Robert Stackhouse Art

Mel Bochner is recognized as one of the leading figures in the development of Conceptual art in New York in the 1960s and 1970s. Emerging at a time when painting was increasingly dis...

Christo and Jeanne-Claude Pont Neuf, 2020 Lithograph, Edition of 450 Signed and numbered in pencil to margin Published to coincide with the artist's exhibition at the Centre Pompido...

Larry Rivers "The Music Festival of the Hamptons / July 18-27 1997" poster, Not hand signed. [Dimensions: 24" H x 18" W] Larry Rivers (born Yitzroch Loiza Grossberg) (1923 – 2002) was an American artist, musician, filmmaker, and occasional actor. Considered by many scholars to be the "Godfather" and "Grandfather" of Pop art, he was one of the first artists to merge non-objective, non-narrative art with narrative and objective abstraction. Rivers took up painting in 1945 and studied at the Hans Hofmann School from 1947–48. He earned a BA in art education from New York University in 1951. His work was quickly acquired by the Museum of Modern Art. A 1953 painting Washington Crossing the Delaware was damaged in fire at the museum five years later. He was a pop artist of the New York School, reproducing everyday objects of American popular culture as art. He was one of eleven New York artists featured in the opening exhibition at the Terrain Gallery in 1955 along with Paul Mommer, Leonard Baskin, Peter Grippe During the early 1960s Rivers lived in the Hotel Chelsea, notable for its artistic residents such as Bob Dylan, Janis Joplin, Leonard Cohen, Arthur C. Clarke, Dylan Thomas, Sid Vicious and multiple people associated with Andy Warhol Factory and where he brought several of his French nouveau réalistes friends like Yves Klein who wrote there in April 1961 his Manifeste de l'hôtel Chelsea, Arman, Martial Raysse, Jean Tinguely, Niki de Saint-Phalle, Christo & Jean Claude, Daniel Spoerri or Alain Jacquet, several of whom, like Rivers, left some pieces of art in the lobby of the hotel for payment of their rooms. In 1965, Rivers had his first comprehensive retrospective in five important American museums. His final work for the exhibition was The History of the Russian Revolution, which was later on extended permanent display at the Hirshhorn Museum and Sculpture Garden in Washington, DC. He spent 1967 in London collaborating with the American painter Howard Kanovitz. In 1968, Rivers traveled to Africa for a second time with Pierre Dominique Gaisseau to finish their documentary Africa and I, which was a part of the groundbreaking NBC series Experiments in Television. During this trip they narrowly escaped execution as suspected mercenaries. During the 1970s, Rivers worked closely with Diana Molinari and Michel Auder on many video tape projects, including the infamous Tits, and also worked in neon. Rivers's legs appeared in John Lennon and Yoko Ono's 1971 film Up Your Legs Forever. From 1940–1945 he worked as a jazz saxophonist in New York City, changing his name to Larry Rivers in 1940 after being introduced as "Larry Rivers and the Mudcats" at a local pub. He studied at the Juilliard School of Music in 1945–46, along with Miles Davis, with whom he remained friends until Davis's death in 1991. Larry Rivers was born in the Bronx to Samuel and Sonya Grossberg, Jewish immigrants from Ukraine. In 1945, he married Augusta Berger, and they had one son, Steven. Rivers also adopted Berger's son from a previous relationship, Joseph, and reared both children after the couple divorced. In 1949 he had his first one-man exhibition at the Jane Street Gallery in New York. This same year, he met and became friends with John Ashbery, and Kenneth Koch. In 1950 he met Frank O’Hara. This same year he took his first trip to Europe spending eight months in Paris, France, reading and writing poetry. Beginning in 1950 and continuing until Frank’s death in July of 1966, Larry Rivers and Frank O’Hara cultivated a uniquely creative friendship that produced numerous collaborations, as well as inspired paintings and poems. In 1951 Rivers’ works were shown at the Tibor de Nagy Gallery where he continued to show annually (except 1955) for about 10 years. In 1954 he had his first exhibition of sculptures at the Stable Gallery, New York. In 1955 The Museum of Modern Art acquired Washington Crossing the Delaware. This same year he won 3rd prize in the Corcoran Gallery national painting competition for “Self-Figure.” Rivers’ also painted “Double Portrait of Berdie” in 1955, which was soon purchased by the Whitney Museum. In 1957 he and Frank O’Hara began work on “Stones,” a collaborative mix of images and poetry in a series of lithograph for Tatyana Grosman company ULAE. During this time he also appeared on the television game show “The $64,000.00 Question” where along with another contestant, they both won, each receiving $32,000.00. In 1958 he again spent time in Paris and played in various jazz bands. In 1959 he painted Cedar Bar Menu...

