collaboration work

Anton Eager & Kamel

"Past Time"

Italian park / Urban happening "Art doesn't smell"

Togliatti, Russia / 2017

Совместная работа

Anton Eager и Kamel

"Прошлое Время"

Итальянский Парк / городской хэппенинг " Искусство не пахнет"

Тольятти, Россия / 2017

Oil on wood; 96 x 130 cm.

Brazilian painter and performance artist. In 1954 he began studies with Ivan Serpa at the Museu de Arte Moderna in Rio de Janeiro. He immediately devoted himself to a geometric vocabulary and joined the new Frente group (1954–6) and later the Neo-Concrete movement (1959–61). From 1964 to 1969 he made environmental, participatory events—among them Parangolé (1964), Tropicália (1967) and Apocalipopótesis (1968)—either in art centres or in the street. He was one of the leading exhibitors in the exhibition Nova objetividade brasileira (Rio de Janeiro, 1967), which reactivated the country’s avant-garde. In 1969 he exhibited an installation at the Whitechapel Art Gallery, London, and the following year his work was included in the show Information (New York, MOMA). A Guggenheim Fellowship took him in 1970 to New York, where he lived until 1978. During that period he prepared various multi-media projects in the form of texts, performances, films and environmental events. The 25 successive years of his Metaschemes, Bilaterals, Spatial Reliefs, Nucleii, Penetrables, Meteors, Parangolés, installations, sensory and conceptual projects from 1954 onwards showed a clear transition from modern to post-modern and represent his most finished achievements. Working with oppositions such as balance/effusion, contemplation/celebration and visual art/body art, he retained a radical stance. In 1981 in Rio de Janeiro his family created the H. O. Project, intended to care for, preserve, analyse and disseminate the work that he left.

Roberto Pontual

From Grove Art Online

© 2009 Oxford University Press

en.wikipedia.org/wiki/H%C3%A9lio_Oiticica

Oil on canvas; 14 x 26 in.

Ilya Bolotowsky was a leading early 20th-century painter in abstract styles in New York City. His work, a search for philosophical order through visual expression, embraced cubism and geometric abstraction and was much influenced by Dutch painter Piet Mondrian.

Born to Jewish parents in St. Petersburg, Russia, Bolotowsky immigrated to America in 1923 via Constantinople, settling in New York City. He attended the National Academy of Design. He became associated with a group called "The Ten Whitney Dissenters," or simply "The Ten," artists, including Louis Schanker, Adolph Gottlieb, Mark Rothko and Joseph Solman, who rebelled against the strictures of the Academy and held independent exhibitions.

During this period, Bolotowsky came under the influence of the Dutch painter Piet Mondrian and the tenets of neoplasticism, a movement that advocated the possibility of ideal order in the visual arts. Bolotowsky adopted his mentor's use of horizontal and vertical geometric pattern and a palette restricted to primary colors and neutrals.

In 1936, having turned to geometric abstractions, he was one of the founding members of the American Abstract Artists, a cooperative formed to promote the interests of abstract painters and to increase understanding between themselves and the public.

He taught at Black Mountain College during the period 1946-1948, Kenneth Noland was among his students.

Bolotowsky's mural for the Williamsburg Housing Project in Brooklyn, was one of the first abstract murals done under the Federal Art Project. Despite Bolotowsky's clear, precise control of his images, he emphasized the role of intuition over formula in determining his compositions.

In the 1960s, he began making three-dimensional forms, usually vertical and straight-sided. He taught humanities and fine arts at the Southampton, New York campus of Long Island University.

« Analogikonumerikoglyphe » de l’analogique au digital , du numérique à l astroglyphe Astroglyphe bleu à Château Thierry photo par Alex Perret

©16HWM-NICOBARO

A bold convergence of historic craftsmanship and modern minimalism defines this interior scene from The Phillips Collection in Washington, D.C. At the center is a blue and white Delft-tiled fireplace, its ornate ceramic pattern a striking relic of 18th-century Dutch design. Each tile depicts pastoral vignettes—windmills, boats, trees, and cottages—rendered in cobalt blue with delicate precision. The hearth, framed in dark wood and set against a stark white wall, anchors the room with quiet elegance and Old World charm.

But it’s the juxtaposition above the fireplace that electrifies the space: a vibrant geometric painting by modernist artist Leon Polk Smith. His signature use of bold color fields—emerald green, cobalt blue, orange, and deep black—collide in rounded corners and clean arcs. The painting stands in stark contrast to the intricate, illustrative tiles below, creating a dialogue between past and present, restraint and boldness, decorative craft and abstract expression.

