PAUL LANDACRE

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PAUL LANDACRE
July 9 1893 – June 3 1963

An outstanding woodengraver in the United States, as acknowledged by Rockwell Kent and Lynd Ward. Landacre’s linocuts and wood engravings are celebrated for their technical virtuosity and mastery of design.

Landacre taught himself the art of printmaking on a Washington hand press, carving linoleum blocks and woodblocks for both wood engravings and woodcuts. In about 1928 he met Jake Zeitlin, antiquarian book dealer; Zeitlin mounted Landacre’s first significant solo exhibition in 1930. In 1935 and 1936 for local radio station KECA, Landacre illustrated monthly programs with woodengraved portraits of classical composers.

Elected a member of the National Academy in 1946, Landacre was honored in 1947 with a solo exhibition of his wood engravings at the Smithsonian Museum of American Art.

His prints, earned early and lasting critical recognition and prizes.

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EMERSON WOELFFER 1914-2003

Woelffer’s art career began at the Art Institute of Chicago School in 1933; he felt influences of the new Chicago Bauhaus under Moholy-Nagy,the WPA/FAP and Jazz. In 1954, Woelffer moved to the Colorado Springs Fine Arts Center to work with renowned printer Laurence Barrett. Then he shifted to Los Angeles in 1960 to teach at the Chouinard Art Institute while also accepting fellowships at Tamarind Lithography Workshop in 1961 and 1970.

Woelffer liked spontaneity,surrealist automatism and primitivism, vigorous gestures, torn edges, simulated and real. He progressed steadily towards simplification.

EMERSON WOELFFER Lips
Lips
EMERSON WOELFFER Head
Head
EMERSON WOELFFER Two Figures
Two Figures
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Tina Modotti (Italy,1896-1942, Moscow)
Photographer, model and revolutionary political activist.

Born in Austria, she immigrated to the United States, at the age of 16 in 1909, to join her father in San Francisco. In 1923, Modotti moved to Mexico City with Edward Weston.In Mexico, Modotti found a community of the culturally and politically avant guard. She became the photographer of choice for the blossoming Mexican mural movement, documenting the works of José Clemente Orozco and Diego Rivera and others. All of these silverprints from her studio in Mexico City document these murals and identifies their schools, public centers and university locations.

TINA MODOTTI Jose Clemente Orozco – Drawing for lithograph
Jose Clemente Orozco – Drawing for lithograph
TINA MODOTTI Jose Clemente Orozco, St. Francis
Jose Clemente Orozco, St. Francis
Diego Rivera,Fresco-Agricultural Sch,Chapingo,MX (Detail)
Diego Rivera,Fresco-Agricultural Sch,Chapingo,MX (Detail)
TINA MODOTTI Diego Rivera, Miners vs Shepherds
Diego Rivera, Miners vs Shepherds
TINA MODOTTI Diego Rivera Fresco-Agricultural Sch, Chapingo, MX
Diego Rivera Fresco-Agricultural Sch, Chapingo, MX
TINA MODOTTI Diego Rivera Fresco-Agricultural School, Chapingo
Diego Rivera Fresco-Agricultural School, Chapingo
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STANTON MACDONALD WRIGHT infused the color woodblock images for his Haiga Portfolio with Japanese essence under the guidance of his master printer Clifford Karhu in Kyoto.

After Shiki: A train passes, how the smoke swirls round the young leaves
After Shiki: A train passes, how the smoke swirls round the young leaves
After Issa: Naked in the rain riding a naked horse
After Issa: Naked in the rain riding a naked horse
After Issa: Oh flying butterfly I feel myself a creature of dust
After Issa: Oh flying butterfly I feel myself a creature of dust
After Shiki: In the hand of the fire fly makes a cold brilliance
After Shiki: In the hand of the fire fly makes a cold brilliance
After Chiyoni: No matter what we wear, we are beautiful when moon viewing
After Chiyoni: No matter what we wear, we are beautiful when moon viewing
Haiga Portfolio #6-On a Journey ill,my dreams wander over the withered moor
Haiga Portfolio #6-On a Journey ill,my dreams wander over the withered moor
Haiga #7-The spring sea swelling and falling all day
Haiga #7-The spring sea swelling and falling all day
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JUNE WAYNE Visa - Unique Proof - Visa Series
Visa – Unique Proof – Visa Series

June Wayne’s life (1918-2011) was dynamic since her very beginnings….as daughter of a forceful working mother with a awareness of societal issues. In her birth town of Chicago, she injected  womens’ and African American positions in the workplace into her activities, which included making art in the WPA/FAP – posters, lithographs, drawings.
In the mid 1940s she moved to Los Angeles and made early contact with Lynton Kistler to refine her technique in his lithography workshop, while continuing to paint and receive intellectual sustenance through her social contacts at the Jet Propulsion Laboratory and California Technical Institute.

JUNE WAYNE The Hero - Kafka Series
The Hero – Kafka Series
JUNE WAYNE The Dreamers
The Dreamers
JUNE WAYNE The Hunter
The Hunter

She created many editions of lithographs with Kistler – until she rebelled agains his limitations and, in 1958, transported herself to Paris to create the “John Donne Portfolio”at Marcel Durassier studios with Serge Lozingot as the printer. She returned to Los Angeles, educated the Ford Foundation to fund training American artists in the technique/medium of lithography printing. Then, in 1960, she founded the Tamarind Lithography Workshop on Tamarind Avenue in Los Angeles, bringing Serge Lozingot from Paris to be her master printer.

JUNE WAYNE This Extasie doth Unperplex John Donne Series
This Extasie doth Unperplex John Donne Series
JUNE WAYNE Shine Here to us and thou art everywhere
Shine Here to us and thou art everywhere
JUNE WAYNE Nevelson
Nevelson

The Tamarind Lithography Workshop is legendary, having launched a legion of renowned artists to examine the technique, use lithography for their aesthetic expression AND to train journeymen in the development of lithography techniques in collaboration with the artists at the Tamarind.

JUNE WAYNE The Suitor
The Suitor
JUNE WAYNE The Advocate
The Advocate
JUNE WAYNE The Bride
The Bride

This current offering is a ‘light overlook’ on June Wayne’s artistic evolution – from the 1940s at Kistler’s, to her personal expression of surreal and ‘life origins’ from CalTech and JPL, through Durassier’s nurturing, to the Tamarind in 1960 and beyond.

Interesting! Inspiring!

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STANTON MACDONALD WRIGHT infused the color woodblock images for his Haiga Portfolio with Japanese essence under the guidance of his master printer Clifford Karhu in Kyoto.

Haiga #9-Sunbeams slant on the riverbank and the cold rain falls from a floating cloud
Haiga #9-Sunbeams slant on the riverbank and the cold rain falls from a floating cloud
Haiga Portfolio -#14 After Issa, Stony River rippling...
Haiga Portfolio -#14 After Issa, Stony River rippling…
Haiga Portfolio #5-Bright red sun cruelly hot but the wind is of autumn
Haiga Portfolio #5-Bright red sun cruelly hot but the wind is of autumn
Haiga Portfolio – #1 After Basho: A Frog Jumps In, the Sound of Water
Haiga Portfolio – #1 After Basho: A Frog Jumps In, the Sound of Water
Haiga Portfolio – #2 Basho:A cloud of Cherry Blossoms:A Temple Bell – is it from Ueno?
Haiga Portfolio – #2 Basho:A cloud of Cherry Blossoms:A Temple Bell – is it from Ueno?
Haiga #7-The spring sea swelling and falling all day
Haiga #7-The spring sea swelling and falling all day
Haiga Portfolio #6-On a Journey ill,my dreams wander over the withered moor
Haiga Portfolio #6-On a Journey ill,my dreams wander over the withered moor

 

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Structure, Architecture, Geometry

In our lives, in city planning, in family planning, in building cities, in open spaces, whether symmetrical or asymmetrical, there is a desire for structure. Artists’ reflect their (and our!) sense of comfort.
Are these feeling ‘California’ or universal?

