Sofia Bassi (1913-1997, Mexican)

Sofia Bassi 1913-1997 The Mexican surrealist painter Sofia Bassi was born Sofia Celorio in Mendoza, in the state of Veracruz, Mexico in 1913. Bassi did not begin painting until 1964 and was self-taught. Her work is classified as surrealist. She was invited to participate in an exhibition in Mexico City of self-portraits at the Museo de Arte Moderno that was an homage to Andre Breton. She also participated in another exhibition at the Mueso de Arte Moderno in 1967, Bassi was featured along with Frida Kahlo and 7 other prominent painters of the Mexican school including Maria Izquierdo, Remedios Varo and Leonora Carrington. Her work has been exhibited in numerous museums including el Museo Liceo Selma Lagerloff in Stockholm, the Museum of Modern Art in Tel Aviv, and el Museo de Guadalajara. She had four solo exhibitions at the Salon de Plastica Mexicana. She married the industrialist Bassi. In 1968 she was convicted of murdering her son-in-law, the Italian count Cesare d?Aquarone, in Acapulco. She was imprisoned for 11 years. While in prison, she was allowed visitations from her family and also to continue her painting.

Carl Hugo Beetz (1911-1974, American)

Carl Hugo Beetz 1911-1974 Carl Hugo Beetz was born December 25, 1911 in San Francisco, California. He was a prolific watercolorist and lithographer who worked in a Regionalist style and was extremely active in the California Watercolor Society. Beetz studied in several institutions including the Art Students League in New York under George Bridgeman, Grand Central Art School with Grant Reynard and the California School of Fine Arts in San Francisco under Spencer Macky and Ray Bertrand. In 1931 the artist entered Chouinard Art Institute in Los Angeles, California where he studied for four years under Pruett Carter and Lawrence Murphy. In 1935 Beetz became an instructor at Chouinard where he taught life drawing, anatomy and quick sketches for nine years. In one catalogue of the Institute Beetz is described as ?? the singular faculty?able to clarify the rudiments of drawing to beginners.? During his time at Chouinard Beetz also illustrated for the publications Westways and Script and in 1939 traveled to Europe where he illustrated racetracks in Paris and Milan. Beetz joined the California Watercolor Society in 1937 and exhibited with the group in 1937, 1939, 1940, 1942,1943 with an honorable mention, and in 1944. In 1940 at the Pacific Coast States Water Color Exhibition sponsored by the California Watercolor Society Emily Genauer, a reporter for the World-Telegram, praised Beetz?s work along with a handful of others among 200 works exhibited. In 1944 Beetz moved to San Francisco where he taught at the California College of Arts and Crafts, the Academy of Advertising Art and the City College of San Francisco. Beetz became a member of the California Society of Etchers in 1954 and exhibited with the group in 1954 and 1956. Throughout his career Beetz exhibited widely in California and other parts of the United States. Such exhibitions include: The Theodore B. Modra Exhibition of Art; The Pomona Exhibition; Foundation of Western Artists in Los Angeles on several occasions; The Riverside Museum in New York, The Redland Art Guild Exhibition where he received First Prize; San Francisco Art Association on several occasions; Art Institute of Chicago; The E.R. Pennell Exhibition of Prints at the Library of Congress; The Philadelphia Print Club; Indianapolis Print Show; The Springfield Print Show; Utah State Agricultural College; California Society of Etchers; The Oakland Art Museum and The Oakland Art Guild. Solo exhibitions include the Los Angeles County Museum of Art in 1942, M.H. DeYoung Memorial Museum in 1944 and The Jepson Institute in 1949. In addition to The California Watercolor Society and The California Society of Etchers, Beetz was a member of the American Association of Professors. His work is included in the San Francisco Museum of Modern Art permanent collection and the Library of Congress in Washington D.C. In 1960 Janice Lovoos wrote of Carl Beetz?s work in an article titled ?The Drawings and Lithographs of Carl Beetz? in American Artist Magazine. The artist is also listed in ?Who Was Who in American Art? and a catalog raisonne, ?Carl Beetz: Reflections of California Life? has been published by the University of the Pacific with an essay by Natalie Phillips. Daniel P. Kasser, Kathy L. Rowley, Merrill Schleier and Brett Deboer were collaborators for the publication. Carl Hugo Beetz died in 1974.

Abel Bertram (1871-1954, French)

Abel Bertram was born in Saint-Omer, France in 1871. A true Postimpressionist, he studied under Léon Bonnat and Antoine Guillemet. He exhibited at the Salon des Artistes Français in Paris in 1899; he won an honorable mention at the same exhibition in 1901. Bertram exhibited at the Salon des Indépendants from 1905 to 1939. He also exhibited at the Salon d?Automne and the Salon des Tuilleries, as well as the Salon National des Beaux-Arts. Bertram painted a wide variety of subject matters, including still lifes, landscapes, flowers, and figures.

Eduard Boss (1873-1958, Swiss)

Eduard Boss 1873 - 1958 Eduard Boss was born in Berne, Switzerland. He was a student of Barthétemy Menn in Geneva. He also studied in Munich, Berlin and Paris. Boss entered many exhibitions in Switzerland, most notably in Thoune in 1899. He exhibited in Geneva in 1900-1901. He exhibited at l?Exposition Universalle in Paris in 1900 where he won a medal. He exhibited often in Munich from 1909. The modernists he encountered in Germany must have influenced Boss; his colors are expressionistic, and combined with his abstraction, he created a purely modern scene.

Lucien Boulier (1882-1963, French)

Lucien Boulier 1882-1963 Lucian Boulier was born Verdun, France in 1882. He was a student of Jean L?on G?r?me. He exhibited at the Salon d?Automne from 1919 to 1932, the Soci?t? Nationale des Beaux Arts, and the Salon des Artistes Ind?pendants from 1926 to 1932. Boulier produced many paintings of nudes and young fashionable women. His style was that of the pointillists, he abstracted his subjects so the detail would reveal itself when the observer moved back from the canvas. Boulier?s themes were very popular between the wars; his models were playful and mischievous. His works could be considered part of a new genre ?Boudoir Art.?

G. Maurice Cloud (1909-1973, France)

Georges Maurice Cloud (1909-1973) Born in Escoublac, Brittany, France, on October 13, 1909. He did his schooling in Escoublac and La Baule, also attended the Municipal Art School of Saint Nazaire. In the late twenties, Cloud enrolled in the Beaux-Arts Academy in Paris, working part-time for architects as an intern and as a draughtsman. He was part of the architect René Crevel?s studio from 1927 until 1931. In 1937, he was awarded First Prize at the Academy for Architecture for his design work. Active as an artist his whole life, he also worked free-lance for architects and designed furniture and interiors for private homes. In the thirties and early forties, he was commissioned to paint frescoes for private residences as well as commercial buildings (restaurants, bars and cabarets), including the "La Baule Casino" and the well-known Hotel de l?Hermitage. He also painted frescoes on ocean liners l?Ile de france, Le Paris, Le Liberté, the De Grasse, etc. and created billboards for movie theaters in Nantes, St Nazaire and La Baule. After serving during WW2, he returned to his native La Baule and worked in the family business with his father. A few years later, he started his own company as an interior decorator, covering the La Baule, Saint Nazaire and Southern Brittany region. Although he only moved to Paris in the mid-fifties, Cloud succeeded in remaining involved in the Parisian art world as a member of the Société des Artistes Indépendants in 1939, then in the Surindépendant Movement from 1940 until 1957. This entailed his participation in the movement?s exhibitions and group shows, where he showed paintings and drawings in every ?Salon?. As such, he received much attention from the press and was regularly written about in both the Parisian and the local Britton press. In 1949, the Galerie Breteau in Paris gave him a solo show that was well-received in Paris? art world. The Galerie Harmonies in Saint Nazaire exhibited his ?Papiers Découpés?, à la Matisse, in 1955. Cloud and his family moved to Paris in 1956. There he worked as a free-lance decorator and continued more than ever to paint and create his artwork, inspired by Paris? intensely active artistic life. In the 1960s, he was project manager as well as the head designer for the advertising and graphics department of a major paint company, ?Le Saint?. Maurice Cloud pursued his artistic interests from the 1920s throughout his life and until his accidental death in 1973. He closely followed art events and the flow of the ever-changing currents of modern art.

Dorothy Cogswell (1909, 2008)

Dorothy Cogswell was born in Plymouth, Massachusetts in 1909. She earned a BFA and MFA from Yale Univeristy. Most of her professional years were spent at Mt. Holyoke College in South Hadley, MA. There she did commissioned murals, and from 1939-1974, was a Professor of Art History. She retired to Bradenton, Florida. In 1974 a retrospective of her work was held at Mt. Holyoke.

Albert Cresswell (1879-1936, French)

Albert Cresswell 1879-1936 Albert Cresswell was born in Paris in 1879. He was a student of Boulanger, Lefebvre and Olivier-Merson. Cresswell was a member of La Société des Artistes Français where he exhibited from 1880 to 1929. In 1892 he was awarded an Honorable Mention and the Médaille de Troisième Classe in 1907. Cresswell died in 1936.

Adam Dabrowski (1880 - 1972, Poland)

Born in Poland on Sept. 10, 1880, Dabrowski studied art in Warsaw. Formerly the director of the School of Woodcarving in Brooklyn, he had moved to Los Angeles by 1941. He died there on Aug. 12, 1972. His work is in the collection of the Newark Museum in New Jersey.

Paul Daxhelet (1905-1993, Belgian)

Paul Daxhelet 1905-1993) Belgian artist Paul Daxhelet was born in 1905 in Liège. A multi-talented and diverse artist, Daxhelet first worked as an engraver. However, he was also a skilled draughtsman and painted in both oils and watercolors. He began his studies at the Académie des Beaux-Arts in Liège, where he was the pupil of François Maréchal and Jacques Ochs, before advancing to the Academie Julian in Paris in 1926. He also received instruction from Hermann-Paul and Raymond Renefer. Daxhelet later became an instructor at the Liège academy, where he taught from 1957-1970. In addition to working in diverse mediums, Daxhalet was attracted to a wide variety of subject matter for inspiration. The sporting world, in particular boxing, captured his attention and became a favored subject of many paintings. His extensive world travels throughout India, the Far East, South America, Polynesia, Morocco, Senegal and East Africa also sparked his creative expression. His use of broad brushstrokes and bright colors contributed to the growing abstraction of his work over his life. In some later instances, his paintings took on a surrealist quality that was highly regarded. Daxhelet is listed in Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs by Benezit, and Davenport?s Art Reference Guide.