To the right of the hearth hangs a gestural, red-centered work that leans toward post-war abstraction, while open doorways to the left reveal hardwood floors and modern gallery lighting—an elegant fusion of museum and home. The space itself was once part of Duncan Phillips’ family residence, now transformed into America’s first modern art museum, retaining its domestic warmth while curating world-class art.

Natural light from adjacent rooms and soft overhead spots lend an inviting quality to the scene. The wooden floorboards glow with amber tones, adding warmth that softens the otherwise minimal, gallery-white surroundings. This hybrid space—both intimate and institutional—highlights Phillips’ curatorial philosophy: that art should be experienced in comfortable, livable settings where disparate periods can speak to one another.

The photo captures not just a moment in design but a conversation across centuries. The Delft tiles recall European craftsmanship, prized for both functionality and beauty. Their presence in the museum is not incidental—they belonged to the original architecture, and are preserved as part of the collection’s legacy. Above them, Smith’s modernist work breaks with tradition entirely, abandoning representation for pure form and color. Yet the pairing is harmonious, a reflection of Phillips’ belief that modern and classical works could inform and elevate one another in deeply personal ways.

This image encapsulates that ethos, demonstrating how contrasts can coexist in service of deeper understanding and aesthetic pleasure. It’s a meditation on form, era, and the power of placement—and a reminder that art doesn’t live in isolation. It lives in context, surrounded by the histories and materials that shape how we see it.

Oil on board; 40 x 40 in.

Alexander Liberman was born in 1912 in Kiev Russia. His father was in the timber business and his mother was involved in the Russian theater. In 1921 the Libermans left the Soviet Union, and Alexander studied first in London and then in Paris. He took courses in philosophy and mathematics at the Sorbonne and architecture at Ecole des Beaux-Arts. In the 1930s Liberman designed stage sets, worked briefly with a landscape architect. and worked on the staff of "Vu," the first magazine illustrated with photographs. Consequently, he became friends with Cartier Bresson, Brassai and Kertesz. Liberman began his publishing career as an assistant in the art department, moved on to become art director, then managing director. He even used a nom de plume to write their film reviews. In 1936 Liberman left the magazine and devoted himself to painting, writing and filmmaking.

In 1940 the Liberman family escaped to the unoccupied zone in France, then to Spain, and eventually to New York in 1941. A friend helped him gain employment at VOGUE magazine and twenty years later, in 1962, he was appointed Editorial Director of all Conde Nast Publications, a position he held until he retired in 1994. During his long tenure at VOGUE, Liberman commissioned artists such as: Cornell, Dali, Chagall, Duchamp, Braque, Rauschenberg, Johns to work on projects for the magazine. He was the only publisher granted the rights to reproduce images of Matisse's chapel in Vence, France. He also had Jackson Pollock's paintings used as a backdrop for a fashion shoot by Cecil Beaton, as there was no other way to get Pollock's work reproduced in the magazine. Liberman's "day job" offered him a highly unusual position in the art world.

By the mid-1950s, Liberman was exhibiting his own paintings and photographs in galleries and museums around New York. In 1959 Liberman learned to weld steel and he quickly began making sculpture on a scale that required industrial machinery. By 1963 he had hired an assistant to do all of the grinding and labor required to make large sculpture. He embraced the industrial scale of America that had so impressed him on his arrival to here in 1941.

One of his first public commissions was from the architect Philip Johnson for a pavilion at the 1963 World's Fair. Other important commissions quickly followed, and over the next decade he purchased additional equipment and hired additional personnel to meet the increasing demand for and scale of his sculpture. In this sense his "day job" was supporting his passion for making large public sculpture.

Alexander Liberman died in November, 1999 at the age of 87. His sculpture and painting are included in the collections of some of the world's most prestigious museums, such as the Metropolitan Museum in New York, the Museum of Modern Art, the Corcoran, Hirshhorn Museum & Sculpture Garden, the Solomon R. Guggenheim Museum, the Tate Gallery in London, and the Los Angeles County Museum of Art. In addition, Storm King Art Center, the most important contemporary sculpture park in America, has three monumental Liberman sculptures in it's collection. His public sculpture can be seen in over 40 cities around the world, including three that are located in Los Angeles.

Oil on canvas; 230 x 115 cm.