ILYA BOLOTOWSKY Oval
ILYA BOLOTOWSKY
Oval
BERNARD BUFFET Place Saint-Germain-Des-Pres
BERNARD BUFFET
Place Saint-Germain-Des-Pres
CRAIG KAUFFMAN Untitled - State II
CRAIG KAUFFMAN
Untitled – State II
CLINTON ADAMS Return to Collioure
CLINTON ADAMS
Return to Collioure
STANTON MACDONALD-WRIGHT After Basho: An octopus trap and fleeting dreams under a summer moon
STANTON MACDONALD-WRIGHT
After Basho: An octopus trap and fleeting dreams under a summer moon
EUGENE BERMAN Nocturnal Cathedral
EUGENE BERMAN
Nocturnal Cathedral
CLINTON ADAMS Cabaret on Windward
CLINTON ADAMS
Cabaret on Windward
JOHN PAUL JONES Paradise Gate:Main Gate
JOHN PAUL JONES
Paradise Gate:Main Gate
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Next to the female nude, the breathtakingly individual form of a living tree has impelled  artists throughout the ages to TRY to reproduce their images. We offer a selection for YOU.

MILFORD ZORNES Cottonwoods
MILFORD ZORNES
Cottonwoods
JACQUES LIPCHITZ Tree of Life (Grey)
JACQUES LIPCHITZ
Tree of Life (Grey)
BERTHA CLAUSON JAQUES On Hampstead Heath - London
BERTHA CLAUSON JAQUES
On Hampstead Heath – London
BRUCE BARNBAUM Fallen Sequoias
BRUCE BARNBAUM
Fallen Sequoias
LYND WARD Clouded Over
LYND WARD
Clouded Over
MARK LEITHAUSER Birches
MARK LEITHAUSER
Birches
TYRUS WONG New Fallen Snow
TYRUS WONG
New Fallen Snow
FRANK E. ROMERO Palm Tree
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CAPTURING THE MOMENT

The immediacy of photography is breathtaking!…a glance, a splash, a serendipitous instance . In this presentation we celebrate an art medium that is almost 200 years old and yet is a moment captured NOW.

YES!, These images are all available for your collection. Call Us, Email Us.

HELLA HAMMID Portrait of Lette Valeska
HELLA HAMMID
Portrait of Lette Valeska
ALFRED STIEGLITZ Katherine
ALFRED STIEGLITZ
Katherine
EDMUND TESKE George Herms
EDMUND TESKE
George Herms
BRUCE BARNBAUM Sierra Wave Cloud
BRUCE BARNBAUM
Sierra Wave Cloud
LETTE VALESKA Portrait of Martin Buber
LETTE VALESKA
Portrait of Martin Buber
HELLA HAMMID Metamorphosis #29HELLA HAMMID 1921-1992
Metamorphosis #29 Photograph 1977
14 x 11in (35.5 x 27.9 cm)
BASIL LANGTON Georgia O'Keeffe SeriesBASIL LANGTON 1912-2003
Georgia O’Keeffe Series Silverprint 1971 3/25 84314-C8 #27
13 7/8 x 7 5/8in (35.2 x 19.4 cm)
BASIL LANGTON Henry MooreBASIL LANGTON 1912-2003
Henry Moore, ‘This is my mark’, England Silverprint 1970 76693-C1 #31
9 x 13in (22.8 x 33.0 cm)
ALFRED STIEGLITZ SeptemberALFRED STIEGLITZ 1864-1946
September Gum halftone from original negative 1899 CW Vol 12, 1905
8 1/8 x 6 5/8in (20.7 x 16.8 cm)
EDMUND TESKE George HermsEDMUND TESKE 1911-1996
George Herms, Topanga Canyon Solarized silverprint c.1962
10 3/8 x 7in (26.4 x 17.8 cm)
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John Paul Jones 1924-1999
and David Philip Levine 1910-2008

were quite different in their personalities – it appeared. But, through his art, each revealed himself as sharing a quietness – a stillness – with the viewer. They provoked a thoughtfulness, a meditative mood, a consideration of the subject which leads to an understanding – in Levine’s work – of his period in history, and in Jones’s work – a glimpse of his inner history

JOHN PAUL JONES Walking Woman
JOHN PAUL JONES
Walking Woman
JOHN PAUL JONES Three Cathedrals
JOHN PAUL JONES
Three Cathedrals
JOHN PAUL JONES Head
JOHN PAUL JONES
Head
DAVID P. LEVINE The Factory Gate
DAVID P. LEVINE
The Factory Gate
JOHN PAUL JONES Blue Maze
JOHN PAUL JONES
Blue Maze

DAVID P. LEVINE Burned Out
DAVID P. LEVINE
Burned Out
DAVID P. LEVINE Subway Riders
DAVID P. LEVINE
Subway Riders
DAVID P. LEVINE Skylights and Rooftops
DAVID P. LEVINE
Skylights and Rooftops
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LEONARD EDMONDSON (1916-2002)

Leonard Edmondson had a passion for the copper plate: etching, aquatint, drypoint – but he also made a couple of woodcuts, a couple of lithographs and a couple of screenprints….always exploring, always ‘successful’. But his passion for the copper plate surpassed the other techniques; in fact, he wrote a book on intaglio techniques that is still in print today!

We encourage YOU to explore his art. He captures layers of space, colors and elusive forms…motion and rhythms describe his art.

LEONARD EDMONDSON Thrust
Thrust
LEONARD EDMONDSON Gemini
Gemini
LEONARD EDMONDSON Scenery
Scenery
LEONARD EDMONDSON Wind Currents
Wind Currents
LEONARD EDMONDSON Initiation
Initiation
LEONARD EDMONDSON Figures of Reflection
Figures of Reflection
Untitled Etching and aquatint
Untitled
Untitled color etching
Untitled
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LORSER FEITELSON

Savannah, Georgia 1898 – 1978  Los Angeles, California

Lorser Feitelson was inspired by European modernist ideas upon attending the New York Armory Show in 1913.  After the World War1, he lived and worked in Paris between 1919 and 1926, exhibiting there and in the United States.  In 1927 he moved to Los Angeles, escaping the ‘incestuous’ art scene in New York.   He exhibited, taught and painted in a neoclassicist, romantic and figurative mod.  He taught student Helen Lundeberg, who became both his wife and co-founder of Post-Surrealism in 1934.  They both worked in the Federal Arts Project in Los Angeles.

LORSER FEITELSON Dancers - Magical Forms
Dancers – Magical Forms

In the mid-1940s  Feitelson expression moved towards the biomorphic abstraction of his Magical Forms, as in Dancers – ‘Magical Forms’, which were a bridge between the figuration of his early romanticism and post-surrealism into  the geometric Magical Space Forms by 1950.   From 1956 to 1963, as Feitelson hosted a television series on NBC: “Feitelson on Art”, he was also painting.
In1959, he was featured in the exhibition, “Four Abstract Classicists”  (with Karl Benjamin, Frederick Hammersly, and John McLaughlin) at the Los Angeles County Museum of Art.   In conjunction with this seminal exhibition, curator and critic Jules Langsner coined the phrase, ‘HardEdge Colorforms’.  Feitelson’s aesthetic expression evolved into ever more minimalist form, employing challenging palettes and sensuous, tapering lines.

LORSER FEITELSON Woman Reading
Woman Reading
Double_White_Flip_Lines_on_Red
Double White Flip on Red
LORSER FEITELSON Figure Evolving into Magical Forms
Figure Evolving into Magical Forms

Artist, teacher, collector and television host, Lorser Feitelson is a recognized as a central figure of Modernism in Los Angeles.

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Jose Luis Cuevas Neo-Figuration (1934 – 2017)

Jose Luis Cuevas was born in Mexico City. At the age of ten he enrolled in the Escuela Nacional de Pintura y Escultura – ‘La Esmeralda’ – in Mexico City. He began exhibiting in the early 1950s and is regarded as one of the foremost representatives of the neo-figurative movement that emerged in Latin America.