Georges Dayez (1907-1991, French)

Georges Dayez 1907-1991 Georges Dayez was born on July 29, 1907. His father Jules was a commercial printer. In 1909, the Dayez family moved to Vaires-sur-Marne. Dayez?s father fought with the French army during World War I, while the family hid in Bayeux. Dayez received a traditional French education and was introduced to drawing and painting. He completed the first part of his baccalaureate in 1924. Much to his father?s dismay, Dayez interrupted his studies to pursue oil painting. In 1925, he worked with his father in the print shop and took an evening drawing class taught by the sculptor Henry Arnold. His classmates include other emerging painters and sculptors: Brayer, Humblot, Adam, Corbin, and Raymond Martin. Dayez could not afford tuition at the academies of Montparnasse, so Lucien Simon let Dayez audit his class during 1926. Dayez attended classes in the morning and then worked at his father?s print shop. Dayez completed his mandatory military service from 1927 to 1929. He was given special permission to attend a night class at Robert Wlérick?s studio where he met Edouard Pignon. In addition to the art class, the military allowed Dayez a leave of absence to paint in Brittany. Discharged from military service in 1929, Dayez moved to his first studio on the heights of Belleville in Paris. Pignon moved to nearby Billancourt and the two young artists painted together, studied art and visited museums. 1931, Dayez and Pignon traveled around the Côte d?Azur. The following year, both artists exhibited in the Salon des Indépendants. Dayez and Pignon joined Henri Barbusse, painters Hélion and Herbin, sculptor Adam, the October Group, as well as the writers Dabit and Nizan, and the poets Aragon and Eluard to form l?Association des Ecrivains et Artistes Révolutionnaires (A.E.A.R.). The goal of the organization was to create an art form that conveyed the struggles of the working class. The collective?s objective was to address the rise of fascism and the threat of war. With the onset of World War II, Dayez joined the French 58th Infantry Division; he was stationed north of Metz. In 1941, Dayez met French artist André Lhote who greatly influenced the development of his work. Beginning in 1944 Dayez exhibited regularly in the Paris Salons. He showed in the Salon d?Automne and the Salon des Artistes Indépendants. He exhibited in the first Salon de Mai in 1945 and became a member of the committee in 1950. During the 1950s, he exhibited at the Musée de Grenoble and Museum of Modern Art in San Francisco as well as another exhibition in Munich. Dayez exhibited numerous solo exhibitions of his work during the 1950s and 1960s. The cities were he exhibited include; New York, Lausanne, Nancy, Oslo, Amsterdam, Lyon, Avignon, Milan and Madrid, among others. During the 1951-52 academic year, Dayez taught at l?Académie d?André Lhote. In 1967 he was named a professor at l?Atelier de Lithographie de l?École des Beaux-Arts de Paris. Dayez traveled extensively during this period. He visited Italy, Greece, and the United States. He made a sojourn to Argenteuil, the birthplace of Georges Braque whose work Dayez greatly admired. Jacques Duchateau wrote the catalog essay for the 1967 exhibition ?Dayez? at the Musée de Pooches, Paris. Dayez?s work is found in the collections of numerous museums, including: La Chaux-de-Fonds, Göteborg, Tolède, Le Havre, Luxembourg, Finlande, Paris, Skoplje, and Tokyo. Dayez died in 1991.

Judith Deim (1912)

Judith Deim 1912-2006 Judith Deim, née Barbara Stevenson, was born in St. Louis, MO in 1912, to a family of artists and musicians. She attended St. Louis School of Fine Arts at Washington University on a scholarship. It was here that she met her future husband, painter Ellwood Graham. After graduating she worked in the Federal Art Project during the Depression. She came to California to do a mural for the Treasury Art Project in the 1930s. She was also commissioned for murals at the Salinas Children's Hospital, the Ventura Post Office and a Veterans Hospital in Washington DC. From 1939 to 1959 she resided in Monteray, CA. She initially worked with the Society of Six artist, August Gay, who exposed her to the California School of Modernism. Her use of bold bright colors outlined with dark color became characteristic of her work as did her subjects of everyday life. In the 1940s, she exhibited at the San Francisco Museum of Art, the California Palace of the Legion of Honor and the Corcoran Gallery, and with museums in St Louis, New Mexico and Dallas. In 1945, her solo show in Manhattan earned high praise from New York Times critics, describing her work as "vigorous," and her as "a new and promising talent." In 1946 she was the first to be honored with a solo exhibition by the Carmel Art Association. While living in Monteray, Deim befriended John Steinbeck. She painted the acclaimed portrait of Steinbeck writing his first draft of The Sea of Cortez at her studio in 1941. Later, Steinbeck funded a painting expedition that Deim and Graham made to central Mexico. Deim's international career began in 1950. She painted and exhibited in Mexico, Guatemala, Europe and Africa. Later, Judith found her greatest inspiration in the gypsy and flamenco cultures of Spain. In the 1980's and 1990's, Judith focused her travels closer to the U.S. and in Indian villages in Michoacan, Mexico. For the last 20 years Deim divided her time between Patzcuaro, Mexico, and Northern California. Fiercely prolific, Deim's paintings are featured in the National Biennial of Mexico, "This Side of Eden" in California, and in "The Passage of the Muse," a collaboration with her granddaughter, the Flamenco dancer La Tania at San Francisco's Yerba Buena Center for the Arts. Judith Deim died on August 2, 2006.

Raymond Dierickx (1904-1978, Belgian)

Raymond Dierickx 1904-1978 Raymond Dierickx was born in Uccle, Belgium in 1904. He was the son of Joseph Dierickx and the nephew of Omer Dierickx, both accomplished and successful artists. Beginning in 1920, Dierickx studied with Delville and Fabry at l?Académie de Bruxelles. His first exhibition was in 1926 at Galerie G. Giroux, a gallery known for showing Belgian Modern artists including James Ensor and Rik Wouters. Dierickx participated in ?L?Expositions Internationales de Liege? in 1930 and another international exhibition in Brussels in 1935. He also showed in an exhibition of Belgian art in Oslo, Norway in 1938. Dierickx began teaching at l?Académie d?Ixelles in 1932. His work is represented in museums in Ixelles, Mons, and Reims. Dierickx?s paintings are typical of the Belgian Expressionists. His use of cubist techniques, combined with angular brush strokes, a splendid use of color, and lyrical and intriguing subjects are the essentials characteristics of Belgian Modern Art.

Jose Duverger (1965, Cuba)

José Duverger Aliaga Born 1965, Havana, Cuba He graduated of the Academy of Fine Arts San Alejandro in 1990 and is a member of the National Union of writers and artists of Cuba. His personal exhibitions include 'Dinamia' in the room of the sculptures of the great theatre of Havana, in 1991; 'Dinamia II', in the gallery image of the great theatre of Havana in 1992 (International Festival of Ballet) and 'Sculptures of José Duverger' in the shape Gallery in 1994. He has also participated in more than 30 exhibitions, of which, the most important are the III Biennale Domingo Ravenet in Gallery Domingo Ravenet; Galena Amelia Peláez, in 1990; "Expo ' to the meeting of the creation"; in the image gallery, in 1994. His works are located in the lobby of the Hotel Ambos Mundos in old Havana, in the room of concerts of the chapel of San Francisco de Paula, in old Havana and the mesanini of the Hostal Los Frailes, Habana Vieja.

Eller (Lucien Roudier) (1894-1940, French)

Lucien Roudier Eller 1894-1940 Lucien Roudier was born in Marseilles; he worked under the name Eller. Eller lived most of his life in Marseilles; his works depict the life of this large Mediterranean port city. Nightlife, street life, the elegant nightclubs, sailor bars, prostitutes, and Gypsy street musicians were among his favorite subjects. Eller was a laureate of l?École des Beaux-Arts de Marseille. He was a member of Société Nationale des Beaux-Arts. His style and technique was purely modern in the tradition of Von Dongen and Rouault. His imagery is powerful; his expressive style captures the romantic and the desperate. His first paintings appeared around 1914. When he came to Paris after World War One he witnessed the Jazz bars with the Black musicians, circuses, and nightclubs, these became the direction of his artistic adventure. Eller exhibited at Galerie Devambez in Paris, the Salons des Indépendants, and at the Salon Humoristes. Maybe because he died at such a young age, possibly in World War Two, his work fell into obscurity, but in 1956 a collection of more than seventy paintings, gouaches and watercolors were sold at auction in Nice. Paul Reboux wrote the preface of the sale. Since then sophisticated collectors and dealers have been aware of his work.

Linton Foersterling (1924-1980, United States)

Born in 1924, Linton Foersterling began studying photography and painting at the St Louis School of Fine Art (Washington University) in the mid-1940?s. The School of Fine Art at this time was strongly influenced by German modernist painters, most notably, Max Beckmann, who taught there from 1947-1949. Bauhaus-trained painter and printmaker, Werner Drewes had also come to St Louis to teach the year before. Simultaneously, the St Louis department store magnate and well-known art collector, Morton May, began amassing one of the greatest collections of German Expressionism in the United States. He was influential in organizing the first retrospective show of Beckmann?s work at the St Louis Art Museum in 1948. May envisioned a circle of artists working in St Louis in the Expressionist-style. While this never formally occurred, there were a number of students at the School of Fine Arts including Foersterling that were clearly influenced by this style. Foersterling was a student and personal friend of Beckmann, and perhaps the most obvious example of this influence. His style markedly changed to closely resemble Beckmann?s upon the latter?s arrival in St Louis. After graduation, Foersterling struggled to make a career as a painter, and on advice from his family, turned to sculpture, which ultimately proved equally disappointing. In the 1950s, he found some amount of financial success as a photographer, and made a modest living doing that for the remainder of his career.