A well-known artist, designer, and educator, Itten is perhaps best known for contributions to the Foundation Course (Vorkurs) at the Bauhaus in Weimar between 1919 and 1923. Born in Switzerland, Itten's early career was in primary school education but he gave it up to study fine art briefly at the École des Beaux Arts in Geneva. However, dissatisfied with the conservatism of the curriculum he went on to study mathematics and science at university before studying painting at the Stuttgart Academy from 1913 to 1916. Well aware of the avant-garde ideas of the Blaue Reiter and Cubism, he exhibited at the Sturm art gallery in Berlin. He then moved to Vienna to teach and paint at his own art school and, having been introduced to Walter Gropius by Alma Mahler (who was married to Gropius) took up a teaching post at the Bauhaus in 1919. In his classes he encouraged students to experiment with form, color, and texture but his commitment to eastern mysticism and the wearing of monk-like robes led to tensions with Gropius, the institution's director. Furthermore, in the difficult political and economic climate in early 1920s Germany Gropius came under increasing pressure to demonstrate the relevance of the Bauhaus in daily life. As a consequence, Itten's experiential and expressionist approach to creativity was increasingly at odds with Gropius' growing commitment to the machine aesthetic as a key goal of the Bauhaus's educational curriculum. On leaving the Bauhaus Itten studied philosophy in Zurich before setting up his own design school in Berlin from 1926 to 1931. He also became director of the technical school for textiles at Krefeld from 1932 to 1938. He left Germany, first working in Amsterdam and then moving to Zurich where he became the director of the Museum and School of Applied Arts from 1938 to 1953. From 1943 to 1953 he also directed the technical school for textiles and the Rietbergmuseum.

The Carnegie Center for Art and History, which makes its home in a beautiful old Carnegie Library in New Albany, Indiana, is showing the work of Nicolas Jorcino (right) and Rebecca Norton (center) until October 11. The painting shown here is Jorcino's.

Oil on canvas; 114 x 84 in.

Barnett Newman (January 29, 1905 – July 4, 1970) was an American artist. He is seen as one of the major figures in abstract expressionism and one of the foremost of the color field painters. His paintings are existential in tone and content, explicitly composed with the intention of communicating a sense of locality, presence, and contingency

After Newman had an artistic breakthrough in 1948, he and his wife decided that he should devote all his energy to his art. They lived almost entirely off Annalee Newman's teaching salary until the late 1950s, when Newman's paintings began to sell consistently.[12] Ulysses (1952), a blue-and-black striped painting, sold in 1985 for $1,595,000 at Sotheby's to an American collector who was not identified.[13] Consigned by Microsoft co-founder Paul Allen and previously part of Frederick R. Weisman's collection, Newman’s 8.5-by-10-foot Onement VI (1953) was sold for a record $43.8 million at Sotheby's New York in 2013; its sale was ensured by an undisclosed third-party guarantee.[14] This was eclipsed on May 13, 2014 when Black Fire 1 sold for $84.2 million.

en.wikipedia.org/wiki/Barnett_Newman

Bryce Hudson

(www.brycehudson.com)

Untitled Composition (#36)

2013

Acrylicon Arches Watercolor Paper, Board and Wood with mixed media adhesive

3 Dimensional Construction

Total Size: 22″ x 22″ x .4″

Size (Framed): 24″ x 24″ x .5″

Framed archival – Floating with permanent hinging on white acid-free mat board – Clear Glass

Signed and dated lower right in pencil.

Oil on canvas; 57.2 x 52.1 cm.

Born in Moscow in 1866, Kandinsky spent his early childhood in Odessa. His parents played the piano and the zither and Kandinsky himself learned the piano and cello at an early age. The influence of music in his paintings cannot be overstated, down to the names of his paintings Improvisations, Impressions, and Compositions. In 1886, he enrolled at the University of Moscow, chose to study law and economics, and after passing his examinations, lectured at the Moscow Faculty of Law. He enjoyed success not only as a teacher but also wrote extensively on spirituality, a subject that remained of great interest and ultimately exerted substantial influence in his work. In 1895 Kandinsky attended a French Impressionist exhibition where he saw Monet's Haystacks at Giverny. He stated, "It was from the catalog I learned this was a haystack. I was upset I had not recognized it. I also thought the painter had no right to paint in such an imprecise fashion. Dimly I was aware too that the object did not appear in the picture..." Soon thereafter, at the age of thirty, Kandinsky left Moscow and went to Munich to study life-drawing, sketching and anatomy, regarded then as basic for an artistic education.

