Bela Kadar

Hungarian Artist Modern Mixed Media Horse and Buggy Bela Kadar

God, Keeper, and Maker of all Air Tola-Kina. Figural Abstract Gouache Watercolor Painting.

A Surrealist Judaica scene of a bearded man (Rabbi) in a boat with Shabbat candlesticks. Sight size: 17.75" x 22.5". Overall size with frame: 26.5" x31.5" Naftali Bezem (Hebrew: נ...

Michail Grobman (Russian: Михаил Гробман, Hebrew: מיכאיל גרובמן‎‎, born 1939) is an artist and a poet working in Israel and Russia. He is father to Hollywood producer Lati Grobman and Israeli architect Yasha Jacob Grobman. Biography 1939 – Born in Moscow. 1960s – Active member of The Second Russian Avant-Garde movement in the Soviet Union. 1967 – Member of Moscow Artists Union. 1971 – Emigrates to Israel and settles in Jerusalem. 1975 – Founded the Leviathan group and art periodical (in Russian). Since 1983, he lives and works mainly in Tel Aviv. Awards In 2001, Grobman was a co-recipient of the Dizengoff Prize for Painting. Solo exhibitions 2007 – Last Skies, Loushy & Peter Art & Projects, Tel Aviv (cat. text: Marc Scheps) 2006 – Creation From Chaos to Cosmos, Bar-David Museum of Fine Art and Judaica, Kibbutz Baram (cat. text: Sorin Heller) 2002 – The Last Sky, installation, Tsveta Zuzoritch pavilion, Belgrad (cat. text: Irina Subotitch) 1999 – Mikhail Grobman: Works 1960–1998, The State Russian Museum, St. Petersburg (cat. texts: Evgenija Petrova, Marc Scheps, Lola Kantor-Kazovsky, Michail German) Michail Grobman was born in Moscow. He grew up writing poetry, essays and literary prose. In the 1960s, he was active in the Second Russian Avant-garde movement in the Soviet Union. In 1971, he immigrated to Israel. In 1975, he established the Leviathan school together with Avraham Ofek and Shmuel Ackerman, seeking to combine symbolism, metaphysics and Judaism in an all-inclusive “national style.” Grobman’s lithograph work employs images and symbols from Jewish mysticism and Kabbalah. His paintings incorporate texts in Russian and Hebrew. In addition to his artistic endeavors, he writes about art and aesthetics. The group combined conceptual art and "land art" with Jewish symbolism. Of the three of them Avraham Ofek had the deepest interest in sculpture and its relationship to religious symbolism and images. In one series of his works Ofek used mirrors to project Hebrew letters, words with religious or cabbalistic significance, and other images onto soil or man-made structures. In his work "Letters of Light" (1979), for example, the letters were projected onto people and fabrics and the soil of the Judean Desert. In another work Ofek screened the words "America", "Africa", and "Green card" on the walls of the Tel Hai courtyard during a symposium on sculpture Part of the generation of emigre Russian artists, many Jewish, that included Yuri Kuper, Komar and Melamid, Eduard Steinberg, Erik Bulatov, Viktor Pivovarov, Vladimir Yankilevsky, Ilya Kabakov and Grisha Bruskin. Date of Birth: 1939, Moscow 1960s Active member of The Second Russian Avant Garde 1967 Member of the Moscow Painters Association 1971 Immigrated to Israel and settled in Jerusalem 1975 Founded the Leviathan group and art periodical (in Russian) Since 1983 Lives and works in Tel Aviv . Selected Solo Exhibitions: 2002 Pavilion Zveta Zuzovich, "The Last Sky", Belgrad (cat: Irena Subotitch) 1999 The State Russian Museum, ST. Petersburg 1998 "Picture = Symbol + Concept", Herzliya Museum of Art, Herzliya 1995 "Password and Image", University Gallery, Haifa University 1990 Tova Osman Gallery, Tel Aviv 1989 "The Beautiful Sixties in Moscow", The Genia Schreiber University Art Gallery, Tel Aviv University (with llya Kabakov; cat. text: Mordechai Omer] Spertus Museum, Chicago Beit Rami and Uri Nechushtan, Ashdot Yaacov (leaflet) 1972 Nora Gallery, Jerusalem 1973 - Negev Museum, Beer Sheva 1971 Tel Aviv Museum of Art (cat. text: Haim Gamzu) 1966 Mos-lng-Projekt, Moscow 1965 Artist's House, Moscow Energy Institute, Moscow History Institute, Moscow Usti-nad-Orlicy Theatre,Czechoslovakia (leaflet text: Dushan Konetchni) 1959 Mukhina Art Institute, Leningrad . Selected Group Exhibitions: 2003 "Yes do yourself...", Regeneration of Judaism in Israeli art, Zman Omanut Tel Aviv (cat: Gideon Ofrat) 1999 "Russian post-war avantgarde", The Trajsman Collection in the State Russian Museum, St. Petersburg Tretjakov National Gallery, Moscow (cat. text: Yevgenij Barabanov, John...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. Simka painted what he thought was typical of Jackson. His impression of pre-civil rights Mississippi was evidently Greek Revival column houses, weeping willow trees, working class families, and the oppression of African Americans. He painted African American men picking cotton, while a white man took account of the harvest and a white judge advised a white family, calling it Pursuits of Life in Mississippi. Though clearly endorsed by the government and initially generally well-received, the mural soon raised concerns with locals as the climate toward racial segregation began to change. The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...