Bernard Glasgow (American)

Bernard Glasgow 1914-1986 Glasgow received his formal training at the New York University and Arts Students League in New York City. He studied under the tutelage of Rico LeBrun, John Corbino, William McNulty and Ann Brockman. His early work is typical of the American Regionalist style which is classically defined by artists working to appeal to the American masses in the aftermath of World War I. Common subject matter included depictions of an everyday working class populace and common city scenes. Glasgow painted scenes that he was familiar with which captured Americana in the 1930?s; including people waiting in train stations, riding subways, people at work and play, portraits and nudes. In the 1930?s and 1940?s The Works Progress Administration (WPA) funded projects for over 5,000 artists under President Roosevelt?s New Deal plan and Bernard Glasgow participated with the likes of Mark Rothko, Willem deKooning and Jackson Pollock. Commissioned murals include the Salem, West Virginia Post Office; which was featured in a 2001 publication of Distinction, a Long Island lifestyle magazine. Later in his career Glasgow developed a modernist stylization echoing the influence of modern masters Henri Matisse and Pablo Picasso. He created a large body of work over a 20-year span as a painter, which he eventually set aside to begin work as a commercial artist. Within the last decade the Glasgow family has decided to exhibit and make available for sale his estate. We are delighted to share the estate of Bernard Glasgow in an attempt to bring to light an extremely talented and historically significant contributor to the American Modernist Movement. Education and Exhibition Timeline ? 1931-1934 New York University, NYC ? 1935-1937 Art Students League, NYC ? 1936-1939 Studied with Jon Corbino, William McNulty, Ann Brockman and Rico LeBrun ? 1940 Pennsylvania Academy of Fine Arts, Philadelphia - Annual Exhibition ? 1942 WPA-Commission for Salem, WV Post Office. Represented by Kleeman Gallery, NYC ? 1943 Art Institute of Chicago, Annual Exhibition ? 1944 Art Director of North African Field Division, Air Transport Command ? 1946 Studied with Harry Sternberg at Art Students League ? 1947 Brooklyn Museum, New York-Group Exhibition ? 1949 National Academy of Design, NYC - Annual Exhibition ? 1954 Pennsylvania Academy of Fine Arts - Annual Exhibition Butler Institute of American Art, Youngstown, Ohio Annual Exhibition ? 1956 Butler Institute of American Art, Youngstown, OH - Annual Exhibition ? 1960 Made transition to commercial art; first as art director for Lennen and Newell, then as director of his own agency. Since 1999 Bernard Glasgow has been represented by PAPILLON GALLERY 8272 MELROSE AVENUE LOS ANGELES, CA 90046 (323) 655-2205

Elizabeth Grandin (American)

Elizabeth Grandin 1889-1970 Born in Hamden, New York in 1889, Elizabeth Grandin was a descendant of one of Hunterdon County's oldest families and became a recognized artist early in the 20th century when few women were acknowledged. Grandin received her first art instruction as a young child at Miss Dana's School in Morristown. In 1905, she defied her parent's wishes that she attend Vassar College, and instead took up study with William Merritt Chase at his art school in New York City. After a year with Chase she began a long and close relationship of study and friendship with Robert Henri, also in New York. In 1911 she went to Paris, where for the next two years she worked as a member of the Academie Modern under Fauve painter Orthon Friesz and Charles Guerin. The Academie taught Cezanne's method of modeling form through color. The members held exhibitions each spring with most of their work being shown as a group at the Salon d'Automne in Paris. In 1918 a landmark exhibition of modern art was held at the Penguin on East 15th Street in New York, featuring works by American and European artists including Man Ray, the Zorachs, Stella, Picasso, Leger, Gris, and Gleizes. Out of 151 total exhibitors Grandin was chosen as one out of only 10 women artists included. In 1925 Grandin and 12 other women formed the New York Society of Women Artists. Most had studied in Paris and some had been members of the Academie Moderne. Grandin also exhibited for many years at the more conservative National Associations of Women Painters and Sculptors, known as the Women's National Academy. In 1934 she was awarded the Eloise Egan landscape prize given for the best landscape in the annual exhibition. Grandin was also an active member of the Society of Independent Artists, The New York No-Jury Exhibition Salons of America, The Whitney Studio Club, The American Art Association the Pen and Brush Club and Midtown Gallery. She was instrumental in opening and financing the Grandin Library (named after her uncle Daniel Grandin) in Clinton, New Jersey. She also left her estate to the Library Endowment Fund.

Charles François Prosper Guérin (1875-1939, French)

Charles Guérin 1875-1939 Charles François Prosper Guérin was born in Sens, France in 1875. Guérin was a student of Gustave Moreau at l?École des Beaux-Arts in Paris. He began exhibiting in 1897 at the Salon de la Société Nationale des Beaux-Arts, the Salon d?Automne from1903, and the Salon des Indépendants from 1906. Guérin exhibited primarily at the Galerie Druet in Paris. He exhibited in many European cities including Munich in 1898, 1900 and 1911, Brussels in 1908, Amsterdam in 1912, and Rome in 1913. Guérin?s paintings fell out of fashion after World War One, however he continued working and in 1923 he was one of the founders of the Salon des Tuileries. Guérin was an admirer of Monet and Renoir, and took the technique of the Impressionists and applied it in his own style, with unusual and original use of color. He painted portraits, but his boldness expresses itself best in his nudes and vampish women. Guérin illustrated several books, including Daphinis et Chloé and works by Colette. He designed decorations and costumes for Monteverdi?s Couronnement de Poppée at the Théâtre des Arts Frais et Lumineux. Guérin in represented in the Musée d?Art Moderne de la Ville de Paris, and the Musée National d?Art Moderne, Musée Caen, and Musée Toulon. At least ten of Guérin?s painting were acquired by the Museum of Modern Western Art in Moscow; they are now at the Hermitage Museum in Saint Petersburg.

Hendrik Heyligers (1877-1967, Dutch)

Hendrik Heyligers 1877-1967 Hendrik Heyligers was born to Dutch Parents in Batavia, now part of Indonesia, in 1877. He studied in Paris, Munich and The Hague. At the Academie des Beaux-Arts in Paris, he was a student in the studio of Fernand Cormon who taught the rigorous methods and techniques of the Old Masters. Under his tutelage, Heyligers became influenced by the intimate informality of the seventeenth century Dutch School of which he subsequently became a champion and latter-day exponent. Heyligers specialized in humble interiors populated by families attending to the tasks of daily life in their kitchens, the heart of the Dutch home. He invests these simple scenes with a dramatic and spiritual simplicity. For the last thirty years of his life, Heyligers taught painting at the School of Fine Arts in The Hague.

Ulesis Jimenez-Obregon (1953, Costa Rica)

Ulises Jiménez Obregón Born i953, Costa Rica AWARDS: ?? 2010 First Place Sculpture, First International Symposium of Art. ?"Filling Spaces" held in Tejeda, Gran Canaria, September. ?2010 Second Place by vote of the Jury of the III Symposium of Sculpture in the City of Goicoechea, Costa Rica. ?2010 Third Place by popular vote of the Third Symposium of Sculpture in the City of Goicoechea, Costa Rica. ?2003 Second Place Painting Competition of the Ministry of Culture Rural Nicoya, Costa Rica. ?1997 First Place Painting, Fundación Barceló, San José Costa Rica. ?1993 First Place Sculpture by vote of the sculptors, National Sculpture Symposium Alajuela, Costa Rica. ?1992 First Place Sculpture APEC Young. Exhibitions: National Exhibition of Fine Arts of Costa Rican Art Museum. ?Zentica Art Exhibition in the Old Customs of Costa Rican Art Museum and Embassy of Japan in September 2010. ?Painting Competition American Costa Rican Cultural Center. ? Sculptor's first meeting held in the Pacific, Canton Orotina 2006. ?International Meeting Point Sculpture Arenas2007. ?San Ramon Sculpture Meeting 2008. ?First Symposium of Guadalupe 2009. ?IV International Sculpture Symposium Credomatic, Barva de Heredia in February 2009. ?Selected for the Second Biennial of Painting and Sculpture of the ICE Group, March 2009. ?Guadalupe II Symposium 2010. ?Sculpture Show 2010 organized by the Municipal School of Integrated Arts in Santa Ana, (March-April 2010). ?First International Symposium of Art, Tejeda (Gran Canaria) Spain "Fill Blanks) from 4 to September 19, 2010. ?I and II Flamingo Art Fair, in "The Plaza", Flamingo, Guanacaste 2010 and 2011. ?Fidel Tristan Jade Museum, Temporary Exhibition Hall, 1991. ?Juan Santamaría Museum exhibition "Black genizaro" 1993 Children's Museum. ?City of San Jose exhibition "Pampa - Pampa 1996. ?Enrique Sala Echandi National Museum 1999. ?Casa de la Cultura de Barva de Heredia 1984. ?Hotel Cariari, Belen de Heredia, 2001. ?Hotel Barceló San José Palacio, every year since 1994 to date. ?Hotel Melia Conchal, Guanacaste, Costa Rica, annually from 2004 to 2009. ?Expo Arte Reserva Conchal, Guanacaste 2008. ?Ulises Art Gallery, San Jose June 2009. ?Barcelo San José Palacio Hotel in November 2009. ?Hotel Cariari, Belen de Heredia in December 2009. ?International Art Fair "Embrujarte" 2010. 2011.

Charles Kiffer (1902-1992, French)

Charles Kiffer 1902-1992 Kiffer's mother taught piano and his father, a tailor, working for many comedians. Exposed early in the artistic world, Kiffer began to draw and paint caricatures of actors. From 1918, he attended the Ecole Nationale Superieure des Beaux-Arts in Paris. He designed in 1923 for his own pleasure, the portrait of Maurice Chevalier, who later entrusted him with the realization of posters of his shows following in 1926 and 1927. This became the poster of Chevalier and he was commissioned for thirteen more posters until 1963. Charles Kiffer, fascinated also by printing processes, he produced own lithographs from 1929's , sometimes in collaboration with various Parisian workshops. He illustrated many of the posters for stars like George Guétary (1933), Charles Trenet, Edith Piaf (1936), Yves Montand, Rina Ketti, Gaby Morley in 1939. He also designed in the fields of dance, theater and circus, big names like Josephine Baker, Brigitte Bardot, Mistinguett, and the clown Alex Porto. During the Second World War he was engaged in the Rouen region, where he designed and painted camouflage the French aircraft. After the war he returned to show business. In 1949, Kiffer was the radio host Zappy Max and later artists Gilbert Becaud, Annie Cordy, the Compagnons de la Chanson ... From 1955, he made a dozen posters for the mime Marcel Marceau. Kiffer also created many decorations and stage curtains for the Casino de Paris. Over sixty-five years after his first poster, Kiffer was still working in his studio on the Ile Saint-Louis in Paris where he liked to entertain friends and contemporary artists. Centre de Toulouse Poster did a tribute in 1990, his last exhibition of posters. Kiffer died at his Paris home Monday, January 20, 1992.