Ironically, Kandinsky's work moved in a direction that was of much greater abstraction than that which was pioneered by the Impressionists. It was not long before his talent surpassed the constraints of art school and he began exploring his own ideas of painting - "I applied streaks and blobs of colors onto the canvas with a palette knife and I made them sing with all the intensity I could..." Now considered to be the founder of abstract art, his work was exhibited throughout Europe from 1903 onwards, and often caused controversy among the public, the art critics, and his contemporaries. An active participant in several of the most influential and controversial art movements of the 20th century, among them the Blue Rider which he founded along with Franz Marc and the Bauhaus which also attracted Klee, Lyonel Feininger (1871-1956), and Schonberg, Kandinsky continued to further express and define his form of art, both on canvas and in his theoretical writings. His reputation became firmly established in the United State s through numerous exhbitions and his work was introduced to Solomon Guggenheim, who became one of his most enthusiastic supporters.

In 1933, Kandinsky left Germany and settled near Paris, in Neuilly. The paintings from these later years were again the subject of controversy. Though out of favor with many of the patriarchs of Paris's artistic community, younger artists admired Kandinsky. His studio was visited regularly by Miro, Arp, Magnelli and Sophie Tauber.

Kandinsky continued painting almost until his death in June, 1944. his unrelenting quest for new forms which carried him to the very extremes of geometric abstraction have provided us with an unparalleled collection of abstract art.

en.wikipedia.org/wiki/Wassily_Kandinsky

Oil on canvas; 92 x 73 cm.

Serge Poliakoff was a Russian-born French modernist painter belonging to the 'New' Ecole de Paris (Tachisme). He was born in Moscow in 1906, the thirteenth of fourteen children. His father, a Kyrgyz, supplied the army with horses that he bred himself and also owned a racing stable. His mother was heavily involved with the church, and its religious icons fascinated him. He enrolled at the Moscow School of Painting, Sculpture and Architecture, but fled Russia and the Russian Revolution in 1917. He arrived in Constantinople in 1920, living off the profits from his talent as a guitarist.

He went on to pass through Sofia, Belgrade, Vienna, and Berlin before settling in Paris in 1923, all the while continuing to play in Russian cabarets. In 1929 he enrolled at the Académie de la Grande Chaumière. His paintings remained purely academic until he discovered, during his stay in London from 1935 to 1937, the abstract art and luminous colours of the Egyptian sarcophagi. It was a little afterwards that he met Wassily Kandinsky, Sonia and Robert Delaunay, and Otto Freundlich.

With these influences, Poliakoff quickly came to be considered as one of the most powerful painters of his generation. In 1947, he was trained by Jean Deyrolle in Gordes in the Vaucluse region of France amongst peers such as Gérard Schneider, Giloli, Victor Vasarely, and Jean Dewasne. By the beginning of the 1950s, he was still staying at the Old Dovecote hotel near Saint-Germain-des-Prés, which was also home to Louis Nallard and Maria Manton, and continuing to earn a reliable income by playing the balalaika. A contract enabled him to quickly gain better financial stability.

In 1962 a room was given over to his paintings by the Venice Biennial, and Poliakoff became a French citizen in the same year. His works are now displayed in a large number of museums in Europe and New York. Poliakoff also worked with ceramics at the Manufacture nationale de Sèvres. He influenced the paintings of Arman.

(On the Left)

Untitled (#12) 2011

Acrylic and Oil on Heavy Arches Watercolor Paper

40" x 24"

(image size 38" x 23")

Signed and dated lower right in pencil

(On the Right)

Untitled (p)- 2011 (#1)

Acrylic and Oil on Canvas

44 " x 44"

2011

Signed on Back

All of the recent paintings in a collection are here:

Geometric Abstraction by Bryce Hudson on Flickr

My website with all of the work in all media is at:

Bryce Hudson

Come and join me on Facebook - I love connecting with other artists and art/design enthusiasts!:

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Friedrich Vordemberge-Gildewar

Title: (Composition) Untitled Composition (1936),

3 color serigraph after a 1936 lithograph.

Signed by the artist's widow and numbered 14/150

Printed by Atelier Arcay, Paris and issued in the portfolio abstraction, création, art non figuratif 1932 - 1936 published by Paul Nemours, Paris, 1973,

Size: Sheet: 84.5 x 66.0 cm - (33¼ x 26 inches)

Condition: Mint

Acquired at auction from Creighton Davis Gallery, San Marcos, California in 2012

Further information: The group Abstraction Création was formed in Paris in 1931; Auguste Herbin was its president and George Vantongerloo vice president. Other members of the board of directors were Jean Arp, Albert Gleizes, Frantisek Kupka and George Valmier. Artists from all over the world were invited to join and send illustrations of their work to be included in the five yearbooks issued between 1932 and 1938 (in black and white). These books are now very rare collectors' items and the 1973 portfolio, in large format and full color shows the wide perspective of abstract art in the 1930s.

The Piet Mondrian I acquired a few years ago is from a similar portfolio.