JOSE LUIS CUEVAS Tower of Babel
Tower of Babel
JOSE LUIS CUEVAS Self Portrait as Torero
Self Portrait as Torero

Cuevas rebelled against the Muralist establishment in Mexico with its official social-content and rejected Rivera’s and Siqueiros’s mural art. He did, however, admire Orozco for the satire in his early murals, paintings and prints.

Cuevas specialized in incisive satirical ink, wash and pencil drawings and prints of grotesque creatures and degraded humanity, sometimes including self-portraits in his compositions. During the 1950s, he joined a group of young artists called the “Rupture-Generation”, including Pedro Coronel, Manuel Felguérez. This politically-active group were opposed to the socialist artists favoured by the Government. Cuevas’ work was influenced by the graphic art of Goya and Picasso as well as by Posada and Orozco, whose representations of deformed creatures and prostitutes were of particular thematic interest.

JOSE LUIS CUEVAS La Maga
La Maga
Basic Function
Basic Function
JOSE LUIS CUEVAS Borgia
Borgia

He paid homage to 19th and 20th century literature, contemporary life, misery, horror and detective films, as in the works of writers Dostoevsky and Kafka, representing the isolation of contemporary man .

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PACIFIC STANDARD TIME : LA/LA

LOS ANGELES/LATIN AMERICA

ORGANIZED BY J. PAUL GETTY  FOUNDATION

 TOBEY C. MOSS participates in

FRANK ROMERO
in PST:LA/LA

Going_to_the_Olympics
Going to the Olympics

The Closing of Whittier Blvd
The Closing of Whittier Blvd
1940 Chevy Fleetline Purple
1940 Chevy Fleetline Purple
Crossroads
Crossroads

 

I chose to present FRANK ROMERO’s art in my gallery because it is VERY ‘Los Angeles’, because it is my pleasure to see it every day, because it is fun, because it relates an essence of California culture since mid-century.

In the course of these six weeks, I have observed that collectors in many ‘outside’ areas have brought this art into their homes….Boston, Massachusetts; Austin, Texas; Northern California; the Eastern Seaboard, etc.  These collectors have felt the excitement, the political atmosphere, the creativity that is reflected in Romero’s work.  I think that the J. Paul Getty’s stimulating ‘Pacific Standard Time: LA/LA’  enhanced this focus, though Frank Romero epitomized it since 1949, when he was awarded the First Prize for his art at the California State Fair in Sacramento!

Art can be and is ‘life enhancing’.  Lofty thoughts – but Romero’s art does touch many people in many ways.  The artist himself affirms ‘life’…and his art conveys that essence.  And this essence isn’t limited to our local southern California scene.  Anywhere Romero’s art is placed feels positive and forward.  His art is ‘up’, sparking interest and stimulating the viewers.  It is only natural – whether in murals around southern California, over the mantel in the living room or in a museum’s exhibition – that his art is appreciated and effective.

Do join us for our closing celebration on Wednesday, December 27th, between 4 and 8 pm.  You’ll enjoy light refreshments, music and a glass of wine with which to toast the artist.

 

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FRANK ROMERO – LOS ANGELES CHICANO

Color Color Color – Cars Cars Cars

From a 1930s BMW  to a Low Rider Chevy,  Frank  Romero Reveals the Scene.

Palm Trees and Hearts add to the show
on the walls until December 27th. But  Enjoy Now!

1931 BMW
1931 BMW
The-Closing-of-Whittier-Blvd
The-Closing-of-Whittier-Blvd
ROMERO Citroen Truck
Citroen Truck
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PACIFIC STANDARD TIME : LA/LA
LOS ANGELES  / LATIN AMERICA
ORGANIZED BY J. PAUL GETTY : TOBEY C. MOSS GALLERY PARTICIPATES

October 7 – December 27, 2017
FRANK ROMERO – LOS ANGELES CHICANO

Yes, yes – we know that his 1959 color woodcut of ‘Los Caballeros de la Noche’ heralded his art
career….but he did not stop then! Frank Romero has created exciting, prize worthy paintings,
murals, woodcuts, screenprints, constructions and sculptures during these next 50+ years…even
to yesterday …and tomorrow!

Our show looks at the contemporary Car Culture in sound-blasting colors. Of course, Frank
Romero injects his views of the contemporary ‘scene’. COME and be dazzled!

4-Level
4-Level
Dolores Drive In
Dolores Drive In
FRANK E. ROMERO Deer Crossing
Deer Crossing
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ORGANIZED by the J. PAUL GETTY FOUNDATION
TOBEY C. MOSS GALLERY participates in

PACIFIC STANDARD TIME : LA/LA
LOS ANGELES / LATIN AMERICA

September 9 – October 13, 2017  

EL TALLER DE GRAFICA POPULAR/
THE WORKSHOP OF THE PEOPLES PRINTS

including lithographs, etchings and drawings by Luis Arenal, Leopoldo Mendez, Leonora Carrington, Manuel Alvarez-Bravo, Jose Luis Cuevas, Alfredo Zalce, Mariana Yampolsky, Elena Huerta and more…

These images were drawn from the experiences and roots of the populace in the twentieth century.  Confronted by subjects as politically oppressive land and water appropriations, personal chicanery, church and state collusion and indigenes lore, the artists forming the TGP – the Taller de Grafica Popular – brought full light through their prints, posters and drawings.

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JEAN CHARLOT Mexican Mother and Child
JEAN CHARLOT
Mexican Mother and Child

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ISIDORO OCAMPO Pottery Maker of Toluca
ISIDORO OCAMPO
Pottery Maker of Toluca

 

 

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Though Leonard Edmondson is widely known for his work as a printmaker, he was also a painter in oils, acrylics and watercolors. Collages and Drawings also convey his aesthetic language. Whatever medium he chose, his works are distinctly individual.

Born in Sacramento, California, Edmondson earned BA and MA degrees in Fine Arts at the University of California, Berkeley, He briefly taught there until drafted in World War II. After serving in the Army between 1942 and 1946, he came to SoCal to teach at Pasadena City College. The next forty years brought him professorships at Otis Art Institute, Cranbrook Academy, Colorado College and many other institutions until he retired as Chairman of Printmaking Department at California State University, Los Angeles in 1986. Actually, he never did ‘retire’ since he was painting and printmaking until his final year of life in 2002.
Edmondson‘s work has evolved over the years, from figuration to abstraction to surrealism. His aesthetic vocabulary refers to ‘almost remembered’ forms, feelings and spaces. His sibilant line implies rhythms that capture ‘space’. Often working from only one copper plate, he developed textural effects and employed viscosity etching techniques with added fingerprints and handprints! His 1973 book ‘Etching’ (CSLA 1973) is still used in curricula internationally and has never gone out of print.

Our website illustrates many more images and we invite you to visit the gallery and view them directly.

LEONARD EDMONDSON Gold Strike
Gold Strike
Edmondson Untitled Dance
Untitled Dance
LEONARD EDMONDSON Night Vision
Night Vision
LEONARD EDMONDSON State of Patterns
State of Patterns
LEONARD EDMONDSON Flower Power
Flower Power
LEONARD EDMONDSON Tropical Gardens I
Tropical Gardens I
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IN THE GOOD OLD SUMMER TIME

Our thoughts go to Phil Dike’s Balboa Harbor, William Wolfson’s Benches along the lazy path in the park, Francis Berry’s Olympic I field sports, and Luis Arenal’s Marble Player.  But we can’t over look Corita’s ripe Tomato, or Clinton Adams’ Cabaret on Windward at Venice Beach and his Return to Collioure along the Mediterranean, Tom Farmer’s Clamdiggers or Romare Bearden’s farmer in The Lantern

.