Yehoshua Kovarsky (1907-1967, Lithuanian)

Yehoshua Kovarsky 1907-1967 Kovarsky was born in the city of Vilna, Lithuania to a traditional Jewish family. His father and uncle owned a concession for painting railroad stations, trains and bridges, and were responsible for commissioning artists to execute murals. Between the years 1920-1925, Kovarsky attended a Yiddish Gymnasia in Vilna and later a governmental school of art. At the age of 17, he was sent to Palestine, where he worked on a ?Kibbutz? (collective settlement) for a period of time, during this time he drained swamps, paved roads and worked in citrus groves. He attended the Bezalel Academy of Art and Design in Jerusalem for a short time, and worked for the young Hebrew Theater in Tel- Aviv as a set designer and wanted to become an actor. In 1928, Kovarsky returned to Vilna and studied in the Academy of Fine Arts where he had his first exhibition. He went to Paris in 1931, with his parents? expectations that he would study law. Instead, he joined the art studios of Paul Colin (1892-1985) and Andre Lhote (1885-1962). In 1936 he came back to Israel. He stayed in Tel- Aviv and worked as a decorator for the Levant Fair. In 1938, he returned to France and worked in his brother?s home in Metz. When World War II broke out, Kovarsky fled to Palestine leaving behind most of his works, which were ruined in the raids. In his first few years in Israel he isolated himself in order to focus on painting. Most of his paintings from this period are of the ancient city of Safad- cradle of Jewish mysticism and Cabalism, Which was also known as a colony of artists. In 1944 he moved to Zichron Ya?acov and taught art in Shfeye. 1n 1949, he settled in Jerusalem and a year later he married Corinne Chochem, a Martha Graham dancer. In 1951, although already established as a known artist in Israel, Kovarsky and his wife decided to move to the USA. First they traveled in California and North Carolina, and then settled in New York City. In 1954, he exhibited in the annual exhibition of the Pennsylvania Academy of Fine Art. In 1957, Kovarsky returned again to Israel for two years and then came back to New York. From1959 on, he lived in Los Angeles. In 1967, a short time after the Six Days War, Yehoshua Kovarsky died. Kovarsky and his wife always planned on returning to Israel to retire, but unfortunately they never got the chance to do so. The artist?s stay in Paris and New York is reflected in his work. He absorbed all the Surrealists? ideas, the interest in Mythology, Archetypes and the depth of the self that were popular in 1920?s Paris, and that have matured into the Abstract Expressionism in the mid 1940?s in New York. For Kovarsky, above all, painting was a mean of discovering the true self, as he himself had expressed: ?The image is hiding somewhere inside, you try to fix it and you get closer to what is hiding inside of you?you have more then you are able to express and that is way you are trying to go back inside?it is the same as trying to reach god- higher you go, he is still remains higher then you?. (1966) Kovarksy exhibited at many places including: Katz gallery, Tel Aviv; Pasadena Art Museum; San Francisco Museum of Art; Passedoit Gallery, New York; Tel Aviv Museum; Cincinnati Art Museum; Schneider Gallery, Rome; Gallery One, London; Santa Barbara Museum of Art; Jewish Museum, New York; University of Haifa, Haifa, among others. His work is in the collections of the following institutions: San Francisco Museum of Art, Pasadena Art Museum, Mint Museum of Art, Charlotte, NC, Jewish Museum, New York, New Sinai Temple, Los Angeles, Tel Aviv Museum, Bezalel Museum, Jersalem, Ein Harod Museum, Ain-Harod, and the University of Haifa, Haifa. Many other works are in private collections in the United States and Israel.

Claude Lacaze (1938-, France)

Claude Lacaze Born 1938 Claude Lacaze was born in 1938 in Angoulême, Charente France. He studied at the Lycée Montaigne in Bordeaux and was first trained by a master painter Mer Gambey, who was in the practice of leading his students to the pier of Bordeaux where André Lhote liked to paint. When Lacaze left his parents? house, he intended to concentrate his efforts in painting, a passion he had taught himself from the beginning of his studies. He entered l?École des Beaux Arts in Bordeaux. During his school time he was a student of Marty, who created the decorations of the Bordeaux Opera. Like Maurice Albe, Lacaze?s neighbor and student of André Lhote, Lacaze associated himself with Post Cubism. His talent became evident in his first one-man exhibition at Paris Rue Visconti, shortly after leaving l?École des Beaux Arts. The ?Bordeaux School? of painting has produced many important artists, André Lhote among the most well known. Lhote was one of the most important Cubist painters and intellects in the circle of Picasso. Lhote was also one of the most influential art teachers of the 20th Century whose students number in the thousands. From the 1920s through the 1960s his students from all over the world gained varying degrees of fame. Tamara de Lempicka was among the most famous, but there are many lesser known students that produced fine bodies of work. Nicholas Poliakoff, Katia Palvadeau, Elizabeth Ronget and Anna Walinska are among those that we have written about in our books. Lhote operated a free academy in Paris through which passed innumerable talented, ambitious, adventurous painters in those years. The ?Bordeaux School? also produced the finest Art Deco artists. Jean Dupas, Jean Despujols, Raphaél Delorme and Robert Pougheon all came from Bordeaux and stylistically share a common thread of mythologically and romantically inspired subjects and general themes. The discovery of the work of Claude Lacaze now adds to the tradition of The ?Bordeaux School.?. The obvious influence great Cubists like Lhote, Jean Metzinger, Louis Marcoussis, and others emerge in his paintings, but along with other artists such as Poliakoff, Ronget, Palvadeau Walinska, and others of his generation his work stands on its own merit thanks to his unique interpretation of subjects, colors, and cubist style. Lacaze became a professor of Fine Art at Collège de Puyguilen and joined the society La Maison des Artistes. He continued his work for several years without the need for fame or fortune. The artist is quoted as saying ?Only Art.? On occasion, as a favor to a friend, the artist would exhibit in a gallery but was rarely present for the private viewings. The artist?s early work revolved around rather academic Cubist inspired imagery and became more sensual, especially in his nude studies. Although the different compositional groupings of still-lifes are isolated one from the next, Lacaze set up a ?polyphony of both form and representational analogies? that keeps the eye in perpetual movement across the work and thus joins its otherwise fragmented parts. He plays with drawings of shadows and light to realize a new view of the world, a sort of new deal of art. It is through his disdain for technical criteria and his insistence on the expressive value of paint that he found his own style. His paintings reflect his elegant manners and colorful discourse. After Lacaze stopped painting for himself he was commissioned to paint a series of works for a dealer in the south of France. He was asked not to sign them and to his surprise they were later appeared with a signature J-H Guyot. Jacques- Henri Guyot to this day has a gallery and sells contemporary cubist style paintings bearing that signature, however it is not known who paints them. Exhibitions: Paris, Galerie Visconiti; Périgueux, N.T.P.; Angoulême, Galerie Tison d?Argence; Bordeaux, Galerie du Loup; Sainte Maxine, Galerie L?Oleil Fauve. The Musée des Beaux Arts de Bordeaux also exhibited his work.

Bernard Lamotte (1903-1983, French)

Bernard Lamotte 1903 ? 1983 Lamotte?s style is reminiscent of other artists of the School of Paris, modern with a flare for the romantic. His technique gives his oil paintings a look and texture of a watercolor. Lamotte was born and educated in Paris where he beautifully captured modern day Parisian city life and street scenes. Lamotte had been bedridden for some time as a child due to an injury and spent his time studying the color and textures of the cityscape below his window, which would greatly influence his artistic style and passion. Lamotte received his formal training at l?École des Beaux- Arts under Fernand Corman and Lucien Simon. Lamotte?s travels took him to New York City in 1932, where he would later settle in 1935 and become a naturalized U.S. citizen in 1951. His atelier was located above La Grenouille restaurant where fellow expatriate French artists and famed New York personalities congregated in including Greta Garbo, Charlie Chaplin and Marlene Dietrich. The studio he and his wife shared became a bohemian haven and was coined Le Bocal (?The Fishbowl?). While in New York, between travels to Tahiti and Paris, Lamotte received several mural commissions including and exhibitions including a solo show at the Wildenstein Gallery within one year of his arrival. Other exhibits included the Art Institute of Chicago in 1941, the Carstairs Gallery in New York City annually from 1941 ? 1950?s and a solo show at the Palm Beach Gallery in 1965. Like Pierre Sicard and Grigory Gluckmann Lamotte was represented by the Dalzell-Hatfield Gallery in Los Angeles, which had an exhibition in 1975 Lamotte also created a mural for the swimming pool room of the White House in 1961, which now is preserved in the John F. Kennedy Library and Museum in Boston. Other commissions include businesses, restaurants corporations and private collectors. Lamotte was an illustrator as well and created the the illustrations for Flight to Arras by Antoine de Sanit-Expuréryand theatre designer as well. In 1945 there was an illustrated book published on Lamotte titled Bernard Lamotte, Oil Painting and Brush Drawing, written by Louis Gauthier and in 1948 he work was reviewed in Time magazine. Museum collections of Lamotte?s work include the Tokyo Museum, Luxembourg Museum and Musee d?Art Moderne in Paris, and the French Embassy in Finland. Private collections include Joseph P. Kennedy and Alfred Barnes among several others. Bernard Lamotte died in 1983 and the The Vose Gallery of Boston has since hosted several exhibitions from his estate.