As always, I am at www.brycehudson.com stop by, say hi ;-) I love to network with and meet other modernists and art/design enthusiasts!

If you really want to know everything about this guy and the portfolio from which it came:

30 Silkscreens and Lithographs by various early 20th century Abstract artists in a Portfolio

Title: Abstraction Creation Art Non Figuratif 1932-1936

Portfolio size: 89.5 x 74 cm / 35.2 x 29.1 in

Additional information: This is a rare and important complete portfolio that was created to celebrate the French art movement: book "Abstraction Creation Art Non Figuratif.

This portfolio includes an introduction by Margit Staber in three languages (French, English and German), a table of content and

30 Silkscreens and Lithographs in colors by various artists (as detailed below). Each one of the prints is printed on a full seperate sheet and is presented in a plastic folio.

The portfolio was printed in 1973 in a limited edition of only 150 copies (there were an additional 50 artists proofs).

The editor was Paule Nemours.

The prints were mostly printed by Atelier Arcay in Paris but some of them were printed by other printers such as Michel Casse, Paris ; Mourlot,Paris ; Hans Baurle, Stuttgart ; Michel Caza, Franconville ; Franco Sciardelli, Milano.

list of artist, titles, technique and signatures:

1. Hans Arp, Composition, Silkscreen, hand signed by Max Bill.

2. Max Bill, Construction en deux parties, Silkscreen, hand signed by Max Bill

3. Alexander Calder, Composition, Lithograph, hand signed by Alexander Calder

4. Sonia Delaunay-Terk, Rythmes-Couleurs n.816, Silkscreen, hand signed by Sonia Delaunay-Terk

5. Cesar Domela, Compostion, Lithograph and Silkscreen, hand signed by Cesar Domela

6. Hans Erni, Spirale, Silkscreen, hand signed by Hans Erni

7. Hans Fischli, Spuren auf weissem grund 3, Lithograph, hand signed by Hans Fischli

8. Frantisek Foltyn, Composition, Silkscreen, hand signed by Frantisek Foltyn

9. Jean Gorin, Composition spatio-temporelle n.36, Silkscreen, hand signed by Jean Gorin

10. Jean Helion, Equilibre, Lithograph, hand signed by Jean Helion

11. Wassily Kandinsky, Composition, Silkscreen, hand signed by Nina Kandinsky

12. Theo Kerg, Graphisme, Silkscreen, hand signed by Theo Kerg

13. Frantisek Kupka, Abstraction, Silkscreen, stamped signed and authorized by A.G. Martinel

14. Fausto Molotti, Les deux spirales, Lithograph, hand signed by Fausto Molotti

15. Laszlo Moholy-Nagy, Construction, Silkscreen, hand signed by Hattula Hug-Moholy-Nagy

16. Piet Mondrian, Composition D, Silkscreen, hand signed by Max Bill.

17. Taro Okamoto, Espace, Lithograoh, hand signed by Taro Okamoto

18. Antoine Pevsner, Naissance de l'univers, Silkscreen, hand signed by Virgiania Pevsner

19. Mauro Reggiani, Ritmo geometric, Silkscreen, hand signed by Mauro Reggiani

20. Hans Schiess, L'appel, Silkscreen, hand signed by Hans Schiess

21. Henryk Stazewski, Obraz abstrakcyjny II, Silkscreen, hand signed by Henryk Stazewski

22. Wladyslaw Strzeminski, composition, Silkscreen, stamped signed by authorized by Muzeum Sztuki

23. Sophie Tauber Arp, Forme Bleue, Silkscreen,hand signed by Max Bill

24. Theo Van Doesburg, Composition, Silkscreen, stamped signed by Nelly Van Doesburg

25. George Vantongerloo, Y=-x2+bx+c rouge vert, Silkscreen, hand signed by Max Bill

26. Luigi Veronesi, Composition, Silkscreen,hand signed by Luigi Veronesi

27. Paule Vezelay, Grey picture, Silkscreen, hand signed by Paule Vezelay

28. Jean Villeri, Composition, Lithograph, hand signed by Jean Villeri

29. Friedrich Vordemberge-Gildewart, Compostion, Silkscreen,stamped signed by Leda Vordemberge

30. Gerard Vulliamy, Composition, Lithograph, hand signed by Gerard Vulliamy

I love my studio. It's an old medical clinic from the late 1920's. It has one central room with 20 foot high ceilings surrounded by many smaller rooms that I use for office and storage. I bought the building in 2007 when it was falling apart. I think we're both very happy that I took possession and renovated it from the roof down. The center painting and the triptych on the right are my two latest works ;-)

As always, I'm at www.brycehudson.com stop by and say hi sometime!

