Jacinto Moros Art

This artwork is part of a series called "Geometric Sculpture" and is a unique 3D sculpture that features a variety of vibrant colors including yellow, orange, red, blue, dark blue, and black. The sculpture is abstract in nature and showcases geometric shapes that add actual depth and space to the piece, making it visually striking and aesthetically pleasing to the viewer. Zach Touchon has expressed a desire to step outside the traditional square format and focus on movement and 3D effects. As a result, the sculpture creates shadows that further enhance the 3D effect, making the piece truly dynamic and engaging. Touchon has also mentioned his goal to create even larger pieces in the future, pushing the boundaries of the series and the medium itself. Overall, this artwork is a visually stunning and unique addition to the "Geometric Sculpture" series, showcasing the artist's dedication to creating pieces that challenge traditional art forms and create a sense of depth and movement. -- Zach Touchon is a contemporary LA-based abstract expressionist artist. Besides that, Touchon is also an actor, a singer, a screenwriter, and an owner of the Touchon Gallery. Zach Touchon is a second-generation and a successor to his famous father's, Cecil Touchon's, artistic path. By rethinking abstract expressionism ideas, using different media he creates large abstract artwork along with small collages, huge murals, and interior installations. The main focus of his art is depth and space and finding a semantic and aesthetic balance between them. As a muralist, Touchon joins the ranks of such great LA street artists as WRDSMTH, Retna, Shepard Fairy, and Dirt Cobain...

Circa 1970 Original carborundum engraving Numbered 39/99 Signed lower right Paper dimensions : W64 x H55 Engraving size : H24 x W35 150€

Vasarely - Kinetics 4 Silkscreen printing Vasarely Foundation numbered 14/50 Circa 1965 76x85 1300€

Joan Miró - Seduction Lithography project 56x38cm Published in 1984 for "Miro Graveur 390€

A series of works .. ANCIENT .. ..FOREST .. ..AQUA .. all these series have a magical connection with each other. They have the ancient spirit of past civilizations and sections of d...

Agnes Martin Praise (Framed), 1976 Limited edition lithograph on Dalton Natural Bond paper with gold rubber stamp signature, accompanied by the original sleeve Agnes Martin's signature is stamped in gold; unnumbered proof Frame included: framed in a white wood museum frame with UV plexiglass Measurements: Framed 17.75 inches by 17.75 inches by 1.5 inches Artwork alone 10 inches by 10 inches Agnes Martin's signature is stamped in gold; an unnumbered proof This work is accompanied by its original envelope, affixed to the back of the frame This work was originally distributed by the Museum of Modern Art, New York and is accompanied by the original sleeve, affixed to the back of the frame (see photo) "Praise" is an example of Agnes Martin's lifelong fascination with grid-based compositions, which grew from her interest in Taoism. The image is comprised of a light pink square overlaid with a series of darker pink lines, which break the square into columns of alternating widths. The elegant, saccharine pink here is a departure from her typically subdued compositions, which are rarely feature color aside from light washes of muted hues. Martin's use of color here comes after the artist's ten-year respite in the Southwest. This gorgeous pastel-pink lithograph is truly special as it's one of the only prints she did in color. She oversaw every aspect of the prints creation, including the gold stamped signature, which. Despite her close association with the Minimalists, Martin described her work as Abstract Expressionist in line with Rothko's formal logic, “perceptual perfection,” and sparse compositions. She became recognized for her delicate use of lines and sparing application of color. Martin's rubber stamp signature is in gold and is deliberately faint as per the artist's express instructions. About Agnes Martin: "Born on a farm in rural Saskatchewan, Canada, Agnes Martin immigrated to the United States in 1932 in the hopes of becoming a teacher. After earning a degree in art education, she moved to the desert plains of Taos, New Mexico, where she made abstract paintings with organic forms, which attracted the attention of renowned New York gallerist Betty Parsons, who convinced the artist to join her roster and move to New York in 1957. There, Martin lived and worked on Coenties Slip, a street in Lower Manhattan, alongside a community of artists—including Robert Indiana, Ellsworth Kelly, and Jack Youngerman—who were all drawn to the area’s cheap rents, expansive loft spaces and proximity to the East River. Harbor Number 1 (1957), one of Martin’s earliest New York paintings, combines the geometric abstraction of her earlier Taos work with the newfound inspiration of the harbor landscape, evident in her choice of blue-gray palette. Over the course of the next decade, Martin developed her signature format: six by six foot painted canvases, covered from edge to edge with meticulously penciled grids and finished with a thin layer of gesso. Though she often showed with other New York abstractionists, Martin’s focused pursuit charted new terrain that lay outside of both the broad gestural vocabulary of Abstract Expressionism and the systematic repetitions of Minimalism. Rather, her practice was tethered to spirituality and drew from a mix of Zen Buddhist and American Transcendentalist ideas. For Martin, painting was “a world without objects, without interruption… or obstacle. It is to accept the necessity of … going into a field of vision as you would cross an empty beach to look at the ocean.”1 In 1967, at the height of her career, Martin faced the loss of her home to new development, the sudden death of her friend Ad Reinhardt, and the growing strain of mental illness; she left New York, and returned to Taos, where she abandoned painting, instead pursuing writing and meditation in isolation. Her return to painting in 1974 was marked by a subtle shift in style: no longer defined by the delicate graphite grid, compositions such as Untitled Number 5 (1975) display bolder geometric schemes—like distant relatives of her earliest works. In these late paintings, Martin evoked the warm palette of the arid desert landscape where she remained for the rest of her life" Introduction by Jennifer Harris, Curatorial Assistant, Department of Painting and Sculpture, 2016 Agnes Martin, quoted in Ann Wilson...

Gold Sky with Silver Ribbon - Hand-Augmented Modern Collotype Print Delicate and layered collotype on heavy bond paper by Patricia A. Pearce (American, b. 1948). The background of...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

Made in Spain, 2024. Pure symbolism makes this series of sculptures ideal for table or floor-pedestal installation in the office, bedroom, cabinet, reception, or hall. Location and ...

Made in Spain, 2024. Pure symbolism makes this series of sculptures ideal for table or floor-pedestal installation in the office, bedroom, cabinet, reception, or hall. Location and ...

Abstract Geometric wood three-dimensional wall sculpture in light blue, white, and light grey Painted wood and collaged paper on panel 36 x 36 x 2.5 inches Hangs flush to the wall wi...