PHIL DIKE Balboa Harbor
PHIL DIKE
Balboa Harbor
Tomato
MARY CORITA KENT
Tomato
CLINTON ADAMS Return to Collioure
CLINTON ADAMS
Return to Collioure
CLINTON ADAMS Cabaret on Windward
CLINTON ADAMS
Cabaret on Windward
FRANCIS BERRY Olympic I
FRANCIS BERRY
Olympic I
ROMARE BEARDEN The Lantern
ROMARE BEARDEN
The Lantern
TOM FARMER Clamdiggers
TOM FARMER
Clamdiggers
LUIS ARENAL Marbles Player
LUIS ARENAL
Marbles Player
WILLIAM WOLFSON Benches
WILLIAM WOLFSON
Benches
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KINETICISM – The Expression of Energy

“MOVING ART”

 

JULES ENGEL Steles I
Steles I
JULES ENGEL Abstraction
Abstraction
JULES ENGEL The Meadow (Tumbling)
The Meadow (Tumbling)
JULES ENGEL Traffic
Traffic
JULES ENGEL Mobiles
Mobiles
Jules Engel Accident
Accident
JULES ENGEL Untitled-T2605
Untitled
JULES ENGEL Second Balcony
Second Balcony

JULES ENGEL


 

OSKAR FISCHINGER Abstraction #17
Abstraction #17
OSKAR FISCHINGER Composition 44
Composition 44
OSKAR FISCHINGER Optical Poetry
Optical Poetry
OSKAR FISCHINGER Optical Ballet
Optical Ballet
OSKAR FISCHINGER Small White Abstraction
Small White Abstraction
OSKAR FISCHINGER Linear Composition
Linear Composition
OSKAR FISCHINGER Abstraction
Abstraction

OSKAR FISCHINGER


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PEOPLE,

PLACES and THINGS

The character or personality of
a Person….as well as a Place….as well as a Thing…
can be well defined by an image.
Explore through our website and become acquainted!

JOYCE WAHL TREIMAN Don, Rose & Bern
JOYCE WAHL TREIMAN
Don, Rose & Bern
MANUEL ALVAREZ-BRAVO En el Templo de Tigre Rojo
MANUEL ALVAREZ-BRAVO
En el Templo de Tigre Rojo
ROMARE BEARDEN The Lantern
ROMARE BEARDEN
The Lantern
JIM DINE Dine in Black Grease
JIM DINE
Dine in Black Grease
ALEXANDER P. FLEMING Eucalyptus
ALEXANDER P. FLEMING
Eucalyptus
CONRAD BUFF Yucca
CONRAD BUFF
Yucca
Tomato
MARY CORITA KENT
Tomato
CHARLES CRODEL Bahnkurvebei-Probstzella
CHARLES CRODEL
Bahnkurvebei-Probstzella
PHIL DIKE Balboa Harbor
PHIL DIKE
Balboa Harbor
EDMUND TESKE Door in the Desert
EDMUND TESKE
Door in the Desert
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SPACE – ARCHITECTURAL SPACE – INTIMATE SPACE

Architectural or “architectonic” form basically describes structural elements that enclose space.  The space can be symmetrical..or not.  That space can be a building for a home – or a commercial mall…or a drawing…or a print…a painting …or a sculpture.

Tobey C. Moss Gallery presents architectural/architectonic form in works of art by Peter Krasnow, by Jules Engel, by Helen Lundeberg, by Lou Jacobs Jr, by Werner Drewes, by William Dole, by David P. Levine, by Clinton Adams, by Oskar Fischinger, by Leonard Edmondson and others.

PETER KRASNOW Untitled - K.7
PETER KRASNOW
Untitled – K.7
Richfield Industrial Design
LOU JACOBS JR
Richfield Industrial Design
OSKAR FISCHINGER Linear Composition
OSKAR FISCHINGER
Linear Composition
WILLIAM DOLE Proxy
WILLIAM DOLE
Proxy

 

HELEN LUNDEBERG Interior with Painting
HELEN LUNDEBERG
Interior with Painting

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LEONARD EDMONDSON Gateway
LEONARD EDMONDSON
Gateway

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Concentration of Energy
WERNER DREWES
Concentration of Energy
CLINTON ADAMS Return to Collioure
CLINTON ADAMS
Return to Collioure
DAVID P. LEVINE Skylights and Rooftops
DAVID P. LEVINE
Skylights and Rooftops
JULES ENGEL Punch and Judy II
JULES ENGEL
Punch and Judy II
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BETYE SAAR

BETYE SAAR Keep for Old 'Memoirs'
Keep for Old ‘Memoirs’
BETYE SAAR The Couple
The Couple
BETYE SAAR The Long Memory
The Long Memory
 

BETYE SAAR National Racism
National Racism
BETYE SAAR Blow Top Blues: The Fire Next Time
Blow Top Blues:
The Fire Next Time
BETYE SAAR Flaming Heart #15
Flaming Heart #15
BETYE SAAR Return to Dreamtime
Return to Dreamtime
BETYE SAAR Flaming Heart #9
Flaming Heart #9

 

BETYE SAAR Mystic Sky with Self Portrait
Mystic Sky with Self Portrait
BETYE SAAR Mumbo Jumbo
Mumbo Jumbo
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Powerful Women

Our interest in works by women artists has been a constant one since our beginnings in 1978. Included in our current focus are prints, paintings, drawings, and photographs by June Wayne, Ruth Asawa, Claire Falkenstein, Isabel Bishop, Celia  Calderon, Leonora Carrington, Dorr Bothwell, Amanda Blanco, Miriam Karoly, Bertha Jaques, Riva Helfond, Amaranth Ehrenhalt, Corita Kent, Elena Huerta, Marion Yampolsky, Joyce Treiman, Ynez Johnston, Increase Robinson, Luchita Hurtado,  Henrietta Shore, Beatrice Wood .. and list goes on!

The Messenger
LEONORA CARRINGTON
The Messenger
JUNE WAYNE The Hero - Kafka Series
JUNE WAYNE
The Hero – Kafka Series
Nina_China
CELIA CALDERON
Nina China
CLAIRE FALKENSTEIN Fiori
CLAIRE FALKENSTEIN
Fiori
DORR BOTHWELL Comment on Fashion
DORR BOTHWELL
Comment on Fashion
Mamas_Boy
BEATRICE WOOD
Mamas Boy
Helen Lundeberg beach
HELEN LUNDBERG
Beach
Please Click on the Image for more information.

June Wayne
The Artist

June Wayne and I met through prints…lithographs, to be exact.  When she moved, to Los Angeles from Chicago in the 1940s,  Lynton Kistler and his lithography workshop attracted her to the stone.   By 1949 she was painting but also was working on the lithograph stone at Kistler’s.  Her lithographs of 1950 – 1956 show that she was exploring crystalline structures and optics with her friends at the Jet Propulsion Laboratory in Pasadena.  The Sanctified, The Target, The Tunnel demonstrate her early fascination with crystals, The Bride, The Suitor and the Advocate continued that theme. Her painting  – The Dreamers – presents her translation to the canvas.

She went on to make history – art history – the history of lithography in the United States.  With her sure powers of technique and aesthetic senses, her technique grew and the reputation of lithography as a fine art medium grew with her.
JUNE WAYNE The Suitor
The Suitor
JUNE WAYNE The Bride
The Bride
JUNE WAYNE The Advocate
The Advocate
JUNE WAYNE The Dreamers
The Dreamers
JUNE WAYNE The Target
The Target
JUNE WAYNE The Sanctified
The Sanctified
JUNE WAYNE Shine Here to us and thou art everywhere
Shine Here to us and thou art everywhere
In 1960 she founded the Tamarind Lithography Workshop with a grant from the Ford Foundation.  Her mandate – to lift appreciation of the technique.  She started with the printers.  The dearth of trained lithography printers in the United States was a major obstacle.  She brought Serge Lozingot from Marcel Durassier’s studio in France to train journeymen printers and she invited renowned artists to the TLW to explore lithography. They found that the symbiotic relationship with a collaborative printer encouraged their imagination and creativity.   For many of these artists, lithography became a primary technique for their future work.  Now, more than fifty years later, the international artists and printers she inspired are legion.