Michael Lenson (1903-1971, American)

Michael Lenson was born in 1903 in Galich, Russia. He emigrated to America in 1911. While a student at the National Academy of Design in 1928, he won the coveted $10,000 Chaloner Paris Prize which paid for four years of study in London (Slade School of Art), Paris (Academie des Beaux Arts) and the Netherlands. While abroad, his works were exhibited in the Autumn and Spring Parisian Salons (Salon d?Automne 1928-29) and other venues. Upon his return to America, Lenson won critical acclaim in one-man shows in Manhattan's Kende, Bonestell and other galleries. When the Great Depression stuck, he became director of WPA mural projects for the state of New Jersey. He completed major murals for Newark City Hall, The Verona Sanatarium, Weequahic High School in Newark, New Jersey, and the Post Office in Mount Hope, West Virginia. Who Was Who in American Art calls Lenson "New Jersey's most important muralist." Michael Lenson was a man of many talents. "The Realm of Art," a weekly column he wrote for The Newark Sunday News from 1956-1971, established Lenson as "New Jersey's most distinguished art critic," according to scholar William Gerdts. Lenson painted and exhibited extensively until his death in 1971. His works are in the collections of the RISD Museum, The Maier Museum of American Art, The Johnson Museum at Cornell, The Newark Museum, The Montclair Art Museum, the Wolfsonian Collection and many others. Collectors and lovers of Lenson's art value his consummate skill as a draftsman and the flawless technique he achieved by close study of the Old Masters. Lenson stands apart as one of the most accomplished artists of his age - a true Renaissance artist and man living and working in twentieth-century America. (http://www.michaellenson.org/biography.html) Selected Collections Butler Institute of American Art Countrywide Funding Collection, Pasadena, CA FDR Memorial Library, Hyde Park, NY Herbert F. Johnson Museum of Art, Ithaca, NY Library of Congress, Washington, DC Maier Museum of American Art, Lynchburg, VA Mitchell Wolfson Jr. Collection of Decorative and Propaganda Arts, Miami Beach, FL Montclair Art Museum, NJ Museum of Fine Arts, Boston, MA National Museum of American Art, Washington, DC Newark Museum, Newark, NJ Rhode Island School of Design Museum, Providence, RI Princeton University Art Museum, Printecon, NJ Numerous private collections Selected Exhibitions Goupil Galleries, London, 1928-29 Salon d'Automne, Paris, 1928-29 Salon de Printemps, Paris, 1928-29 Caz-Delbo Gallery, New York, 1933 (solo) The Wanamaker Regional Art Exhibition, New York, 1934 Gallery Artists, Midtown Galleries, New York, 1935 Museum of Modern Art, 1935 Designs for the 1937 Worlds Fair, Architectural League, New York, 1937 Federal Art Project Exhibition, Federal Art Gallery, New York, 1937 Corcoran Gallery of Art, Washington DC, 1935, 1938 Works from the Mount Bethel Art ColoNew York, Arthur U. Newton Galleries, New York, 1938 American Artists Congress, Wanamaker Gallery, New York, 1938, 1939, 1940 Pennsylvania Academy of Fine Art, Philadelphia, 1939, 1948 Newark Preparatory School, Newark, New Jersey, 1940 (solo) The Women, Associated American Artists, New York, circa 1940s The American Mining Scene, American British Art Center, New York, 1941 Associated Artists of New Jersey, Riverside Museum, New York, 1943 Carnegie Institute, 1943, 1949, 1950 Newark Museum, Newark, New Jersey 1940, 1941, 1944-1946, 1952, 1955, 1961, 1964, 1965 Midtown Galleries, New York, 1944 Riverside Museum, New York, I944-1946, 1950 Tribute to FDR, Vanderbilt Gallery, New York, 1944 Associated Artists of New Jersey, Riverside Museum, New York 1947 Bonestell Gallery, New York, 1947 (solo) Laurel Gallery, New York, 1950 (solo) Kende Gallery, New York, 1951 (solo) Newark Jewish Center, Newark, New Jersey 1951 (solo) Associated Artists of New Jersey, Barbizon Plaza New York, 1952 Montclair Art Museum, NJ, Montclair, New Jersey 1953, 1957-1959, 1961-1963, 1970 (solo) Albright Art Gallery, Buffalo, New York, 1955 Hunterdon County Art Center, 9th Annual New Jersey Exhibition, 1962 Cober Gallery, New York, 1962 (solo) Providence Rhode Island Art Club, 1963 New York Worlds Fair, New Jersey Pavilion, 1964 Glassboro State College, New Jersey, 1965 (solo) Butler Institute of American Art, 1965 WPA Artists Then and Now, Essex County YM-YWHA, New Jersey, 1967 Trenton Museum, New Jersey, 1968, 1970 Ringwood Association of the Arts, Ringwood, New Jersey, 1975 (solo) New Deal for Art, Rutgers University, New Jersey, 1980 William Paterson College, Wayne, New Jersey, 1986 (solo retrospective) Painting America: Mural Art in the New Deal Era, Midtown Galleries and Janet Marqusee Fine Arts, New York, 1988 New Jersey by Day, New York by Night, Susan Teller Gallery, New York, 1991 Michael Lenson: Real and Surreal, Rutgers University, Hunterdon Art Center, Monmouth County Museum, New Jersey, 1993 (solo retrospective) Surrealism in America During the 1930 and 1940s, Dalvador Dali Museum, St. Petersburg, FL, 1999 Art of the People, U.S. Library of Congress, Washington, DC, 1999 Michael Lenson: Magical Surrealism, Seraphin Gallery, Philadelphia, 2003 (solo) Masters and Mavericks, Seraphin Gallery, Phildelphia, 2005 Mural Commissions New Jersey History, Essex Mountain Sanitorium, Verona, NJ, 1936 (destroyed) History of the Enlightenment of Man, Weequahic High School, Newark, NJ, 1939 (extant) New Jersey Agriculture and Industry, New Jersey Pavilion, New York Worlds Fair, 1939 (destroyed) History of Newark, Newark City Hall, 1941 (extant) Mining, Mount Hope, West Virginia Post Office, 1942 (extant) Electronics, Electronic Corporation of America, New York (believed destroyed) Lincoln and Douglas, Charlton Street School, Newark The Four Freedoms, 14th Avenue School, Newark Lenson also supervised the design and execution of murals now installed in over 15 public buildings throughout New Jersey comprising the major part of all mural decorations done in the state.

Buckley MacGurrin

Buckley MacGurrin (1896 ?1971) Buckley MacGurrin was born in Kalamazoo, Michigan in 1896 to Irish-American parents. In 1912 he moved with his family to Salt Lake City, UT. After graduating from High School, he enrolled at UC Berkeley, but after his first semester he left to join the Navy. He served for two and half years during WWI. After the war, MacGurrin returned to Berkeley and graduated in 1922. He then moved to Hollywood and began working as a designer for the movie studios. After deciding to become a full-time artist, MacGurrin moved to Paris, where he could further his studies. He remained in Paris from 1922-1933. He attended the Académie Colarossi and also studied the masterpieces at the Louvre. At Colorossi, MacGurrin studied under Richard Miller, Charles Guerin, Richard Navdin, and his primary mentor and close friend, Henry Morisset. In 1926 he was invited to exhibit at the Salon des Tuilleries. That same year he also exposed at the Salon des Humoristes, and the Salon du France at the gallery Armand Drouant, at which one of MacGurrin?s paintings was acquired by the French State. He would continue to exhibit at the Salon des Tuilleries for seven more years, the remainder of his time in France. In 1933 he returned to the States, spending six months in New York before moving back to Los Angeles. His work was represented by Carl Stendahl, whose Stendahl Gallery was at that time located on Wilshrie Boulevard, and MacGurrin also kept a studio in the gallery. His first one-man show was in 1933 at Stendhal. Around 1937, MacGurrin changed gallery representation to Dalzell Hatfield Gallery. He also continued to exhibit in Paris, showing his work there at the Salon d?Automne from1929-1937. MacGurrin also worked for Paramount Pictures during this time, designing sets and props for the renowned director Cecil B. De Mille. He worked on the first Federal Art Project in 1933, executing murals around Los Angeles, including on in the cafeteria of the Los Angeles County Art Museum called ?Gastronomy Through the Ages?. In 1934 MacGurrin was invited to work on the second Federal Art Project, eventually becoming the supervisor for Los Angeles County and Santa Barbara. He remained the supervisor until leaving the project in 1938. After retiring from the Art Project, he took up a teaching position at the San Antonio Art Institute, which incidentally housed one of the best collections of modern French painting west of New York. He did not live full time in Texas however, and always maintained residence in southern California, teaching only part of the year. MacGurrin?s work with the Federal Art Project is significant not only for the numerous murals and other public works he created during his time, but also for the generation of younger artists he taught and inspired. MacGurrin?s work is represented in the collections of the Frederick R Weisman Art Museum, Minneapolis, Minnesota; San Gabriel Mission; LACMA (cafeteria mural); LA County Hall of Records; Santa Paula High School; Long Beach Public Library; Museum of Natural History (LA); and the Marion Koogler McNay Art Museum, San Antonio, Texas. MacGurrin died in Los Angeles on July 16, 1971.

Jules Maes (1881)

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Jacqueline Marval (1866-1932, French)

Jacqueline Marval 1866 ?1932 Jacqueline Marval was born in Grenoble in 1866, the daughter of two schoolteachers, she was born Marie-Joseph Vallet. She qualified as a schoolteacher in 1884, and also began to paint under the name Marie Jacques. When her first marriage broke down after the death of an infant child, she moved to Paris to take up painting. Marval came to the Montparnasse district and moved in with the painter Jules Flandrin, an artist later known for his paintings of the Ballet Russe, and began using the name Jacqueline Marval. She attended painting classes at the studio of Gustave Moreau, where she became a friend with Matisse and Roualt, among others. For her subject matter Marval chose to capture vibrant still lifes, eccentric women in spectacular hats, wonderfully composed groups of bathers, and modern, colorful scenes of women and children on country outings. Marval began exhibiting at the Salon des Indépendants in 1901, where she showed 10 paintings. She was a member of the Société Nationale des Beaux Arts. In 1902 she was in a group show at the Galerie Berthe Weill with Matisse, Marquet, and Flandrin, she exhibited there regularly in the years after. In 1908 she was in a group exhibition with Metzinger, Marie Laurencin, and Flandrin, again at Galerie Berthe-Weill. In 1909 she had her first exhibition at the Galerie Druet, where she showed regularly for many years alongside Rouault, Matisse, de la Fresnaye, and many others. She took part in the first Salon d?Automne in 1903 along with Matisse. In 1911 at the Salon D?Automne, the critic Apollonaire proclaimed her work to be the most interesting in the show. In 1913 she exhibited at the famous New York Armory Show in the same salon as Matisse and Van Dongen. During the war she looked after the children of fellow artists who had been called to service. Her work was shown in Venice and Kyoto, Pittsburgh and Barcelona. Marval?s paintings are provocative and edgy, challenging and unusual, she was an important modernist at the earliest moments of the movement. Her paintings from just after the turn of the 20th century are a mix of realism, Fauvism and Expressionism. Her friend and next-door neighbor was Kees Van Dongen, her works are closely related to his, though she preceded him in exploring the freedom of style they both exhibited. Her relationship with Matisse, both in friendship and collaborator, cannot be over emphasized. If there is a reason other than her gender that Marval has not been deemed by history as one of the great masters it would take some effort to discern. She was judged for many of the greatest artists as their equal, and the critics too, while always certain to remark on her femininity, respected her and even hailed her work. In recent years there have been several retrospective exhibitions of Marval?s paintings, in London and Paris. In 1989 her works were included in l?Exposition 150 Ans de Peintre Dauphinoise at the Château de la Condamine. Her works are in many museums including Musée d?Art Moderne de la Ville de Paris, Musée Petit Palais Geneva, and museums in Grenoble, and Chambéry. There is a web site devoted to her work: www.jacqueline-marval.com.