More photos of the studio: www.flickr.com/photos/31207458@N07/sets/72157609306943182/

Serigraph; 99.5 x 70 cm.

Bruno Munari was an Italian artist and designer, who contributed fundamentals to many fields of visual arts (painting, sculpture, film, industrial design, graphics) and non visual arts (literature, poetry) with his research on games, infancy and creativity.

Bruno Munari was born in Milan but spent his childhood and teenage years in Badia Polesine. In 1925 he returned to Milan where he started to work with his uncle who was an engineer. In 1927, he started to follow Marinetti and the Futurist movement, displaying his work in many exhibitions. Three years later he associated with Riccardo Castagnedi (Ricas), with whom he worked as a graphic designer until 1938. During a trip to Paris, in 1933, he met Louis Aragon and André Breton. From 1939 to 1945 he worked as a press graphic designer for the Mondadori editor, and as art director of Tempo Magazine. At the same time he began designing books for children, originally created for his son Alberto.

In 1948, Munari, Gillo Dorfles, Gianni Monnet and Atanasio Soldati, founded Movimento Arte Concreta (MAC), the Italian movement for concrete art.

SAM, fresh issue # 9. Thanks a lot for publishing my work. Cheers!

Anton Eager / Spain / 2015-2016

with my friend Spogo , Mr. JUNE

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My website: www.hollycawfieldphotography.net/

My Other Flickr Photostream:

www.flickr.com/photos/188106602@N04/

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Arthur Segal was a Romanian artist and author. Segal was born to Jewish parents in Iaşi, Romania, and studied at the Berlin Academy from 1892. He studied with Schmid-Reutte and Hölzel in Munich in 1896, and later studied in Paris and Italy in the early 1900s.

After studying in Paris and Italy, he eventually moved to Berlin in 1904 where he exhibited his work with Die Brucke and Der Blaue Reiter, two leading German expression groups. In 1910 he co-founded the Neue Sezession, a group of artists whose work was rejected by the Berliner Sezession.

On the outbreak of war in 1914 he moved to Ascona, Switzerland with his family, and remained there until 1920. During the war, Switzerland became a refuge for many artists like Segal, and whilst he was there he exhibited some of his work with Arp and Dada in the Cabaret Voltaire in Zurich. In 1920, he returned to Berlin, where he founded his own art school in 1923, Novembergruppe. In 1925 he was offered a teaching job in New Bauhaus in Dessau, but he declined. Because of his Jewish background he was prevented from exhibiting his work in Germany, and so in 1933 he moved to Palma, Majorca and then London, where he set up another school with his daughter Marianne. He died in London.

Segal was firstly a painter, and his early work was heavily influenced by impressionism and neo-impressionism. From around 1910 he began a more expressionism and dadaism style, and around 1916 found his own modern style. As well as painting, he also produced woodcuts from 1910, many of which were anti-war themed. Segal was also the author of many books, articles, and often gave lectures. His son was the architect Walter Segal.

Gouache and watercolour on tracing paper; 34.3 x 24.2 cm.

Mikhail Larionov was born at Tiraspol, near Odessa. In 1898 he entered the Moscow School of Painting, Sculpture and Architecture under Isaac Levitan and Valentin Serov. He was suspended three times for his radical outlook. In 1900 he met Natalya Sergeevna Goncharova and formed a life-long relationship with her.

From 1902 his style was Impressionism. After a visit to Paris in 1906 he moved into Post-Impressionism and then a Neo-primitive style which derived partly from Russian sign painting. In 1908 he staged the Golden Fleece exhibition in Moscow, which included paintings by international avant-garde artists such as Matisse, Derain, Braque, Gauguin and Van Gogh. Other group shows promoted by him included Tatlin, Chagall and Malevich.

Larionov was a founding member of two important Russian artistic groups Jack of Diamonds (1909–1911) and the more radical Donkey's Tail (1912–1913). He gave names to both groups. His first solo show was for one day in Moscow in 1911. In 1913 he created Rayonism, which was the first creation of near-abstract art in Russia. In 1915 he left Russia and worked with the ballet owner Sergei Diaghilev in Paris on the productions of the Ballets Russes.

The highest price paid for a Larionov painting at auction is 2,200,000 British pounds.

