylor, to refer to Neuman's works as "emblematic abstraction”Neuman's style is additionally distinguished by his uncompromisingly bold color palette that is reminiscent of Klee, Miró, Seurat, Kandinsky and early 20th century German Expressionists. These bold washes of color are often juxtaposed with graphical, geometric forms influenced by his love of drawing. Neuman frequently incorporates pencil into his works "to define the edges of otherwise illimitable suffusions of color.nother important technique that Neuman incorporates is the inclusion of stamping and taping off areas to define planes of space. As his career progressed, such use of mixed media techniques and collage became more common.

 Neuman has worked on 16 series of paintings, including his earliest and most recent works, each representing a response to a different symbol, place or idea in a distinct visual language. His earliest works reflect post-war America and are filled with ominous and dark titles and color palettes. Neuman explored this theme by experimenting with different medium, such as duco paint and sand on masonite and a new, abstracted subject matter. Neuman's first major series was The Black Paintings. This series was catalyzed by his experience studying in a still war- ravaged Germany as a Fulbright Fellow in 1953 under the tutelage of German Expressionist, Willi Baumeister. The Black Paintings’ uncharacteristically dark color palette was influenced by "the reactionary impulses to World War II that had rippled through the art world".Today, The Black Paintings serve as a glimpse into the lingering desolation of Germany in the 1950s by one of the few American artists to witness it first-hand.
After The Black Paintings, Neuman began exploring the expressive nature of color. This dramatic shift was influenced by his time studying in Barcelona as a Guggenheim Fellow. His Barcelona Series, begun in 1956, is defined by his attempts to create a universally relevant style of art, which, in this case, captured his impressions of the motion and light of the narrow streets of Old Barcelona. With the advent of the 1960s, Neuman explored the potential of abstraction more fervently than ever. During this decade, he created his Abstract Landscape, Abstract Figures and his Diamond Canvas Series before experimenting further with the use of symbols.

 His next series, Pedazos Del Mundo, begun in 1961, is the first of Neuman's series to prominently utilize symbolism as a means of expression and has become his most celebrated body of work. When speaking of the series, Neuman has remarked, "The world is in pieces culturally: liquids, solids, gases, languages, every way you can think about it... so I painted a circle and I made it in pieces”. Pedazos exhibits "the full bloom of the graphical flair and unfailing liveliness that distinguishes Neuman’s style for the next half century". Neuman continued to use the symbol of the circle in Space Signs, begun in 1966, by using tin cans, beer bottles, lamp shades and other round objects "to stamp out resplendent orbs of color over pulsating geometric landscapes". Stacks and Piles, begun in 1975, saw Neuman's return to earth. When creating this series he was influenced by cairns, a man-made pile of stones traditionally found on hiking trails. Neuman translated the cairns into heaps of shapes, piled skyward on canvases that reached upwards of eight feet high.
In 1980, Neuman began the Lame Deer Series. Lame Deer was inspired by a visit to a Native American reservation close to the Battle of Little Big Horn in Lame Deer, Montana. Visiting the historic site spurred Neuman to visually relate the Western American landscape in a way he felt had not been done before. History is hidden in each vividly chromatic landscape where the most prominent symbol is the teepee— each has the skin stripped away, and resembles "…drawings on a cave wall, remnants of a people continually in flight.” Ultimately, the Lame Deer series was meant to bring attention to the plight of the Native Americans. As the 1980s progressed, Neuman explored new avenues of visual expression. His Rose Paintings, begun in 1982, are monochromatic, sumptuous and textural landscapes, using the applied technique of tachisme. Meanwhile, the Voyage Series, begun in 1986, saw Neuman exploring the symbolism of knots, often seen in Celtic, Viking and Moorish art, as a metaphor for travelling through life. Neuman's new works, created during the 1990s to present day, are a visual melting pot of many of his earlier series including Alhambra, Barcelona and Rose Paintings. The gestural compositions and broad flat panes of color look back to his earliest days as an Abstract Expressionist. Each work is still distinct from what has come before and begins to define what will come next.Wikipedia