Mayo (1905-1990, Egypt)

39.5 X 32 INCHES Mayo 1905-1990 Mayo was born in 1905 in Port Saïd, Egypt. His father was Greek and his mother was French. He moved to Paris in 1924 and met Man Ray, Desnos, Tzara, and Salmon in Montparnasse. In 1927, René Crevel introduced him to André Breton, leader of Surrealism, but Mayo had no interest in participating in a collaborative movement. Two years later in 1929, Mayo exhibited with Chirico at the Galerie des Quatre Chemins. During the 1934 economic crisis in France, Mayo returned to Egypt where he continued to work. He eventually moved back to France. Mayo spent the six years of French occupation in Cannes with Prévert; he designed theatre costumes among other work. At the end of the war, Mayo continued to develop his oeuvre painting expressionistic works of realistic images as well as still lifes and images of fishes and bottles. Mayo traveled extensively in Greece and Spain where he discovered luminescent, iridescent colors and the importance of light. In 1966, Mayo moved his soon-to-be demolished Paris studio to Rome at Via Magutta. Following this move, Mayo began a new body of work. He painted historic ruins from antiquity. This period of Mayo?s work is known as ?Période Romaine.? In 1983 the Centre Cultural Français de Rome exhibited a retrospective of Mayo?s work, including the recent images of historic ruins. In 1985 Mayo returned to France. He received the Grade de Commandeur de L?Ordre des Arts et des Lettres. Mayo died in 1990 on his houseboat at Seine Port.

Hilda Mohle (1902-1994, United States)

Hilda Morris was born in Pittsburgh, Pennsylvania on May 20, 1902, the same day as was Cuba's independence. Her birth name was Hilda Marquerita Cuba Pucher, and her parents were immigrants from Austria-Hungary and Switzerland. Because she was a sickly child, her family moved to San Diego in 1905 and she grew up there with one brother and two sisters. She married Robert P. Mohle, and they had two sons. After her first husband's death, she married Sidney Morris and as a result, she signed paintings "Hilda Mohle" and later "Hilda Mohle Morris". She earned a bachelor's degree from Columbia University and later a master's degree from Claremont Graduate School. She studied art under Phil Dyke, Millard Sheets, Rex Brandt, Fletcher Martin, Henry Lee McFee, and Milford Zornes. Milford Zornes was a particular friend, and his influence can be seen in her many beach scenes of Laguna Beach, CA. She taught art at San Bernardino Valley Junior College for 20 years. She is in Who's Who of California, and was a regular contributor to the "San Bernardino Sun" newspaper in a series titled 'All About Art'. Some of her art, "The Train Series" is on display at the San Bernardino Court House and belongs to the San Bernardino Museum. Morris died in 1996 in Orange, California. Compiled by Robert E. Mohle, Grandson of the Artist

Raymond Moisset (1906-1994, French)

Raymond Moisset 1906-1994 Raymond Moisset was born May 21, 1906 in Paris. His formal training began at the academies of the Montmartre district and l?École des Arts Appliqués. In 1936 the artist befriended Tal-Coat, Francis Gruber and Francis Tailleux. In 1950 he met Michel Seuphor who authored Dictionnaire de la Peintures Abstraite. Moissset lived and worked primarily in Paris. Moisset?s salon exhibitions include: Galerie Carmine,1934; Salon des Tuileries 1934-1939; Salon des Indépendants, 1935-1939; Salon d?Automne, 1939, 1944, 1945 and the Salon des Réalités Nouvelles after 1956. Moisset also exhibited in Milan at the Prix Lissone, the Tokyo Biennial 1963-1964, the Musée d?Art et d?Industrie de Saint-Étienne and various galleries France. Along with Tal-coat, Humblot, Rohner and others Moisset founded the group Forces Nouvelles as a reactionary movement against an apparent intellectualism in the arts. The group was influenced by such artists as George de La Tour Le Nain and Chardin and worked from emotive expressionist techniques, later experimenting with the abstract. Moisset also illustrated several books during his career. The Musée National d?Art Moderne in Paris has collected his work in addition to museums in Créteil, Djakarta, Dunkerkque, Lille and Saint-Étienne. Raymond Moisset died in April 15, 1995.

Philippe Henri Noyer (1917-1985, French)

Philippe Henri Noyer was born on June 28, 1917 in Lyons, France. After a traditional education at the elite Ecole des Roches, Noyer enrolled in the Ecole des Beaux Arts in Lyon. Next he moved to Paris, where he worked in decorative arts and advertising. It was during this time, he discovered his talent for oil painting, officially starting his painting career in 1943. That same year, Noyer met the famed Parisian art deal, Emmanuel David, who would promote his work and career. Noyer produced many portraits, for which he quickly gained an international reputation, but he also painted dream figures in rural or maritime settings, compositions that were classical in technique but surreal in concept. In 1947, Noyer held his first one-man show at the prestigious Drouant-David Gallery in Paris. In 1949 the gallery consigned twenty of Noyer?s paintings to an American art dealer who had agreed to organize an exhibition of them in the United States. However the American dealer sold the paintings at cost, in order cover a gambling debt, to Robert Goldstein, the former President of the 20th Century Fox movie company. Goldstein was so pleased with his purchase, that he distributed the art to his friends, including Samuel Goldwyn, who, in turn, made Philippe Noyer?s name known on the West Coast. These events led to a lifelong friendship between Noyer and Goldstein. In the years that followed, Noyer was commissioned to paint portraits of many celebrities including Elizabeth Taylor, Dinah Shore, and Jean Wallace. In the sixties, Noyer put aside portraiture in favor of painting delicately stylized, sophisticated, slim, long-limbed ladies who were his favorite subject. Throughout his career, Philippe Noyer's art has always remained quite unique. He seems to have experienced every kind of modern art without being influenced by any of them, almost lazily accepting traditional disciplines. Modernist yet slightly Surrealist, he compensated for the rigor of his method by the remarkable freedom of his subjects. The elements Noyer uses in his paintings - the women, the monuments, the animals and the flowers - come alive under the brush which translates them in strictly realist terms in compositions that are the fruits of his fantasy and intellectual or literary reminiscences. Paul Guth was inspired to write a series of prose poems about his work, which was published in 1951 together with a study of the artist.

René-Pierre Olinda (1893, French)

René Louis Pierre de Olinda was born November 18, 1893 in Algiers. In 1927 he first exhibited at the Salon des Artistes Indépendants. His work encompassed the scenery of Paris and Montmartre. The date of the artist?s death is unknown.

Ferdinand Parpan (1902-2004, French)

Ferdinand Parpan 1902-2004 Ferdinand Parpan was born in Alfortville, France on July 8, 1902. He was a sculptor of religious subjects, groups, figures, and animals. While a young child, he learned to sculpt from his father, a professional artist. Parpan planned to study at the École des Beaux-Arts, but due to World War I he worked for six years as an apprentice to an engraver. During this time he also learned to paint. In 1926 he opened his own studio, but it was years before he exhibited his works publicly. Beginning in 1936 Parpan exhibited solo shows in Paris and smaller French towns. Parpan participated in many group exhibitions. Beginning in the 1950s he exhibited regularly at the Salon de l?Art Libre in Paris and the Salon des Indépendants. He exhibited at the Exposition d?Art Sacré in Vézelay in 1951; Salon des Conches in 1956 and 1961; Salon de la Jeune Sculpture in Paris in 1956; Salon d?Asnièrs in 1958, 1963, and 1965; Salon d?Automne in Paris in 1970. Parpan was a ?membre sociétaire? of the Salon d?Automne, Salon des Indépendants, Salon des Formes Humains at the Musée Rodin, Salon Compairason, Salon des Terres Latines, and Salon de l?Art Libre. In 1994 his work was exhibited at the Marie du XVI arrondissement (the town hall) in Paris. He was awarded a silver medal from the Ville de Paris, a vermeil medal from Arts et Lettres, and Prix Européan de la Sculpture in Rouen in 1991. Parpan also exhibited outside of France. He won a first place prize in Monte Carlo. He exhibited as well in many galleries in England, Germany, Belgium, Switzerland, and the United States. Parpan worked in marble and stone, including alabaster and onyx. He also created works from wood, ivory, ebony, and bronze. He sculpted many religious works notably a Christ en Croix (Christ on the Cross), a Vierge à l?Enfant (Virgin and Child), and other figures including a series of statues of musicians. He also sculpted animals including L?Oiseaux en Vol (Bird in Flight) and Le Chant du Coq (Rooster?s Song). Parpan opted for simplistic forms and figures with use of distinct and smooth plans and clean and sleek lines. His style exemplifies modern classicism.

Elie Anatole Pavil (1873-1948, French)

Elie-Anatole Pavil 1873 - 1948 Pavil was born in Odessa, Russia in 1873. He came to Paris in 1892. He established himself in Montmartre, on the Rue Caulaincourt. He had arrived at the high point of La Belle Époque; Pavil dedicated himself to capturing its atmosphere on canvas. For most of the next fifty years he painted the cafes, the beautiful women, the jazz bands and artist ateliers of Paris. His paintings show an intimate knowledge of the inhabitants of the streets and alley?s of Montmartre. Elegant couples dancing, beautiful models posing, working men finishing their day with a drink at the bar, all were captured in Pavil?s carefully balanced compositions, many of which show the distinct the influence of Degas and Renoir. Pavil exhibited at the Salon des Artists Français, Salon des Indépendants, and the Salon d?Automne. He exhibited at Galerie Charpentier, Galerie Georges Petit, and Galerie Bernheim Jeune. Claude Monet described Pavil?s paintings as ?little marvels?. He was awarded Chevailier de la l?Légion d?Honneur. Pavil also counted Pissaro among his friends. Pavil continued painting with the same passion until the end of his days. He finished his life in Morocco, another place for which he had a lifelong interest. In 1973 Pavil?s atelier was sold at auction in Paris more than 200 works that spanned four decades. His works are in the Musée d?Orsay and the Musée Petit Palais in Paris.

