Alexander Liberman / Meyer Schapiro Portfolio Untitled 1973 More Information
Alexander Liberman / Meyer Schapiro Portfolio Untitled 1973
ALEXANDER LIBERMAN (1912-1999) USA
MEYER SCHAPIRO PORTFOLIO 1974
Untitled 1973
Silkscreen, patinated bronze frame
Signed: A. Liberman 1973, Artist’s proof, 2RC (embossed on paper)
Canvas: H: 33” x W: 25 1/2”
Frame: H: 42 1/2” x W 33 1/2”
Portfolio of 12 works, Edition of 100
Price: $
Alexander Liberman’s family left the Soviet Union for London as exiles in 1921. Liberman studied there briefly before moving to Paris where he undertook philosophy and mathematics at the Sorbonne and architecture at the École des Beaux-Arts. In the 1930s Liberman designed stage sets, and worked on the staff of Vu, the first magazine illustrated with photographs. Although Liberman quickly earned the title of managing director, he left the magazine in 1936, and devoted himself to painting and writing. In 1941, he left Paris for New York. Again, he became involved in publishing after gaining employment at Vogue magazine. Twenty years later, in 1962, he became Editorial Director of all Condé Nast Publications, a position he held until he retired in 1994. During his time at Vogue, Liberman introduced 20th-century art to readers by using it as a backdrop for fashion shoots, as well as by profiling living artists in the magazine. As a painter, Liberman exhibited geometric circle paintings in galleries and museums around New York in the 1950s. Liberman also had an interest in sculpture, and began welding steel into public works in the late 1950s. These monochrome geometric sculptures are featured in over 40 cities worldwide.
Signed: Napoli (scrafitto on front), Giuseppe Napoli 1965 “Shamballa”
(on back of board), Giuseppe Napoli (signed twice on stretcher)
H: 24” x W: 20”
A profoundly dynamic Abstract Expressionist painting by New York artist, Giuseppe Napoli. The painting is painted on board which is affixed to stretcher bars by staples.
Giuseppe Napoli was part of the New York School of the 1950’s and 60’s working out of a small studio in Greenwich Village. Napoli participated in numerous exhibitions but unfortunately his career was cut short by his suicide in 1967 the result of suffering from periods of depression.
Just as “Starry Night” is widely considered to have reflected the mental state of Van Gogh shortly before his death; this painting may also have reflected the mental state of Giuseppe Napoli who ended his own life only two years after creating this remarkable painting. The vigorous, heavy impasto, the ominous sun made impotent by the bold black ring that surrounds it and the jumbled landscape below, could be symbolic of the hope-against-hope, that eventually prevailed.
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