Lyubov Sergeyevna Popova was a Russian avant-garde artist painter. She was a rarity in the highly masculine world of Soviet art. She grew up with a strong interest in Italian Renaissance painting. At 18 she was studying with Stanislav Zhukovsky. In 1912 she worked in a Moscow studio known as "The Tower" with Ivan Aksenov and Vladimir Tatlin. In 1912–1913 she studied art with Nadezhda Udaltsova in Paris, where she met Alexander Archipenko and Ossip Zadkine. After returning to Russia that same year, she worked with Tatlin, Udaltsova and the Vesnin brothers. In 1914 she traveled in France and Italy at the development of Cubism and Futurism. Through a synthesis of styles Popova worked towards what she termed painterly architectonics. After first exploring Impressionism, by 1913, in Composition with Figures, she was experimenting with the particularly Russian development of Cubo-Futurism: a fusion of two equal influences from France and Italy.

In 1916 she joined the Supremus group with Kazimir Malevich, the founder of Suprematism, Aleksandra Ekster, Ivan Kliun, Nadezhda Udaltsova, Olga Rozanova, Ivan Puni, Nina Genke, Ksenia Boguslavskaya and others. The creation of a new kind of painting was part of the revolutionary urge of the Russian avant-garde to remake the world. The term 'supreme' refers to a 'non-objective' or abstract world beyond that of everyday reality. However there was a tension between those who, like Malevich saw art as a spiritual quest, and others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but eventually identified herself entirely with the aims of the Revolution working in poster, book design and theatre design. In 1916 she began to paint completely abstract Suprematist compositions, but the title 'Painterly Architectonics' (which she gave to many of her paintings) suggests that, even as a Suprematist, Popova was more interested in painting as a projection of material reality than as the personal expression of a metaphysical reality. Popova's superimposed planes and strong colour have the objective presence of actual space and materials

Bryce Hudson

Untitled Composition #40

48" x 48"

Acrylic on Canvas

2014

More at: www.brycehudson.com

One from a portfolio of ten lithographs, composition (irreg.): 17 15/16 x 14 9/16" (45.5 x 37 cm); sheet: 21 x 17 13/16" (53.3 x 45.2 cm).

Lazar Markovich Lissitzky, better known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the former Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.

El Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Jewish faith, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its antisemitic laws. When only 15 he started teaching; a duty he would stay with for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany.

en.wikipedia.org/wiki/El_Lissitzky

skyline

Oil on canvas; 115.9 x 88.9 cm.

Serge Poliakoff was a Russian-born French modernist painter belonging to the 'New' Ecole de Paris (Tachisme). He was born in Moscow in 1906, the thirteenth of fourteen children. His father, a Kyrgyz, supplied the army with horses that he bred himself and also owned a racing stable. His mother was heavily involved with the church, and its religious icons fascinated him. He enrolled at the Moscow School of Painting, Sculpture and Architecture, but fled Russia and the Russian Revolution in 1917. He arrived in Constantinople in 1920, living off the profits from his talent as a guitarist.

He went on to pass through Sofia, Belgrade, Vienna, and Berlin before settling in Paris in 1923, all the while continuing to play in Russian cabarets. In 1929 he enrolled at the Académie de la Grande Chaumière. His paintings remained purely academic until he discovered, during his stay in London from 1935 to 1937, the abstract art and luminous colours of the Egyptian sarcophagi. It was a little afterwards that he met Wassily Kandinsky, Sonia and Robert Delaunay, and Otto Freundlich.

With these influences, Poliakoff quickly came to be considered as one of the most powerful painters of his generation. In 1947, he was trained by Jean Deyrolle in Gordes in the Vaucluse region of France amongst peers such as Gérard Schneider, Giloli, Victor Vasarely, and Jean Dewasne. By the beginning of the 1950s, he was still staying at the Old Dovecote hotel near Saint-Germain-des-Prés, which was also home to Louis Nallard and Maria Manton, and continuing to earn a reliable income by playing the balalaika. A contract enabled him to quickly gain better financial stability.

In 1962 a room was given over to his paintings by the Venice Biennial, and Poliakoff became a French citizen in the same year. His works are now displayed in a large number of museums in Europe and New York. Poliakoff also worked with ceramics at the Manufacture nationale de Sèvres. He influenced the paintings of Arman.

Bryce Hudson

Untitled Composition #37

(Portrait of a Landscape)

Acrylic on canvas

30 ” x 40″ x 2.5″

Signed and dated on Verso

2013-2014

Pigments in aqueous medium on burlap; 81.3 x 100.2 cm.

Joaquín Torres García (28 July 1874 – 8 August 1949), was a Uruguayan plastic artist and art theorist, also known as the founder of Constructive Universalism. In 1978, most of his works were destroyed in a fire that broke out in the Museum of Modern Art in Rio de Janeiro, while a large exhibition of the artist's works was being held.

en.wikipedia.org/wiki/Joaqu%C3%ADn_Torres_Garc%C3%ADa/Tra...