John Gerald Zimmerman

John Gerald Zimmerman (30 October 1927 in Pacoima, California – 3 August 2002 in Monterey, California) was an American magazine photographer.He was among the first sports photographers to use remote controlled cameras for unique camera placements, and was "a pioneer in the use of motor-driven camera sequences, slit cameras and double-shutter designs to show athletes in motion.Zimmerman was interested in photography from an early age. His father, John L. Zimmerman, a gaffer at Metro-Goldwyn-Mayer Studios, taught him the basics and bought him a 4×5 view camera. He joined a photographic hobby club in junior high school and spent afternoons developing film with friends in their mothers’ kitchens.Zimmerman took a three-year photography course at John C. Fremont High School in Los Angeles, where he was taught by Hollywood cinematographer Clarence Bach.After graduating high school, Zimmerman was a Navy photographer. In 1950, he landed a job as a staff photographer at the Time bureau in Washington D.C. On his first assignment on November 1, 1950, Zimmerman was driving away from the White House with a group of photographers when two Puerto Rican nationalists stormed nearby Blair House, attempting to assassinate President Truman. Hearing gunshots, the photographers rushed out of the car. Zimmerman had a camera around his neck where as the others had locked theirs in the trunk. Zimmerman got the first photos of the attack, which were published in both Time and Life.
In 1952, Zimmerman moved to Atlanta. During his time there he shot a series of noteworthy assignments for Ebony depicting the experiences of African Americans in the Jim Crow South and the Midwest.

From 1964 until his retirement in 1991, Zimmerman worked for all the major magazines, covering notable subjects from every aspect of American popular culture.Four of his Time covers are in the Smithsonian’s National Portrait Gallery: politician Jerry Brown,baseball player Rod Carew,actress Diane Lane[13] and Olympic figure skater Dorothy Hamill.
Photographing the Olympic Games was a constant throughout his career. He covered six Summer Olympic Games, starting with Melbourne in 1956  and ending in 1984, with four Winter Olympic Games in between. One of Zimmerman’s favorite Olympic assignments was taking the "Big Picture" for the LA Olympics in 1984. The "Big Picture" was a group portrait of 18,000 people, ranging from Mayor Tom Bradley, local community leaders, celebrities, the City Ballet and L.A. Dodgers to the UCLA Football team. It was displayed as a 30 × 80 ft. billboard at various places around the city, to welcome visitors and athletes to the Games.
On meeting Zimmerman in 1972 sports photographer Rich Clarkson said:
 had known and admired him for years, watching how he did things technically that no one had ever tried before - such as modifying a Hulcher to produce beautiful pictures of runners with colors streaking from behind them as they ran. John did this at the Olympic trials in Eugene, Or. and believe it or not, he put up a black background and lights on a curve and did this very stylized illustration during an actual competition. The pictures were beautiful.Beginning in the 1970s, Zimmerman worked in the more lucrative arena of print advertising and photographed advertising campaigns for Marlboro, Ford, Chrysler, AT&T, Exxon, G.E., Pepsi and Coca-Cola, among others.Wikipedia

Fritz Bultman - Abstract Expressionism - New York School of art

Fritz Bultman (April 4, 1919 – July 20, 1985) was an American Abstract expressionist painter, sculptor, and collagist and a member of the New York School of artists.A. Fred Bultman was the second child and only son of A. Fred and Pauline Bultman. His family was prominent in New Orleans, where his father owned a Catholic funeral company. By the age of thirteen he was interested in art, and worked with Morris Graves, who was a family friend. As a high school junior in 1935 Fritz went to study in Munich for two years,and there boarded with Maria Hofmann, the wife of artist and teacher Hans Hofmann. After returning to the United States he studied with Hofmann in New York City and Provincetown, Massachusetts. Despite his father's wishes that he become an architect, with Hofmann's encouragement he decided instead to continue his study of art. In 1944 he bought a house in Provincetown, and thenceforth Bultman and his wife Jeanne divided their time between Cape Cod and New York City.His early paintings have been described as "rough and painterly", an amalgam of symbolism and geometry.
Bultman was exhibiting with other abstract expressionists by the late 1940s, and in 1950 was aligned with the group of New York School artists, nicknamed the "Irascibles" in an article in Life magazine,who signed a letter to the Metropolitan Museum of Art protesting the institution's conservative policies. With the assistance of a grant from Italy he studied bronze casting in Florence in 1951; subsequently he was the sole abstract expressionist to fully integrate sculpture into his oeuvre.Wikipedia