June Wayne was the living proof of the creative impulse.  Major exhibitions of her work and a massive catalogue raisonne brought her art to an ever-widening audience.  She never stopped making art – lithographs, paintings, collages, tapestry designs.   As a FORCE and a LEADER she influenced community involvement, political action and creativity in young artists.

Often adversarial – always challenging, stimulating, interesting and informative, June Wayne was positive from her very beginning.  We valued her friendship and cherish her memory.
Please Click on the Image for more information.

FRANK ROMERO
LIFE AND TIMES

Frank Romero showed an early affinity for making pictures that reflected his heritage. He was launched into public appreciation in 1959, at the age of 18, when his woodcut “Caballeros de la Noche“won First Prize in California State Fair, Sacramento. His ‘printing press’ consisted of a spoon and his muscles! This is one of three impressions he pulled.

Frank is a ‘giving’ person and has always been a part of development and renewal in central Los Angeles through his public murals and personal screenprints, block prints, constructions and paintings. Most of his murals reflect the large Los Angeles latino population, stimulating the growing interest for pedestrians, office workers, art seekers and shoppers.

In 1974 the University of California Irvine mounted a show of “Los Four” – Frank Romero, Gil Lujan, Carlos Almaraz and Roberto de la Rocha that subsequently was shown at LACMA and the Oakland Art Museum.
FRANK E. ROMERO The Arrest of the Palateros
The Arrest of the Palateros
FRANK E. ROMERO Deer Crossing
Deer Crossing
FRANK E. ROMERO Carro de Muerte
Carro de Muerte
FRANK E. ROMERO Freeway-Homage to Romero
Homage to Romero
FRANK E. ROMERO Los Caballeros de la Noche
Los Caballeros de la Noche
FRANK E. ROMERO Red Freeway-Homage to Weston
Red Freeway-Homage to Weston
FRANK E. ROMERO 4-Level Freeway Interchange
4-Level Freeway Interchange
Snake in the Grass
Snake in the Grass
FRANK E. ROMERO Palm Drive-In
Palm Drive-In
The enthusiasm and vigor of Romero’s art is infectious. Through his paintings and screenprints, we share a concert at the California Plaza, or a burger at Dolores’s Drive-In … perhaps we remember snuggling at a Palm Drive-in or experiencing the

complexity of a Freeway Interchange!

 

Political commentary enters into Romero’s work too. See The Arrest of the Palateros as the overzealous Los Angeles Police Department – following the law! – arrested poor ice-cream vendors in MacArthur Park.

Occasionally Romero goes ‘off the wall’ in three dimensional pieces like Deer Crossing or in collaboration with his students on the obsessive car culture of Los Angeles. (Yes, he is also a teacher and curator). Currently, see the show of his work at the Museum of Latin American Art (MOLAA) in Long Beach through May 21st.
Please Click on the Image for more information.

LEONARD EDMONDSON (1916-2002)

Leonard Edmondson claimed that he captured inner sources as inspiration for his compositions…inspirations that stimulated creative spirits throughout his life.

His paintings, etchings, drawings, collages, lithographs, woodcuts are expressions of discovery that he willingly shared with us.  He was bursting with that creativity.   View these and more at the Gallery as well as on our website.
LEONARD EDMONDSON Broadcast
Broadcast
LEONARD EDMONDSON State of Patterns
State of Patterns
LEONARD EDMONDSON Scenery
Scenery
LEONARD EDMONDSON Germination
Germination
LEONARD EDMONDSON Tropical Gardens I
Tropical Gardens I
LEONARD EDMONDSON Initiation
Initiation
LEONARD EDMONDSON Sphere of Hostility
Sphere of Hostility
Edmondson Untitled Dance
Untitled Dance
LEONARD EDMONDSON Letters Toward Experience
Letters Toward Experience
Please Click on the Image for more information.

CLINTON ADAMS 1918 – 2002
From the Estate

CLINTON ADAMS was an artist, a  painter, a teacher….and a printmaker.  He was introduced to the lithographic limestone by Lynton Kistler in about 1946; a ‘romance’ ensued.  At Kistler’s studio workshop he met a June Wayne, recently arrived from Chicago.  Adams created a series of lithographs throughout the 1950s that brought him together with June Wayne when she founded the Tamarind Lithography Workshop in 1960.  While the major portion of Adams’s estate passed to the University of New Mexico Museum, the artworks presented here are from his Estate as received from his son, Michael.
CLINTON ADAMS Naxos
Naxos
Requiem
Requiem
CLINTON ADAMS Return to Collioure
Return to Collioure
CLINTON ADAMS Grand Canyon II
Grand Canyon II
CLINTON ADAMS Window Series VI
Window Series VI
Window_Series_VIII
Window Series VIII
CLINTON ADAMS Figure in Yellow
Figure in Yellow
Please Click on the Image for more information.

Spring Highlights 2017
Including:

JULES ENGEL Traffic
JULES ENGEL Traffic
CLINTON ADAMS Naxos
CLINTON ADAMS Naxos
MAX POLLAK San Francisco
MAX POLLAK San Francisco
MATSUMI KANEMITSU Homage to Henry Seldis II
MATSUMI KANEMITSU
Homage to Henry Seldis II
LUIS ARENAL Marbles Player
LUIS ARENAL Marbles Player
DAVID P. LEVINE The Factory Gate
DAVID P. LEVINE The Factory Gate
Our broad and rich collection of
Prints, Drawings, Paintings, Sculptures, Assemblages and Collages
are constantly being augmented by fine items.
Do visit our website regularly .. You’ll be glad you do!
Please Click on the Image for more information.

WERNER DREWES 1899 – 1985

Art and Artists grow, evolve, develop. Through their art, artists reveal the broad history of the creative period. One obvious contributor to ‘his’-story is the work of Werner Drewes.

DREWES’s work spans the 20th Century, first at the Bauhaus, then his travels throughout Europe, South America and the United States and his emigration to the U.S. in 1930, his leadership in the American Abstract Artists group mid-1930s his participation in the Federal Arts Project and then on to professorship at Washington University in St. Louis.

WERNER DREWES Monumental Figuration
Monumental Figuration
WERNER DREWES Winter Solstice
Winter Solstice

  

WERNER DREWES In the Blue Square
In the Blue Square

WERNER DREWES Northern Transition

Northern Transition

  

WERNER DREWES Winter
Winter
WERNER DREWES Winter Mummery
Winter Mummery

 

 

WERNER DREWES Amorphous Abstraction
Amorphous Abstraction
WERNER DREWES Open Construction - Red
Open Construction – Red
WERNER DREWES Mirror Lake
Mirror Lake

 

Upright-Curved-Form
Upright-Curved-Form
WERNER DREWES Composition X-Dynamic Rhythm
Composition X-Dynamic Rhythm
WERNER DREWES San Francisco: Telephone Building
San Francisco: Telephone Building

 

 

  

Through woodcuts, etchings, collages and paintings, the story of American art through Werner Drewes is ……history! We’ve offered his art since the early 1980s and invite you, again, to explore and bring it into your life.

Please Click on the Image for more information.


FIGURATION
Depiction of the figure is so personal and, yet, so universal.

ROGER HERMAN Field Workers
ROGER HERMAN Field Workers
J. JAY MCVICKER Embryonic Forms
J. JAY MCVICKER
Embryonic Forms

 

 

J.R. MCMILLAN Dance
J.R. MCMILLAN
Dance

 

 

 

 

EUGENE FLEURY Idyll
EUGENE FLEURY
Idyll

 

CARLOS MERIDA Popul Vuh #1
CARLOS MERIDA
Popul Vuh #1
ARTHUR SECUNDA Torito
ARTHUR SECUNDA
Torito

  Please Click on the Image for more information.


 

DRAWINGS

Drawings bring us back to beginnings … the impelling idea that stimulates the artists’s creativity. Follow the thought!

