Figures …..

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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