Jörg Olberg (*1956 Dresden), Agony, 1987. etching, E.A. (edition of 30), 24 x 17 cm (image), 46 x 37 cm (sheet), each signed in pencil lower right "Olberg" and dated "IX [19]87", inscribed lower left "E.A. [Epreuve d'Artiste]". - minimal crease and dust stains in the broad margin - The architecture of decay - About the artwork Jörg Olberg draws here the sum of his artistic study of the Berlin ruins, which were still present in the cityscape well into the 80s. With his work "Agony" he creates an allegory of decay. Positioned in the landscape of ruins, a ruined house grows before the viewer, rising like the Tower of Babel into the sky, its roof and gable brightly illuminated by the sun. But already the roof shows mostly only the rafters, and as the gaze is drawn further down, the building visibly disintegrates, the beams protruding in all directions looking like splintered bones. Slowly but inexorably - in agony - the house will collapse in on itself and become nothing more than the burial mound of itself. At the same time, the small-scale stone composition and the plaster form a pattern-like ornamentation of decay. The tension in the picture is fed by the counter-movement of growth and collapse, which is heightened by the dramatic formation of clouds. The swirls of clouds are reminiscent of a world landscape...

This detailed etching depicts Notre Dame in France. The foreground shows an alleyway, with cracking and peeling buildings, plants climbing the walls, and a shifting stone road. Each ...

Published Benincasa Carmine. Edizioni SEAT, Torino, Italy. Offset directly from the original plates. Limited edition. This is not hand signed or numbered. Signature in the printing plate. Size is of the full sheet. André-Aimé-René Masson (4 January 1896 – 28 October 1987) was a French artist. Masson was born in Balagny-sur-Thérain, Oise, but when he was eight his father's work took the family first briefly to Lille and then to Brussels. He began his study of art at the age of eleven at the Académie Royale des Beaux-Arts in Brussels, under the guidance of Constant Montald, and later he studied in Paris. He fought for France during World War I and was seriously injured. His early works display an interest in cubism. He later became associated with surrealism, and he was one of the most enthusiastic employers of automatic drawing, making a number of automatic works in pen and ink. Masson would often force himself to work under strict conditions, for example, after long periods of time without food or sleep, or under the influence of drugs. He believed forcing himself into a reduced state of consciousness would help his art be free from rational control, and hence get closer to the workings of his subconscious mind. Masson experimented with altered states of consciousness with artists such as Antonin Artaud, Michel Leiris, Joan Miro, Georges Bataille, Jean Dubuffet, and Georges Malkine, who were neighbors of his studio in Paris. From around 1926 he experimented by throwing sand and glue onto canvas and making oil paintings based around the shapes that formed. By the end of the 1920s, however, he was finding automatic drawing rather restricting, and he left the surrealist movement and turned instead to a more structured style, often producing works with a violent or erotic theme, and making a number of paintings in reaction to the Spanish Civil War (he associated once more with the surrealists at the end of the 1930s). Under the German occupation of France during World War II, his work was condemned by the Nazis as degenerate. With the assistance of Varian Fry in Marseille, Masson escaped the Nazi regime on a ship to the French island of Martinique from where he went on to the United States. Upon arrival in New York City, U.S. customs officials inspecting Masson's luggage found a cache of his erotic drawings. Denouncing them as pornographic, they ripped them up before the artist's eyes. Living in New Preston, Connecticut his work became an important influence on American abstract expressionists, In particular Arshile Gorky drew on it, as did Jackson Pollock and Mark Rothko. Following the war, he returned to France and settled in Aix-en-Provence where he painted a number of landscapes. Masson drew the cover of the first issue of Georges Bataille's review, Acéphale, in 1936, and participated in all its issues until 1939. His brother-in-law, the psychoanalyst Jacques Lacan...

A wonderful impression of the Cathedral in Koln. This artwork titled "Cologne Cathedral" is an original color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed i...

Marius Sznajderman was a painter, printmaker and scenic designer living and working in the United States. Born in Paris, France in 1926 his Jewish parents had migrated to France from Poland in 1923. In November 1942 the family fled Nazi-occupied France for Spain before settling in Caracas, Venezuela. He attended the School of Fine Arts in Caracas where his teachers included illustrator Ramon Martin Durban, scenic designer Charles Ventrillon-Horber and painter Rafael Monasterios. and immigrated to the United States in 1949, where he received a Bachelor of Fine Arts and Master of Fine Arts from Columbia University in New York. He settled in Hackensack, New Jersey, where he lived and had a studio for more than 50 years before moving to Amherst, Massachusetts in 2015. His work, which includes painting, prints and collages, as well as set designs, is in more than 45 museum and public institution collections in the United States, Latin America and Israel. He held more than 40 solo exhibitions at galleries and museums and participated in more than 75 group shows around the globe. He helped found the Taller Libre de Arte, an experimental workshop for the visual arts, sponsored by the Ministry of Education. The Taller Libre de Arte was a center for young artists to work and to meet with critics and intellectuals to discuss avant-garde ideas and artistic trends from Europe and Latin America. Among the notable artists who participated in the Taller Libre de Arte were Ramón Vásquez Brito, Carlos González Bogen, Luis Guevara Moreno, Mateo Manaure, Virgilio Trómpiz...