 

WERNER DREWES Evolution
WERNER DREWES
Evolution
MORRIS BRODERSON Study: Summertime
MORRIS BRODERSON
Study: Summertime
ABRAHAM WALKOWITZ Head of a Woman
ABRAHAM WALKOWITZ
Head of a Woman

 

ATTRIBUTED TO TITIAN Royal Personnage Charging his Officers
ATTRIBUTED TO TITIAN
Royal Personnage Charging his Officers

 

Weeds
JULES ENGEL
Weeds
BEN BERLIN Grand Canyon
BEN BERLIN
Grand Canyon

DRAWING is the basic capture of the artist’s thought.  Drawings are ‘true’…oftimes truer than the final composition/painting/print.  Here are drawings that convey the impact of the artist.

FRANCISCO ZUNIGA Seated Nude
Seated Nude

FRANCISCO ZUNIGA’s monumental nude conveys the mass and the weight of its goal: a sculpture in bronze. But this drawing says it all! In addition, Zuniga has ‘modeled’ it with strokes of color that enhance the figure.

LEONARD EDMONDSON Night Vision
Night Vision

 

LEONARD EDMONDSON uses white ink on heavy black paper and SCRATCHING through the paper surface to draw “Night Vision”, probably to proceed to a painting. The use of the black surface is dramatic.

BISHOP Letter Girl Reading Letter
Girl Reading Letter

 

ISABEL BISHOP carried her small sketch pad and a pen with her all the time, everywhere!  They provided glimpses of her experiences, often to be transferred to canvas or the etching plate.

WILLIAM DOLE Via dello Studio
Via dello Studio

 

The year before he turned to collage as his prime medium, WILLIAM DOLE drew this view from his pension window in Italy. See the architectonic structure of this simple rendering! That same focus on architecture pervades his collages.

MILLARD SHEETS Five Horses – Study
Five Horses – Study

MILLARD SHEETS’ study of horses was an early hint of the many times ‘horses’ would be part of his lithographs, paintings and murals.

 

 

 

We believe in the truths inherent in drawings and have other examples in those by
Peggy Bacon ‘Clambake’ ,  Howard Warshaw ‘Pepa’s Horses’,   Peter Krasnow ‘Rose’,
Abraham Walkowitz ‘Portrait of a Woman’,  Sueo Serisawa ‘Mountain Flower’,
Crawford O’Gorman ‘Landscape in Mexico’, Adolfo Mexiac ‘Banistas – Bathers’,
Frode Dann ‘Fluffy Cat’, Ynez Johnston ‘Abstraction with Fish’, Rockwell Kent ‘This is my Own’,
Channing Peake ‘Jazz’, Pietro Da Cortona after Titian ‘Royal Personage charging his offices’,
Jean Restout after Fragonard ‘Education of the Virgin’, Eugene Speicher ‘Nude’.

 


 

IN MEMORIAM
TYRUS WONG 1910-2016

Tyrus Wong knew many adversities and arose above them to a unique and successful career that spanned many worlds and years.  We enjoyed his sense of humor, his encouraging sense of life-to-be-LIVED.  He expressed himself through his art – as a designer and painter on Bambi and other animated films at Disney Studios, as a composer of greeting cards, as a lithography print maker with Lynton Kistler, as a fine art painter…and as a kitemaker of his own creations!  He was like none other. 
We feel privileged to have known him as a friend and as an artist.

We offer these few lithographs for your collection as evidence of his activities with Lynton Kistler’s Lithography Workshop in Los Angeles.

TYRUS WONG New Fallen Snow
New Fallen Snow
TYRUS WONG Large Horse with Flying Mane
Large Horse with Flying Mane

 

Horse Looking Up
Horse Looking Up
Horse Looking Down
Horse Looking Down

 

 

Blind Pencil Vendor
Blind Pencil Vendor
TYRUS WONG Horse Looking Away
Horse Looking Away
Horse Prancing
Horse Prancing
By clicking on each image you will find a description of the piece, the price and the connection to us.
We love to hear from you!

It’s Rumble Holidays 

JULES ENGEL created sound….but silently!  He created images that conveyed sound….trilling, bombastic, explosive and asymmetrical.  But why use words when the image says so much more!
Engel made these collages, then photographed them for a five minute film = ” RUMBLE”.  You can ‘hear’ each image!  You can acquire each @1800. But a grouping of three or more are specially priced.
JULES ENGEL Rumble - 'X' JULES ENGEL Rumble 'C' JULES ENGEL Rumble - '2'
JULES ENGEL Rumble - 'B' JULES ENGEL Rumble - 'A' JULES ENGEL Rumble - '11 Field'
JULES ENGEL Rumble - '9' JULES ENGEL Rumble - '8' JULES ENGEL Rumble - '11'
JULES ENGEL Rumble - '5' ENGEL Rumble '4' JULES ENGEL Rumble - '6'
JULES ENGEL Rumble - '8 Field Center' JULES ENGEL Rumble #10 FIELD JULES ENGEL Rumble - '7 '

This is the ‘Giving’ time….and we offer suggestions for you to gift to favored friends, grandchildren, sons/daughters, curators……….and to YOURSELF!   For our part, we will offer 10% (and sometimes more) on your purchases. That’s OUR gift to you! 

 


Figures …..

Through figuration, these artists have captured repose, strength, introspection and hope – but also can suggest angst, ambiguity, defeat and withdrawal.

EMERSON WOELFFER Caledonia II offers an ambiguity of form – suggesting introspection.
JUNE WAYNE The Dreamers entwined lovers gently convey confidence in their dreams.
LORSER FEITELSON Woman Reading is the epitome of  meditation.
HENRY MOORE Six Reclining Figures has depicted monumental figures of great strength and confidence.
RICO LEBRUN Mourners at the Crucifixion has captured the agony, the angst of human defeat.
FRANCISCO ZUNIGA Seated Nude exudes Natural Earth.
BETYE SAAR The Couple brings hope in being togetherness.

EMERSON WOELFFER Caledonia II
EMERSON WOELFFER
Caledonia II
JUNE WAYNE The Dreamers
JUNE WAYNE
The Dreamers
LORSER FEITELSON Woman Reading
LORSER FEITELSON Woman Reading
Six Reclining Figures
HENRY MOORE
Six Reclining Figures
RICO LEBRUN Mourners at the Crucifixion
RICO LEBRUN
Mourners at the Crucifixion
FRANCISCO ZUNIGA Seated Nude
FRANCISCO ZUNIGA
Seated Nude

 


Welcome to my world through – what else! – visual images.

A composition that is stable, that invites, that intrigues, that is engaging, that provides a haven….somehow, right now, I want images to engage and encourage me.
These are just a taste of the richness to be discovered at our Gallery. More to follow!
JOYCE WAHL TREIMAN Don, Rose & Bern
JOYCE WAHL TREIMAN
Don, Rose & Bern
YNEZ JOHNSTON In Green and Blue
YNEZ JOHNSTON
In Green and Blue
ROMARE BEARDEN The Lantern
ROMARE BEARDEN
The Lantern
WILLIAM BRICE Reclining Figure
WILLIAM BRICE
Reclining Figure
MANUEL ALVAREZ-BRAVO Caballito de Madera
MANUEL ALVAREZ-BRAVO
Caballito de Madera
DORR BOTHWELL Memory's Children
DORR BOTHWELL
Memory’s Children

Joyce Wahl Trieman “Don Rose and Bern”  a warm family,  Ynez Johnston “In Green and Blue” what mysterious, mythical realms she creates,  Manuel Alvarez-Bravo “Cabalito de Madera”  a carousels horse suggests  adventure,  Romane Bearden “The Lantern” comfort with its earthiness,   William Brice “Reclining Figure”   holds an  another earthiness, Dorr Bothwell “Memory’s Children” gentle and warm nostalgic and  Conrad Buff  “Yucca” the architecture nature

 


THE PATH THROUGH ARCHITECTURE

JULES ENGEL Punch and Judy II
JULES ENGEL
Punch and Judy II
CLINTON ADAMS Dichotomy
CLINTON ADAMS
Dichotomy
Richfield Industrial Design
LOU JACOBS JR
Richfield Industrial Design
SPACE is within, is around and defines MASS and STRUCTURE.   The artists shown here conceptualize those architectural elements. Each work of art conveys the sensitivity of the artist to that SPACE and MASS..
 

