Product Description
Joseph Raskin “Seaside scene” Oil on Canvas c. 1920 -1925
JOSEPH RASKIN (1897-1981) USA
Seaside scene c. 1920 -1925
Oil on canvas, gold leaf frame
Signed: Jos. Raskin (lower left)
For more information see: Who Was Who in American Art,
(Madison, Conn.: Sound View Press, 1985), p. 505
Canvas: 25 1/4” x 21 1/4”
Frame: 31 1/4” x 26 3/4”
Price: $35,000
Born in Nogaisk, Russia, Joseph Raskin made a name for himself as a painter in New York City, where he was also recognized as an etcher, teacher and writer. He studied at the National Academy of Design and, in 1921, received a fellowship from the Louis Comfort Tiffany Foundation. A member of the American Artists Congress, Raskin’s work was exhibited at the Schervee Gallery (Boston) in 1927, Tricker Gallery in 1939, the Schneider-Gabriel Gallery in 1941, Steinway Hall in 1942, and the American Artists Association in 1945. Raskin’s work may be found in several museum collections including the Carnegie Institute in Pittsburgh, the Pennsylvania Academy of Fine Arts in Philadelphia, the Virginia Museum of Fine Arts in Richmond, and the Corcoran Gallery of Art and National Academy of Design, both in Washington, D.C.
Joseph Raskin “Seaside scene” Oil on Canvas c. 1920 -1925
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JEFFREY HARTMAN USA
“Motobecane” 1978
Oil on canvas
Signed: “Jeffrey Hartman ‘78”, “© 78 HARTMAN” (on the back)
Framed H: 26 1/2” x W: 18 1/2”
Price: $18,000
Belgian art dealer Isy Brachot coined the French word Hyperréalisme, meaning Hyperrealism, as the title of a major exhibition and catalogue at his gallery in Brussels in 1973. The exhibition was dominated by such American Photorealists as Ralph Goings, Chuck Close, Don Eddy, Robert Bechtle and Richard McLean; but it included such influential European artists as Gnoli, Richter, Klapheck and Delcol. Since then, Hyperealisme has been used by European artists and dealers to apply to painters influenced by the Photorealists. However, Hyperrealism is contrasted with the literal approach found in traditional photorealist paintings of the late 20th century. Hyperrealist painters and sculptors use photographic images as a reference source from which to create a more definitive and detailed rendering, one that often, unlike Photorealism, is narrative and emotive in its depictions. Strict Photorealist painters tended to imitate photographic images, omitting or abstracting certain finite detail to maintain a consistent over-all pictorial design. They often omitted human emotion, political value, and narrative elements. Since it evolved from Pop Art, the photorealistic style of painting was uniquely tight, precise, and sharply mechanical with an emphasis on mundane, everyday imagery. Hyperrealism, although photographic in essence, often entails a softer, much more complex focus on the subject depicted, presenting it as a living, tangible object. These objects and scenes in Hyperrealism paintings and sculptures are meticulously detailed to create the illusion of a reality not seen in the original photo. That is not to say they’re surreal, as the illusion is a convincing depiction of (simulated) reality. Textures, surfaces, lighting effects, and shadows appear clearer and more distinct than the reference photo or even the actual subject itself.
ROGER GEORGES ANDRÈ DUVAL (1901-?) Meudon (Seine-et-Oise), France
La Chambré 1924
Oil on canvas
Signed and dated: ROGER DUVAL XXIV(lower left)
Exhbited: Paris, Salon des Indépendants, 1926, no. 1122
For more information see: Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 4, E. Bénézit (Paris: Librairie Gründ, 1976).
Painting: H: 23 2/3” x W: 36 1/5”
Framed: H: 35” x 47 5/8”
Roger Duval painted in a modernist figurative style and beginning in 1920 regularly exhibited at the Salon d’Automne and the Salon des Indépendants in Paris. In 1925 he was awarded a prize by Paul Poiret for a painting entitled Conversation and again in 1926 for another painting entitled Bal Musette. Also in 1926, La Chambrée (1924) was exhibited in Paris at the Salon des Indépendants. By 1928 Duval’s technique had evolved into a moderninst/cubist style and a group of his paintings were featured in an Exposition of Painting and Sculpture in Boston, MA.
It is interesting to note Duval’s shared vision with Picasso in their depiction of peasant figures in repose. Their full-bodied, voluptuous and sensual forms illustrate both artists’ sculptural approach to painting in the early 1920s. However by the mid-1920s Duval and Picasso’s painting styles evolved from these softer, rounded shapes into more angular, abstracted forms.
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