Published Benincasa Carmine. Edizioni SEAT, Torino, Italy. Offset directly from the original plates. Limited edition. This is not hand signed or numbered. Signature in the printing plate. Size is of the full sheet. André-Aimé-René Masson (4 January 1896 – 28 October 1987) was a French artist. Masson was born in Balagny-sur-Thérain, Oise, but when he was eight his father's work took the family first briefly to Lille and then to Brussels. He began his study of art at the age of eleven at the Académie Royale des Beaux-Arts in Brussels, under the guidance of Constant Montald, and later he studied in Paris. He fought for France during World War I and was seriously injured. His early works display an interest in cubism. He later became associated with surrealism, and he was one of the most enthusiastic employers of automatic drawing, making a number of automatic works in pen and ink. Masson would often force himself to work under strict conditions, for example, after long periods of time without food or sleep, or under the influence of drugs. He believed forcing himself into a reduced state of consciousness would help his art be free from rational control, and hence get closer to the workings of his subconscious mind. Masson experimented with altered states of consciousness with artists such as Antonin Artaud, Michel Leiris, Joan Miro, Georges Bataille, Jean Dubuffet, and Georges Malkine, who were neighbors of his studio in Paris. From around 1926 he experimented by throwing sand and glue onto canvas and making oil paintings based around the shapes that formed. By the end of the 1920s, however, he was finding automatic drawing rather restricting, and he left the surrealist movement and turned instead to a more structured style, often producing works with a violent or erotic theme, and making a number of paintings in reaction to the Spanish Civil War (he associated once more with the surrealists at the end of the 1930s). Under the German occupation of France during World War II, his work was condemned by the Nazis as degenerate. With the assistance of Varian Fry in Marseille, Masson escaped the Nazi regime on a ship to the French island of Martinique from where he went on to the United States. Upon arrival in New York City, U.S. customs officials inspecting Masson's luggage found a cache of his erotic drawings. Denouncing them as pornographic, they ripped them up before the artist's eyes. Living in New Preston, Connecticut his work became an important influence on American abstract expressionists, In particular Arshile Gorky drew on it, as did Jackson Pollock and Mark Rothko. Following the war, he returned to France and settled in Aix-en-Provence where he painted a number of landscapes. Masson drew the cover of the first issue of Georges Bataille's review, Acéphale, in 1936, and participated in all its issues until 1939. His brother-in-law, the psychoanalyst Jacques Lacan...

Original subway poster, c. 1980, on wove paper, unsigned as issued, 28 x 71.3 cm. 'Surveillance Is Your Busywork' is an unused subway lithograph placard, produced in the early 80s b...

This is an exclusive handprinted limited edition cyanotype. "Blustery Clouds" is an cyanotype of the semi-abstract patterns of clouds in the sky after a storm. Details: + Title: Blu...

Published Benincasa Carmine. Edizioni SEAT, Torino, Italy. Offset directly from the original plates. Limited edition. This is not hand signed or numbered. Signature in the printing plate. Size is of the full sheet. André-Aimé-René Masson (4 January 1896 – 28 October 1987) was a French artist. Masson was born in Balagny-sur-Thérain, Oise, but when he was eight his father's work took the family first briefly to Lille and then to Brussels. He began his study of art at the age of eleven at the Académie Royale des Beaux-Arts in Brussels, under the guidance of Constant Montald, and later he studied in Paris. He fought for France during World War I and was seriously injured. His early works display an interest in cubism. He later became associated with surrealism, and he was one of the most enthusiastic employers of automatic drawing, making a number of automatic works in pen and ink. Masson would often force himself to work under strict conditions, for example, after long periods of time without food or sleep, or under the influence of drugs. He believed forcing himself into a reduced state of consciousness would help his art be free from rational control, and hence get closer to the workings of his subconscious mind. Masson experimented with altered states of consciousness with artists such as Antonin Artaud, Michel Leiris, Joan Miro, Georges Bataille, Jean Dubuffet, and Georges Malkine, who were neighbors of his studio in Paris. From around 1926 he experimented by throwing sand and glue onto canvas and making oil paintings based around the shapes that formed. By the end of the 1920s, however, he was finding automatic drawing rather restricting, and he left the surrealist movement and turned instead to a more structured style, often producing works with a violent or erotic theme, and making a number of paintings in reaction to the Spanish Civil War (he associated once more with the surrealists at the end of the 1930s). Under the German occupation of France during World War II, his work was condemned by the Nazis as degenerate. With the assistance of Varian Fry in Marseille, Masson escaped the Nazi regime on a ship to the French island of Martinique from where he went on to the United States. Upon arrival in New York City, U.S. customs officials inspecting Masson's luggage found a cache of his erotic drawings. Denouncing them as pornographic, they ripped them up before the artist's eyes. Living in New Preston, Connecticut his work became an important influence on American abstract expressionists, In particular Arshile Gorky drew on it, as did Jackson Pollock and Mark Rothko. Following the war, he returned to France and settled in Aix-en-Provence where he painted a number of landscapes. Masson drew the cover of the first issue of Georges Bataille's review, Acéphale, in 1936, and participated in all its issues until 1939. His brother-in-law, the psychoanalyst Jacques Lacan...