Modernist Art
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![]() Syberg The old wash house 1880 Rare oil from Scandinavian symbolist school $800.00 (18 Bids) Time Remaining: 2d 4h 33m Bid now | Add to watch list |
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![]() 1941 signed original MILTON AVERY drypoint etching Helen and Lily small ed of 60 $950.00 Time Remaining: 3d 3h 14m Bid now | Add to watch list |
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![]() Modernist abstract oil painting Blues Greens Greys Whites $28.00 Time Remaining: 29d 17h 27m Buy It Now for only: $28.00 Buy It Now | Add to watch list |
![]() Fine modernist portrait Young boy Signed and dated 1930 $100.00 (4 Bids) Time Remaining: 2d 3h 42m Bid now | Add to watch list |
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![]() John Alan Maxwell American 1904 1984 Illustrator Painter Modernist Nude $840.00 Time Remaining: 28d 15h 37m Buy It Now for only: $840.00 Buy It Now | Add to watch list |
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![]() ANTIQUE IMPRESSIONIST LANDSCAPE TREE VINTAGE OIL PAINTING SIGNED OLD MODERNIST $125.00 Time Remaining: 2h 28m Bid now | Add to watch list |
![]() Jean Hyson SF CA Modernist Autumn in the Vosges $795.00 Time Remaining: 29d 19h 51m Buy It Now for only: $795.00 Buy It Now | Add to watch list |
![]() Vintage Modernist Still Life Framed Oil Painting Victor Di Gesu 1914 1988 CA Art $9.50 Time Remaining: 19h 49m Bid now | Add to watch list |
![]() Antique Austrian Pastel Nude Painting Signed Listed Hans R Pippal 1915 1998 $71.00 (3 Bids) Time Remaining: 3h 43m Bid now | Add to watch list |
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![]() Josephine Mahaffey Early Texas Artist Parents Expressionist Watercolor $30.00 Time Remaining: 2h 35m Bid now | Add to watch list |
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![]() 1950 French PAUL P LAMBERT OIL PAINTING Le Pont Neuf PARIS CITY listed SIGNED $15.50 (3 Bids) Time Remaining: 4d 3h 58m Bid now | Add to watch list |
![]() Victor Di Gesu 1914 1988 California Modernist Girl In White Skirt Oil Painting $700.00 Time Remaining: 4d 6h 35m Buy It Now for only: $700.00 Buy It Now | Add to watch list |
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![]() 1930s Gerrit Hondius WPA Modernist Provincetown Winter Street Scene Oil Listed $157.50 (4 Bids) Time Remaining: 4d 3m Bid now | Add to watch list |
![]() John Alan Maxwell American 1904 1984 Illustrator Painter Modernist Nude 2 $840.00 Time Remaining: 28d 16h 43m Buy It Now for only: $840.00 Buy It Now | Add to watch list |
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More Great Information on Modernist Art:
John Storrs MACHINE-AGE MODERNIST by N.F. Karlins
“Elegant” is the word for the work of American sculptor John Storrs (1885-1956). His Stone Panel with Black Marble Inlay (1920-21) has the grace of a ballet dancer, with upward thrust and elongated planar shape that recall both the human figure and majestic architecture. Widely considered to be one of the few great sculptors that this country produced in the early 20th century, Storrs discovered his own style of bold, dynamic abstractions.
Some of his most radical works, which date from the teens to the early 1930s, are on view in “John Storrs: Machine-Age Modernist,” Apr. 12-July 9, 2011, at New York University’s Grey Gallery.
Born in Chicago, Storrs was a Francophile through and through, eventually spurning the family real-estate business (giving up his inheritance) to take a French bride and live and work in France for most of his life. But don’t worry -- this ardent Socialist still had sufficient funds to buy a beautiful chateau near Mer in the Loire River Valley.
While in Paris, Storrs studied with French sculptor Auguste Rodin, but it was Cubism, Futurism, Vorticism and the other great movements of European modernism that were key to his development. Frequently shuttling back and forth between Europe and the U.S., Storrs was seen as a link between European greats like Duchamp, Man Ray and Brancusi and the pioneers of American abstraction.
His style was shaped by the time he spent touring Gothic cathedrals in France and elsewhere -- drawing from them a certain soaring grace -- as well as by the skyscrapers of Louis Sullivan and Frank Lloyd Wright in his native Chicago. This hybrid influence can be seen in New York (1925), a dynamic sculpture of brass, steel and vulcanite that embodies his fascination with new forms and materials.
It is safe to attribute at least some of the motifs that Storrs used during this period to America. His interest in a zigzag pattern, prominent in the stone and inlay work Abstraction (1917-19), can be traced to a trip that he made in 1915 to the Southwest, where he became fascinated by Native American art. His adaptation of the pattern presaged its use by other American artists in years to come.
Meanwhile, Storrs’s sensitive blending of light and dark in shallow relief became one of the identifying characteristics of French Art Deco, which borrowed the practice from Babylonian ziggurats and Egyptian pyramids. In fact, his incorporation of motifs such as the zigzag into his sculpture resulted in a dearth of American buyers until the late '20s, while prominent French furniture makers such as Emile Jacques Ruhlmann were purchasing his work long before then.
I think he independently developed what we now call Deco, but there is an unmistakable Gallic sense of refinement in his style. His work has a restraint and simplicity that is very American. In 1928, the painter and poet Marsden Hartley, a close friend of Storrs, remarked to him that, “Now here we two have spent most of our creative lives living in France and Germany, yet our work is American as apple pie and baked beans.”
John Storrs was not just a sculptor. He made prints and drawings, and started painting seriously in the 1930s, a period that is beyond the scope of this exhibition, but that is hinted at in the painting Monologue from 1932. By the '30s, Storrs had shifted to using interlocking mechanical forms for both his paintings, like Monologue, and sculpture, like his Composition around Two Voids (ca. 1934).
One of Storrs’ cleverest drawings in the exhibition combines his ongoing interest in skyscrapers with his passion for cars, which Storrs started collecting around 1920. His Study for Auto Tower (Industrial Forms) (1920) suggests a building that would have been a landmark, and a witty one at that.
“John Storrs: Machine-Age Modernist,” Apr. 12-July 9, 2011, New York University’s Grey Art Gallery, 100 Washington Square East, New York, N.Y., 10003.
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Metaphor/symbolism in art? PLEASE ANSWER?
I am in a painting class and I have to paint a landscape with some kind of metaphor/symbolism in it. I started painting a beach scene (water, sky, sand, mountain in background), and thought it would be easy to incorporate some kind of symbolism, but it's not very easy after all... Any ideas? If I have to start over I can. Please give me any tips/suggestions you have!!
**Oh and my teacher's example in class was a painting done in WWII by an artist who was nearly killed by Nazis for painting modernist art that Nazis thought was corrupt or something (I guess they sold all the art to help fund the war), and the painting was of bright flowers in front and a dark stormy sky in background. Flowers=artists, dark sky=Nazis
The landscape is full of symbolism. Look to writings dealing the notion of the Sublime in the landscape by both Burke and Kant. You can also take a Jungian approach citing archetypical dream symbolism.











































