"The art and life of Fritz Bultman evolved in three of the most vital American art centers of the twentieth century: New Orleans; New York City; and Provincetown, Massachusetts. His academic studies in Germany and his architectural training at the New Bauhaus in Chicago brought him into contact with the principles of Bauhaus design principles as well as modern art and architecture in Germany. Raised in New Orleans, and recognized as a significant artist and teacher in New York, Bultman was also a resident and central figure in the Provincetown art colony in the summer resort community at the tip of Cape Cod.Bultman possessed an openness to expressing his vision in diverse media, including painting, drawing, sculpture, collage, and the stained glass for which he became especially well known. In addition to his interests in architecture and design, his eclectic tastes may have been nurtured by his exposure to the principles of the Bauhaus, a school of design in Weimar Republic-era Germany that combined crafts and the fine arts and had a profound modernist influence upon art, architecture, graphic design, interior design, and industrial design in the first half of the twentieth century. This became evident with his unique role as a painter and sculptor in the Abstract Expressionist movement, marked by his search for expressive forms in stone, bronze, and other materials."(Author: J. Richard Gruber)

Abstract Painting and Graphics Lucio Munoz

Lucio Muñoz (December 27, 1929 – May 24, 1998) was a Spanish abstract painter and engraver.Muñoz was the son of Lucio Muñoz, a shopkeeper, and Nicolasa Martínez. Born on December 27, 1929 in Madrid, he was the youngest of two brothers and three sisters. His mother died in 1935.In 1949, Muñoz enrolled at the Royal Academy of Fine Arts in San Fernando, Cádiz, where he obtained a degree in Fine Arts. While at the school, he met Amalia Avia; they married on January 15, 1960. The first of their four children was born that year.Muñoz's first one-man exhibition was at the Sala de la Direccion General de Bellas Artes in Madrid, in 1955.
During a stay in Paris financed by a Spanish government scholarship in 1955–6, Muñoz was influenced by the art informel movement. He worked with various materials, such as burnt paper and wood, in addition to canvas. He pierced, bent, and made cuts in the canvas, like informalist artists. He is particularly known for his innovation in his works on wood, which he fully incorporated into the works; burns, carving, and paint mixed with materials such as marble dust, sawdust, and pulverized minerals were among the techniques he used to create the works he referred to as pseudo-paintings.
His works are in informal colours, with black predominating. The style of his later works was less aggressive, because he used other materials.
In 1964, Galería Juana Mordó was opened. He belonged to the associated group of painters from the moment of its foundation until 1991.His works include murals for the European Union building in Brussels and the chamber of the Madrid Parliament. His mural at the Basilica of Aránzazu won the Gold Medal at the Salzburg Biennial of Sacred Art.Wikipedia

Paintings For Sale Milena Olesinska

Milena Olesinska

Little girl in traditional Cracows outfit
Oil painting on canvas 2017 - 70cm x 50 cm

400 USD


My art refers to surrealism, in a broad sense, Broad, because I have excluded typical surrealistic landscape and reached to the simplified image, to the form of the poster. Unraveling leading ideas in my paintings allows me to communicate freely with recipients and to guide them trough symbolic reality of my art. 

(022) oil painting on canvas 100cm x 70cm - 1400 USD

(023) oil painting on canvas 100cm x 70cm - 1400 USD

Water Oil painting 100cm x 70cm - 1400 USD

Air Oil painting 100cm x 70cm - 1400 USD

(003)Oil painting 40cm x 40cm - 480 USD

(004) Oil painting 40cm x 40cm - 480 USD

(001) Oil painting 70cm x 50cm - 800 USD

Oil painting on canvas 1400 USD