Philip Reisman (1904-1992, American)

Philip Reisman 1904-1992 Philip Reisman was born July 18, 1904 in Warsaw, Poland.  In 1908 his family moved to New York, where he would come to expressively interpret scenes of various daily labor, seedy nightclubs and reflective moments within the city. Reisman studied at the Art Students League of New York under Wallace Morgan, George Bridgeman, George Luks and Frank Du Mond.   He studied privately as well with Harry Wickes from 1927-1928.  The Works Project Administration (WPA) and the Public Works Art Project (PWAP) provided Resiman with opportunities for commission and travel during the 1930?s.   Exhibitions include several one-person shows at the ACA Gallery in New York between 1943 and 1963, and numerous group exhibitions with the National Academy of Design, Hudson Guild and Whitney Annual in New York. Reisman also illustrated short stories for Colliers magazine and an edition of Anna Karenina for Random House and created a mural for the Bellevue Hospital, New York in 1937.  Reisman received awards from the Carnegie Institute, Nicholas Roerich Museum, National Academy of Design, American Academy and Institute of Arts and Letters, and the American Society of Contemporary Artists.  He taught at the American Artists? School, Educational Alliance, South Shore Arts Workshop, Workshop School of Advertising Art and the young Men?s Hebrew Association.   His works have been included in the public collections of the New York Public Library; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; the National Academy of Design, New York and the Hirschorn Museum and Sculpture Garden of the Smithsonian Institution, Washington D.C. In 1986, Martin H. Bush published a book of Philip Reisman?s life and work for the Edwin A. Ulrich Museum of Art in Witchita, Kansas.

Orozco Rivera (Mexican)

Mario Orozco Rivera Mexican, B. 1930 - Mario Orozco Rivera is one of the true Mexican Masters, a noted member of the internationally famous Mexican muralist group including Diego Rivera and David Siqueiros. Born in 1930, Orozco Rivera worked closely with David Siqueiros, and the style is distinct. One of the salons at the famous Polyforum Museum in Mexico City bears this Master's name. His work is included in many permanent museum collections.

Robert Knight Ryland (1873-1951, American)

Robert Knight Ryland 1873-1951 Robert Ryland was born in Grenada, Mississippi on February 10, 1873. He studied at the Bethel College in Kentucky, as well as at the Art Students League, the National Academy of Design in New York, and the American Academy in Rome. He lived in Brooklyn and in Russellville, Kentucky. Ryland was a muralist, painter and illustrator, he was known for his work as a New York World's Fair Artist, 1939-40. He exhibited at the Salon des Independents in 1917, the National Academy of Design in 1924, where he was awarded a prize, the Corcoran Gallery biennials in 1926 and 1937, City Art Museum of St. Louis, Art Institute of Chicago in 1926, the Pennsylvania Academy of Fine Art in 1927 and 1935, and the Brooklyn Museum. As an illustrator, he contributed to McCall's magazine, Delineator, and Everybody's magazine in 1922, 1923. Ryland also worked for the Tiffany studios. Ryland was a member of the Salmagundi Club, the National Society of Mural Painters, the Artists Guild of the Authors League of America. His various awards include: the Lazarus European Scholarship, the Altman Prize, the National Academy of Design, and an honorable mention form the Art Institute of Chicago. Ryland?s work is represented in the collections of the Newark Museum, the Syracuse Museum of Fine Art, the Strong Museum in Rochester and the Supreme Court of New York. He died in 1951 in Washington, DC.

Daniel Sabater y Salabert (1888-1951, Spanish)

Daniel Sabater Salabert was born in Valencia Spain on December 13, 1888. He began working in a fan designer?s studio before travelling to Madrid, where he was exposed to the work of Spanish masters such as Velazquez, Goya and Ribera. Early in his career he painted military themes but when he moved to Paris in 1912, where he remained about a year, he was commissioned to paint religious compositions for the convent church of St Vincent-de-Paul, which he executed in luminous colors. On his return to Spain his canvases featured macabre scenes peopled by witches and monsters and his color palette darkened and took on a sickly blue-green tinge. Beset by family problems and affairs of the heart, Sabater went to the Americas, where he travelled extensively in both the north and south, returning to Spain only in 1923. Sabater exhibited his work at the Sociedad Nacional de Bellas Artes in Madrid in 1910 and also exhibited in Uruguay and Brazil. He died on Decemeber 27 in Barcelona.

Sinclair Lewis Shane (1900-1993, United States)

S.L. Shane, (Samuel Lewis Shane aka Sinclair Lewis Shane) 1900- 1993 SL Shane was a prolific artist who in the 1930?s was associated with the Independent Artists Movement in New York City. He exhibited in their 1931 exhibition and was reviewed in the New York World Telegram (March 5, 1931). His work is characterized by an intense use of color and interest in music, dance and scenes of nightlife in the 20?s and 30?s in America. He also painted and drew landscapes and cityscapes again characterized by vivid colors and impressionistic approaches to his subjects. Much of his early work for the 1920?s and 30?s was sold and is in unknown collections. A few of his early works remain in his family estate. SL Shane was born Sholem Luzar Olshansky on April 14, 1900 in Ryzhnyifke, Ukraine. Russian Empire. He came to Philadelphia PA in 1906 at age six. In spite of objections of his family, who wanted him to study something practical, he set his course on art as his life?s passion. He took classes at the Graphic Sketch Club in South Philadelphia, the forerunner if the Fleisher Institute. After a few years he also went to the Philadelphia Academy of Fine Arts to study. He also may have studied at the School of the Philadelphia Art Museum. All of these were non-matriculated studies. When SL was 16 or 17 years old he needed to seek employment. He went to a firm that made cigar bands where he worked for a short time painting the bands. He later talked himself into a job with an advertising firm from Philadelphia. Around 1920 Sam moved to New York City where he studied at the Art Student?s League and supported himself by doing freelance calligraphy for advertisements. At the same time he painted and sketched continually. In 1927 SL went to Paris to paint and study. He shared a studio and possibly lived with Ferdinand Leger. He was also became close friends with John Graham, Stuart Davis and Man Ray. He learned French and lived the life of an impoverished artist, painting Paris street and cabaret scenes. He exchanged art with his artist friends and John Graham sold over 150 of his paintings in both France and the United States. Man Ray made several photographs of SL, which are part of his family collection. SL returned to the New York City in 1929 where he met and married Belle Schwartz a dancer and actress at New York University. She was the daughter of Jewish revolutionaries from Bialystok, Russia-Poland. Their marriage was tempestuous and emotional but lasted 63 years. In the early 1930?s SL participated in a number of important exhibits organized by the Independent Artists in New York City. In 1932 a major painting of his, "Speakeasy? was given a positive mention in the World Telegram as part of a review of the group show at the Armory. He and Belle became part of the art community at Provincetown, MA. Their existence was impoverished but he continued to paint and make sales of paintings of upper Cape Cod. The last painting of this era was dated 1936. After the birth of their oldest child in 1935, it became difficult to live an unsettled life. Many practical necessities impinged on his ability to paint. Sam was deeply affected by the Depression and the worsening situation in Europe with the Spanish Civil War and Hitler?s rise. During this period, SL abandoned his painting and exhibitions to take a full time job in advertising. He worked for large advertising firms in New York City. The first painting that ended the hiatus of oil paintings was towards the end of WWII. He called it Exodus. It depicted a large rowboat of refugees in a body of water. It probably represented the movement of the Danish Jews to Sweden or just the plight of the Jewish refugees fleeing the Nazi extermination. After the war he slowly started to paint again but did not exhibit and kept most of his work or gave it to family and friends.

Olive Hess Skemp (1880-1970, United States)

Olive Hess Skemp lived and worked in Pennsylvania. In addition to being an artist, she was a prominent rug designer. Skemp was a member of the Society of Independent Artists, and exhibited in 1921. Her son was the artist Robert Oliver Skemp.

Boris Smirnov (1926-1982, French/Russian)

Boris Smirnoff 20th Century Boris Smirnoff was born at the end of the 19th century of French nationality. He studied in the studio of Lucien Simon at l?École des Beaux-Arts in Paris. Smirnoff exhibited in Paris, London, Lisbon, New York, Stockholm, Berne, Geneva, Claire, Palerme, Rome, Nice, and Cannes. He also exhibited in Cagnes-sur-Mer where he usually resided. The dates of his birth and death remain a mystery, but his major body of work is from the 1920?s through the 1940?s Smirnoff?s work is subtle and sensual, it is believed that he worked closely with Fougita as their pastels are similar in technique. He painted many portraits including Hollywood actors and actresses. He also did many nudes and semi-erotic works. Smirnoff created some of the decorations for the Italian Embassy in Tokyo. His works can be found in the art museums of Cagnes-sur-Mer, Claire, Grenoble, Moscow and Prague.

Gloria Stuart (1910-2010, United States)

Gloria Stuart (nee Gloria Frances Stewart) was born in Santa Monica, California on July 4, 1910. While Stuart is best known for her prolific career as a Hollywood actress, she also pursued other creative passions, including painting and printmaking. Stuart graduated from Santa Monica High School and attended the University of California, Berkeley, where she met her first husband, the sculptor Gordon Newell. Settling in Carmel, California in 1930, she and Mr. Newell joined a bohemian community that included the photographer Edward Weston and the journalist Lincoln Steffens. Ms. Stuart acted at the Golden Bough Theater and wrote for a weekly newspaper. In 1932 Stuart returned to Los Angeles, where she had been offered a role at the prestigious Pasadena Playhouse, very shortly thereafter she signed a seven-year contract with Universal. Stuart enjoyed a successful acting career with roles in a total of 46 films from 1932 to 1946, starring alongside Boris Karloff, Dick Powell, and James Cagney among others. However in 1946, Stuart moved away from the film world. She would later reemerge in the most widely known and critically acclaimed role of her career, as the older ?Rose Calvert? in James Cameron?s Titanic. It was only after leaving Hollywood that Stuart taught herself to paint. Early on the artist Moses Soyer saw her work and said in no uncertain terms, ?Gloria, never take a lesson!? In 1961 she had her first one-woman show, at Hammer Galleries in New York. Following the great success of that first exhibition of her work, Stuart had shows in Palm Springs at Gallery du Jonelle (then de Poliolo Gallery) in 1967, and the Staircase Gallery in Beverly Hills. She also participated in numerous group shows. Stuart was a consummate artist, and in addition to painting, created serigraphs and decoupage. After the passing of her husband of 44 years, Arthur Sheekman, Stuart renewed a friendship with the world-renowned printer, Ward Ritchie. At his encouragment, she took up printing, bought a press, and through Imprenta Glorias, poured her considerable and original talents into hand-printed artists? books and broadsides. Stuart?s work is in collections around the world, including those of the Metropolitan Museum, the Getty Museum, the Morgan Library, the Victoria and Albert Museum, the Bibliotheque Nationale, and the Los Angeles County Museum of Art, among others. Stuart was a founding member of the Screen Actors Guild and helped found the Hollywood Anti-Nazi League, an early antifascist organization.