 LEONARD EDMONDSON in  “Night Vision” draws in white ink on a black sheet – even scratching the surface of the paper! – to compel our ‘entering’ his space. WERNER DREWES uses collage “Acrobatics” as kaleidescopic study for a later painting. GORDON WAGNER ‘Mojave Freight Yard”‘ dramatically defines an industrial site. LOU JACOBS JR’s “Industrial Design” controls space. JULES ENGEL’s  “Punch and Judy”  offers and  ‘entryway’. EUGENE BERMAN’s “Nocturnal Cathedral'” uses color to control time. CLINTON ADAMS  ‘Dichotomy’ exchanges negative/positive space, as does EMERSON WOELFFER’s  “Tri-Color”.    MANUEL ALVAREZ BRAVO  “En el Templo de Tigre Rojo” uses an ancient architectural site; OSKAR FISCHINGER’s and CHARLES CRODEL’S “Bahnkurve bei Probstzella” describes architectonics “Abstraction” intuits space.

LEONARD EDMONDSON Night Vision
LEONARD EDMONDSON
Night Vision
GORDON WAGNER Mojave Freight Yard
GORDON WAGNER
Mojave Freight Yard
MANUEL ALVAREZ-BRAVO En el Templo de Tigre Rojo
MANUEL ALVAREZ-BRAVO
En el Templo de Tigre Rojo

 


Architecture is a Path


The principles of Architecture usually relate to the design of a structure in/or encompassing space.  Those architectural or ‘architectonic’ principles are used broadly in art works on walls as well as paper and canvas or in wood, metal and concrete, etc.

JULES ENGEL Traffic
JULES ENGEL
Traffic
WILLIAM DOLE Sneaky Pete
WILLIAM DOLE
Sneaky Pete

 

WERNER DREWES Monumental Figuration
WERNER DREWES
Monumental Figuration

The artworks included in this exhibition display the principles of Architecture in a wide interpretation….obvious in Jules Engel’s “Traffic” , William Dole’s “Sneaky Pete”,   Werner Drewes’ “Monumental Figuration”, Helen Lundeberg’s “Interior with Painting” and Clinton Adams’ “Cabaret on Windward”, but less obvious in Lou Jacobs Jr”s “William Brice”, Leonard Edmondson’s “Abstraction No.2”, Werner Drewes’ “Winter Solstice” or George Herms’ “92 Ore”.

 


Peter Krasnow was DARING!

The 19Self Portrait40s, the World War II and John Entenza’s “Art and Architecture” magazine were great stimulants to the feelings of a ‘new world’ to be shaped and Peter Krasnow’s idiosyncratic art exemplified these feelings through elements of architecture, narrative abstraction and a ‘hi-key’ palette.

PETER KRASNOW 1887-1979 Untitled Oil on masonite 1941 15 3/8 x 11 1/2 inches (39.1 x 29.2cm) Initialed and dated

The structure of Untitled 1941, K-7 1947 and K-7 1955 are building blocks with life-affirming colors and subtle  under-lying narratives.  In K-7 1955 we even find Krasnow’s spectacular carvings juxtaposed into his painting.  These three paintings ‘speak’ to Krasnow’s excited reaction to the tenor of the times. At the same time, they reflect the awakening of new directions in art.

California was a conduit for these new directions.  After graduating from the Art Institute School in Chicago in 1916 and a  tentative couple of years in New York City, Krasnow – like so many other artists in the United States and in the world at large – was alert to the promise of an unlimited environment in which to say ‘new things’…through the visual arts, through music, through literature.PETER KRASNOW Untitled - K.7

Peter Krasnow’s history in California,, from the early 1920s to his death in 1979, was marked by innovation, invention, creativity, curiousity and daring.  Among the small but intense art community in the Los Angeles area, Krasnow was regarded with respect and recognition.  His introduction to this community through his lifelong friend, Edward Weston, was also a welcomed ‘passport’. Portraiture was Krasnow’s technical ‘bread and butter’in the 1920s, but even to these classical forms he introduced individual elements that pronounced ‘modernity’.

Ever challenging himself, Krasnow explored printmaking through relief prints (linocuts) and lithography in the late 1920s.. Though he soon abandoned these techniques as ‘limiting’, he returned to painting in watercolors as well as oil on paper, canvas and board, particularly after being awarded a Guggenheim grant in 1930 to work in the Dordogne region of France for a couple of years.

Carving also engaged his attention, beginning in the 1920s, which initially  found unique PETER KRASNOW (Monument)expression through his commissions and linocut carvings in the late 1920s to ..his ‘demountables’, beginning in about 1935 consisting of extended wood carvings joined through uniquely carved niches.

When he returned from France in 1934, carving became his  passion. These ‘Demountables’ are legendary.  Only in the early 1940s did he return to painting with new inspiration and new forms.

 


   FEATURING:  Architecture is a Path 

 


This Signature Art Exhibition (Virtual Tour with Audio Links) guides us through the 1930s to  the 1970s in Los Angeles.   Evident is the lack of a ‘style’ to define the period – BECAUSE each of these artists was an independent innovator, using personal techniques and expressing personal creativity.
(Virtual Tour with Audio Links)

 


JULES ENGEL(1901-2003) His life and work was a pivotal core for the art history of experimental animation in the world today. Animation: Accident, Rumble, Aviary, Meadow-Tumbling, many more.

Engel Accident

 


A Fine Retrospective Exhibition is on view right now at the Laguna Art Museum:
PETER KRASNOW: MODERNIST MAVERICK

PETER KRASNOW Betrothal

Betrothal

Lithograph 1928
16 x 10 1/2 inches (40.6 x 26.7cm)

PETER KRASNOW Untitled - K.7

Untitled – K.7, 1947

Oil on board 1947 K-7, 1947
42 1/2 x 48 inches (107.95 x 121.9cm)

PETER KRASNOW St Andrew's One Cent Coffee

St Andrew’s One Cent Coffee

Oil on canvas c.1920
26 x 20 inches (66.0 x 50.8cm)

From the 1920s to the 1970s, Krasnow made paintings, prints, drawings, monoprints, watercolors and carved sculptures.  His imagery is compelling as he creates in his personal ‘language’.  The proof is in the viewing!

 


JULY 18TH – JULY 30, 2016

BETYE SAAR

Assemblage and Collage – Lithograph – Etching – Screenprint

BETYE SAAR Flaming Heart #9

Flaming Heart #9

Collage and painting 1987
14 x 9 7/8 inches (35.6 x 25.1cm)

mysticsky

Mystic Sky with Self Portrait
Color lithograph with collage 1992 29/100
21 1/2 x 25 1/4 inches (54.6 x 64.1cm)
 

BETYE SAAR National Racism

National Racism

Color screenprint 1998 A/P XII; Ed:100
20 1/2 x 14 inches (52.1 x 35.6cm)

Betye Saar was inspired while watching Simon Rodia building the Watts Towers in the 1930s.   She transforms discarded objects into personalized narratives, social commentary – and visual poetry.  Ever mindful of her heritage, Saar communicated her sensitivity while exploring the media – from assemblage, collage and painting to lithography, etching and screenprinting.  She combines narratives and drama while digging deeply into her African-American, Irish and Native American ethnicity.

Aware of the span of life, Betye Saar feels Death as central to existing – a reminder of Life…a reminder to feel Alive!