Family at the Beach WPA Modernism American Scene Social Realism Mid 20th Century William Gropper (1898 - 1977) "Family at the Beach" 27 1/2 x 19 1/2 inches Mixed media on paper, c. 1940 Signed lower left Provenance: Estate of the artist. The drawing will ship from the home of Mr. Gropper's grandson. Bio Throughout his life, William Gropper used his artistic talents to protest social injustice. Born in New York City, he grew up there in poverty and left high school to work as a dishwasher and delivery boy. He eventually began a career in art and was able to study with Robert Henri and George Bellows from 1912 to 1915. He adopted their realistic painting style, and his own work expressed sympathy for common laborers and outrage at society's ills. In 1919 Gropper established a reputation as a political cartoonist working for the New York Tribune. His blunt, forceful style attracted the attention of other publications, and he provided illustrations and cartoons for a variety of magazines, from the left-wing New Masses to mainstream Vanity Fair. Like many social realist artists of the 1930s, Gropper supported liberal political causes, depicting subjects such as the plight of migrant laborers and striking factory workers. In his first gallery exhibition in 1936 at ACA Galleries, Gropper's work was so well received by critics, collectors, and artists that the following year he had two one-man exhibitions at ACA Galleries. In 1937, Gropper traveled west on a Guggenheim Fellowship and visited the Dust Bowl and the Hoover and Grand Coulee Dams, sketching studies for a series of paintings and a mural he painted for the Department of the Interior. That same year he had paintings purchased by both the Metropolitan Museum of Art and the Museum of Modern Art. Gropper exhibited at the 1939 New York World's Fair, Whitney Museum of American Art (1924-55), Art Institute of Chicago (1935-49), Carnegie International (1937-50), Pennsylvania Academy of the Fine Arts (1939-48), and National Academy of Design (1945-48). He was a founder of the Artists Equity Association and member of the National Institute of Arts and Letters. From 1940 to 1945 William Gropper was preoccupied with anti-Nazi cartoons...

Untitled Large Seascape Mixed Media Ink and gouache wash on paper laid on board about 1970s, Artist signed lower right corner. Lim Ha Shan, was born in Seoul, Korea in 1945. The na...

Linda Turner, raised both in NYC and Northern Virginia, resides in Brooklyn, NY. She achieved a BFA in Surface Design/Textile Design from the Fashion Inst...

Linda Turner, raised both in NYC and Northern Virginia, resides in Brooklyn, NY. She achieved a BFA in Surface Design/Textile Design from the Fashion Inst...