Charles Tauss (1927 - 2000, United States)

Charles Francis Tauss was born on March 10, 1927. A lifelong New Yorker, Tauss was an artist, collector, and conservator. A veteran, Tauss served in the Army of Occupation in France and Germany from 1945 to 1947. He painted his first work, ?Victory Garden? in 1947. This painting is in the collection of the New York Historical Society. He earned a Masters in Art and History from Yale University in the 1950s. While at Yale, Tauss was a student of and studio-assistant to Joseph Albers. The effects of this relationship are easily visible in Tauss? geometric works and his experimental use of different varnishes and finishes on his paintings. Tauss exhibited these works the early and mid 1970s at Ward-Nasse Gallery in SoHo. Tauss was also a world-class conservator and restoration expert in the field of Byzantine Art and Frescoes. Tauss participated in the work of the Byzantine Institute of Dumbarton Oaks, a branch of Harvard University. He developed a 14-step process to remove the whitewash covering that had obscured frescoes in some of the most famous churches and building in the world, including Chora Church and the Hagia Sophia in Istanbul. At the time of his death in 2000, Tauss had lived in the same apartment at 1183 Grand Concourse in the Bronx for 58 years. He and his family moved there in 1942. Fourteen year later his family moved yet again, he stayed and took over the apartment and resided there alone for the rest of his life. For the last sixteen years although suffering from failing health, traumatized by the loss of a vast amount of his paintings and sculpture that had been destroyed through the neglect of the apartment building's superintendent, and other personal setbacks that plagued him, he still continued to make art daily, and surround himself with all the things that he loved throughout his life.

Marvin D. Teplitz (1926-2004, United States)

The sculptor Marvin Teplitz lived, worked and exhibited in Southern California.

Maurice Louis Tête (1880-1948, French)

Maurice Louis T?te was born in 1880 in Roanne, France. He studied with William Adolphe Bouguereau. He received a diverse education in the liberal arts and critical thinking. T?te is known as a painter and pastel artist working in the styles of Neo-Impressionism and Cubism. T?te exhibited his work at the Soci?t? Nationale des Beaux-Arts de Paris. T?te painted many large canvases utilizing a strong cubist style. His paintings have a soft yet colorful palate in the manner of Andr? L?hote and Roger de al Fresnaye.

Arthur John Tracy (1910, Canada)

23 INCHES Arthur John Tracy Born 1910 Arthur John Tracy was born February 20, 1910, in South Mimms, Middlesex, England. He moved to Canada June 13, 1924. Upon arrival in Canada he worked on a farm near Port Hope, in Ontario. Prior to any formal training, Tracy began modeling, and after ten months of work, sculpted two portrait medallions that were accepted by the 1928 Exhibition of the Royal Canadian Academy. Tracy attended The Ontario College of Art during the winter of 1929-30. He studied under Emanuel Hahn, the co-founder and first president of the Sculptors' Society of Canada. In 1931 Tracy worked as an assistant instructor in sculpture at the Ontario College of Art. He has exhibited with The National Gallery of Canada and the Ontario Society of Artists.

Anna Walinska (1906-1997, United States)

Anna Walinska?1906-1997 ?Anna Walinska was born in London in 1906. She was the daughter of labor leader Ossip Walinsky and sculptor-poet Rosa Newman Walinska, Russian immigrants who moved the family to New York in 1914. ?Walinska studied in New York at the Art Students League and in Paris with André Lhote and at the Grande Chaumiere. She lived on and off in Paris from 1926-1930. ?In 1935, Walinska founded the Guild Art Gallery on West 57th Street, where she gave Arshile Gorky his first New York one-man show and exhibited the work of Raphael Soyer, Theodore Roszak, Boris Aronson and Chaim Gross, among others. She served as assistant creative director of the Contemporary Art Pavillion at the 1939 World?s Fair, appeared in the Yiddish Theatre, danced with a Flamenco troupe, and taught painting at the Riverside Museum. ?In 1955, Walinska traveled around the world, including a four-month stay in Burma, where she painted the portrait of Prime Minister U Nu (now in the collection of the Asia Society in New York). Other portraits by Walinska in public collections include those of Gorky (the Smithsonian American Art Museum and the Johnson Museum at Cornell); Mark Rothko (the National Portrait Gallery and the Magnes Museum in Berkeley); and Louise Nevelson (the National Museum of Women in the Arts and the Magnes). Works by Walinska are also housed in the Rose Art Museum at Brandeis University, the Zimmerli Museum at Princeton University, the United States Holocaust Memorial Museum, Yad Vashem, and other prestigious collections in the U.S. and abroad. ?Walinska received two major one-woman retrospectives during her life: the first at the Jewish Museum in New York in 1957; the second at the Cathedral of St. John the Divine, an exhibition of 122 works on canvas and paper on the theme of the Holocaust. Her work was also exhibited at the Museum of Modern Art, the Metropolitan Museum of Art, the National Academy of Design, the Baltimore Museum of Art, and numerous galleries from Madison Avenue to Soho. She was a member of the National Association of Women Artists, the Federation of Modern Painters & Sculptors, and Artist?s Equity. ?By the time of her death, Walinska had produced more than 2000 works on canvas and paper, created with oil, watercolor, charcoal, pastel, casein, ink, assemblage, and any combination of materials that intrigued her. From her early figurative black & white line drawings and colorful cubist paintings, to her later abstract expressionist canvases and watercolors inspired by the 17th century Japanese Shunga prints, to her focus on the Holocaust toward the end of her career, Walinska?s constantly explored new ways to express herself artistically. ?Posthumously, Walinska?s work is finding a new audience through galleries such as Papillon Gallery in Los Angeles, which has reintroduced the artist?s early Modernist work to the public, and via six one-woman exhibitions held in such diverse locations as New York City; Birmingham, Alabama; and the Czech Republic. ?Looking back on her life, Anna Walinska once said that going to live and study in Paris at the age of 19 was ?indicative of a certain kind of daring and adventurousness that I?ve always had.? Biography courtesy of Rosina Rubin.

Frederick Judd Waugh (1861-1940, American)

Frederick Judd Waugh's prodigious output is defined by his achievements as a marine painter. The expressive and realistic effects of Waugh's paintings were the result of Waugh's exhaustive study of light, shadow, and motion of waves breaking on rocky shores. As he wrote, "one should not conflict actualities in nature with artistic representation.... It is impossible to paint the sea in literal movement or to carry to the nostrils the tang of the salt sea brine, yet all these are somehow felt in a work of art. Being able to present such feeling is where the artist should excel." By adhering to this philosophy, Waugh attained much stature as a marine painter, garnering a strong popular and commercial following during his lifetime. Waugh outlined his outlook and working methods in several essays and manuscripts, stating that "it [the sea] is a pliable element and the wind and rocks and sands heave it up and twist it and turn it, pretty much the same way every time, until the observer learns to know the repeated forms he sees, and becomes at last so familiar with them that they can be painted from memory ... I spend part of each summer studying the sea ... and what I learn from it then, lasts me until the next time." Frederick Judd Waugh was elected to the National Academy of Design in 1911. He worked with both watercolors and oils in a plein-air style applying heavy impasto brushstrokes on the canvas. The colors were often applied directly out of the tubes without prior mixing. This technique added to the freshness of Waugh's paintings making the waves look bright and wet and creating a quality of light in his seascapes that are luminous. He was born in Bordentown, New Jersey to parents who were both artists. His father was a portrait and landscape painter and his mother a miniaturist. Despite this background, it was only with difficulty that he persuaded his parents to allow him to study at the Pennsylvania Academy of Fine Arts in Philadelphia. There he studied under Thomas Eakins and Thomas Anshutz. He continued his studies in Europe with Adolphe William Bouguereau and Tony Robert-Fleury at the Academie Julien in Paris. For 15 years Waugh remained in England working as an illustrator for various London papers and magazines. Waugh's early work consisted of figurative compositions, which were conventional and decorative. He first began painting the sea while in England and this theme soon began to dominate his work. Later, in St. Ives, Cornwall, Waugh shared a studio with Hayley Lever (1876-1958). He undoubtedly would have come across painters from the popular artists? colony in Newlyn, near Penzance. These painters, attracted by the rugged beauty of the Cornish coast painted en plein-air as did Waugh. With reputation established, Waugh returned to America in 1907, and settled in Provincetown, Massachusetts where he remained, except for brief excursions, for the remainder of his life. His work is represented in a number of public museums and private collections. Cut off from the outside world, he began his profound study of the color and form of waves and of the great laws that control the waters. Waugh?s friend, A. Seaton Schmidt, wrote in the February 1914 issue of The International Studio, that "Waugh reveled in the buffeting winds and storm tossed seas, wiping the salty spray from his eyes and painting on until the light was completely gone." EXHIBITIONS National Academy of Design, 1884, 1886, 1891, 1907-1941, prizes ?10, ?29, ?35. Pennsylvania Academy of Fine Arts, 1881-1913. Royal Academy, London, 1899-1906. Buenos Aires Exposition, 1910 gold medal. Boston Arts Club, prize. Art institute of Chicago, 1912 medal. Connecticut Academy of Fine Art, 1915 prize. Panama-Pacific Exposition, 1915 medal. Philadelphia Arts Club, 1924 gold medal. Carnegie International Exhibition of Paintings, Popular Prize 1934-1939. PUBLIC COLLECTIONS Bristol Academy, England City Art Museum, St. Louis Metropolitan Museum of Art, New York City National Gallery of Art, Washington D.C. Walker Art Gallery, Liverpool, England

Edgar zuniga (1950, Costa Rica)

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