PS:  Betye Saar’s Other Works

 


PETER KRASNOW at Laguna Art Museum July-August 2016
See: July 19, 2016  on LA Times/Christopher Knight  “Modernist Maverick”

&

PETER KRASNOW at Tobey Moss Gallery
and Special Selection

PETER KRASNOW Evolution -- K.1.1950 (1/2 of Diptych)Peter Krasnow (1887-1979)
Evolution — K.2.1950 (1/2 of Diptych)
Oil on board 1950
24 x 32 inches (60.9 x 81.3cm)

PETER KRASNOW Evolution -- K.2.1950 (1/2 of Diptych)Peter Krasnow (1887-1979)
Evolution — K.2.1950 (2/2 of Diptych)
Oil on board 1950
24 x 32 inches (60.9 x 81.3cm)

PETER KRASNOW On the Set II

Peter Krasnow (1887-1979)
On the Set II
Lithograph 1928
12 1/2 x 8 5/8 inches (31.8 x 21.9cm)

Mystic-Zabbatai Zvi

Peter Krasnow (1887-1979)
Mystic
Lithograph 1928
12 1/2 x 8 3/4 inches (31.8 x 22.2cm)

 Self Portrait

Peter Krasnow (1887-1979)
Self Portrait
Oil on canvas c.1925
13 1/2 x 10 inches (34.3 x 25.4cm)

Memory Landscape

Peter Krasnow (1887-1979)
Memory of a Landscape
Oil on comp board 1924 Gr.15
9 3/4 x 13 1/2 inches (24.8 x 34.3cm)

After graduating from the Art Institute of Chicago in 1916, Peter Krasnow and his Rose moved to New York where he became part of the Whitney Club and art circle that included photographer Edward Weston.  Encouraged by Weston, Krasnow moved to Los Angeles in 1923/24, where portraiture was his primary source of commissions.  He worked in oils on canvas, but also created lithographs, linocuts, drawings and watercolors that reflected romantic as well as biblical themes.

In 1930, with a Guggenheim grant, they moved to the Dordogne region in France.  His paintings and watercolors were exhibited in Paris but, with the rumblings of Hitler’s militarism and warnings from Weston, he returned to Los Angeles in 1934.  There, Krasnow felled backyard trees to carve remarkable organic sculptures…massive trunks were contrasted with unique joined segments that he called `demountables’

By the 1940s, Krasnow refocused upon  painting and made a dramatic change in his imagery and palette.  His compositions were abstract and architectonic, in a high-key California palette which, over the next thirty years, often subtly incorporated abstracted folk themes and iconography.

Krasnow’s work has been exhibited and included in many museum and private collections.  He and his art were a featured focus in John Entenza’s “Arts & Architecture” magazine in the 1940s.  This June to September of 2016, Krasnow’s work is shown in ‘PETER KRASNOW, CALIFORNIA MODERNIST’ at the Laguna Art Museum.

To purchase these artworks contact the gallery
Email: art@tobeycmossgallery.com
Call: (323) 933-5523

PS:  Peter Krasnow‘s Other Works and Special Selection

 


 

#ForYourEyes

Tobey Moss Likes Drawings

DREWES-EnigmaWerner Drewes (1899-1985)
Enigima
Ink 1947
9 1/2 x 7 1/4 inches (24.1 x 18.4cm)

CLIMENT-Untitled-600x520
Enrique Climent
 [1897-1980] Untitled
Crayon drawing 6 x 7 inches (15.2 x 17.8cm)

fivehorses
Millard Sheets
(1907-1989)
Five Horses – Study
Lithographic crayon on crescent board 1935
16 7/8 x 22 1/8 inches (42.8 x 56.2cm)

To purchase these artworks contact the gallery
Email: art@tobeycmossgallery.com
Call: (323) 933-5523

 


#ForYourEyes

Lynd Ward [American, 1905-1985]

God’s Man: The Kiss

Lynd Ward God's Man The Kiss

Here is a piece from Ward’s 1929 graphic novel currently inside Tobey’s On-Line Gallery.

Woodengraving 1929
4 x 3 inches (10.2 x 7.6cm)

Signed, lower right; Titled, Dated, lower left
Remark: From the artist

To purchase this artwork contact the gallery
Email: art@tobeycmossgallery.com
Call: (323) 933-5523

Ward’s Other Works

 


 

#ForYourEyes GORDON WAGNER 1915-1987 Shrine Box Assemblage 1961/64 GW.201 32 x 17 x 9 inches (81.2 x 43.2 x 22.9cm) Annotated

 California Modernist Artists at Tobey C. Moss GalleryA closer look into

Gordon Wagner [1915–1987] was the the leading pioneer behind assemblage art influencing George Herms and Betye Saar whom are each inspired by poetry and spirituality. These modernist artists are currently being featured inside Tobey’s gallery in Los Angeles and can always be purchased at her On-line Gallery.

‘Shrine Box’ was created between 1961-64, assembled during Wagner’s regular sweep of the tidal detritus. It measures 32 x 17 x 9 inches or 81.2 x 43.2 x 22.9 cm. “The Zinc Witch and the Philosopher Queen Sat Down . .” is pasted on one side. . . a collection of miscellany. Today,  Wagner was active until the day he died in Long Beach, California, on December 4, 1987.  In 2016, ’Shrine Box’ is available at $24,000.

GORDON WAGNER 1915-1987 Shrine Box Assemblage 1961/64 GW.201 32 x 17 x 9 inches (81.2 x 43.2 x 22.9cm) Annotated

Blow-Top-BluesBetye Saar has moved through printmaking, collage, assembl
age, sculpture and to installation work. Her constructions deliver personal, social and political messages through haunting visual poetry. ‘Blow Top Blues: The Fire Next Time’ available at $3,500 in 2016.

Can you find  L – O – V – E  inside this featured work? George Herms aptly signs all his work with a ‘LOVE’ stamp. For George, art-making is love. In 2016, ‘Klutz, Putzs & Schmutz’ available at $14,000.

george_herms_klutz-putz-and-schmutzTo purchase please click the artwork or contact Tobey

Email: art@tobeycmossgallery.com

Call: (323) 933-5523

#ForYourEyes next week featuring a surprise package from 1970’s!

 


 

#ForYourEyes 

George Herms [Born 1935]

’92 Ore’ Assemblage  

92-OreA

It’s an attempt to be able to use the environment and what’s in the environment as raw materials so that the line between life and art begins to become dissolved. You can actually take chunks of reality and use that as the raw materials of your work of art.” – George Herms

This assemblage was created in 1992 during the U.S.A Presidential Election in which Al Gore declined running for chief position and instead became Vice President to Bill Clinton. The collage measures 26 x 20 x 11 1/2 inches or 66. x 50.8 x 29.2 cm. It’s LOVE stamped and made up of previously discarded “trash” materials including torched wood, bumper sticker, metal and pigment.

Herms aptly signs all his work with a ‘LOVE’ stamp and there is a great love that shines through – love for the people, the places, the things that have touched his life. For George, art-making is his way to show his love to the world.’92 Ore is available at $24,000 in 2016.

To purchase this fine print
Email: art@tobeycmossgallery.com
Call: (323) 933-5523

George’s Other Works

 


#ForYourEyes 
Betye Saar [Born 1926]

GEORGE HERMS 92 Ore

“I’m the kind of person who recycles materials but I also recycle
emotions and feelings.” – Betye Saar

This artwork was created in 1992, a color lithograph with collage on wove paper. The impression measures 21 1/2 x 25 1/4 inches or 54.6 x 64.1 cm. It’s signed, dated and titled in the lower left corner. It is numbered 29/100. This specific impression of Mystic Sky with Self Portrait came to Tobey directly from Betye in her Los Angeles studio.

Mystic Sky with Self Portrait has a folk art aesthetic, “The stars, the cards, the mystic vigil may hold the answers. By shifting the point of view, an inner spirit is released. Free to create,” says Betye Saar describing the piece. Saar’s self portrait depicting mysticism, history, memory and nostalgia is available at $3,200 in 2016.

For a fuller biography of Betye Saar

To purchase this fine print
Email: art@tobeycmossgallery.com
Call: (323) 933-5523