Untitled Composition #41

Bryce Hudson

Acrylic on canvas

24 ” x 18″ x 2.5″

Signed and dated on Verso

2013-2014

More at www.brycehudson.com

Ilya Bolotowsky, Russian/American (1907 - 1981)

Ілля БОЛОТОВСЬКИЙ • Илья БОЛОТОВСКИЙ

Blue and Yellow Tondo

circa 1965

Silkscreen, Signed and numbered in pencil

Edition: 84/125

Paper size: 25 in. x 35 in. (63.5 cm x 88.9 cm)

Image Size: 21 x 28 in.

Acquired at RAGO Auctions in New Jersey via phone bid in November 2011

Ilya Bolotowsky was a mid 20th century artist who was influenced greatly by the De Stijl and Neoplasticism movement set into place by artists like Piet Mondrian, Theo Van Doesburg, Bart Van Der Leck and Fritz Glarner. Mainly defined by vertical and horizontal lines and primary colors. This movement is central to my art collection - which has the theme: De Stijl, Neoplasticism and their contemporary influences.

As always, I'm at www.brycehudson.com - stop by - say hi!

Tempera on canvas; 71.4 x 58.7 cm.

Serge Poliakoff was a Russian-born French modernist painter belonging to the 'New' Ecole de Paris (Tachisme). He was born in Moscow in 1906, the thirteenth of fourteen children. His father, a Kyrgyz, supplied the army with horses that he bred himself and also owned a racing stable. His mother was heavily involved with the church, and its religious icons fascinated him. He enrolled at the Moscow School of Painting, Sculpture and Architecture, but fled Russia and the Russian Revolution in 1917. He arrived in Constantinople in 1920, living off the profits from his talent as a guitarist.

He went on to pass through Sofia, Belgrade, Vienna, and Berlin before settling in Paris in 1923, all the while continuing to play in Russian cabarets. In 1929 he enrolled at the Académie de la Grande Chaumière. His paintings remained purely academic until he discovered, during his stay in London from 1935 to 1937, the abstract art and luminous colours of the Egyptian sarcophagi. It was a little afterwards that he met Wassily Kandinsky, Sonia and Robert Delaunay, and Otto Freundlich.

With these influences, Poliakoff quickly came to be considered as one of the most powerful painters of his generation. In 1947, he was trained by Jean Deyrolle in Gordes in the Vaucluse region of France amongst peers such as Gérard Schneider, Giloli, Victor Vasarely, and Jean Dewasne. By the beginning of the 1950s, he was still staying at the Old Dovecote hotel near Saint-Germain-des-Prés, which was also home to Louis Nallard and Maria Manton, and continuing to earn a reliable income by playing the balalaika. A contract enabled him to quickly gain better financial stability.

In 1962 a room was given over to his paintings by the Venice Biennial, and Poliakoff became a French citizen in the same year. His works are now displayed in a large number of museums in Europe and New York. Poliakoff also worked with ceramics at the Manufacture nationale de Sèvres. He influenced the paintings of Arman.

Oil on canvas; 18.5 x 26 cm.

Italian painter and writer. He was born into a family of artists and artisans and began his training at the Scuola Libera di Pittura in Rome and later in the workshop of the Italian painter and restorer Giovanni Capranesi (1852-1921). During this period he also cultivated his personal interests, studying above all the work of Correggio, Giotto, Piero della Francesca and Cezanne. These influences are apparent in early works such as Self-portrait with Hat (1914; Verona, Pal. Forti). In 1915 he showed his work at the third exhibition of the Rome Secession. His first important success, after several years of financial difficulty, came in 1924 when he exhibited The Tram (1923; Rome, G.N.A. Mod.), a masterpiece of this first Roman period, at the Venice Biennale. He participated in La prima mostra del novecento italiano at the Palazzo della Permanente in Milan in 1926, also contributing to the second exhibition there in 1929. In 1927 he moved to Venice to take up a teaching post at the Accademia di Belle Arti.

Licini's abstract work is singularly distinct from other Italians of his time. His abstract painting and poetry are both powerfully lyrical. His work was freed from the cage of the geometric rationalism through color, imagination and an indication of a coming climate of the Expressionism. In this way his work can be said to parallel that of Paul Klee.

The 1940s marked his abandonment of dogma as his art morphed into a sui generis surreal fantasy, marked by Northern influences (his wife was Swedish) and post-symbolist poetry that foreshadowed work of extraordinary intensity in the 1950s that manifested his total immersion in a dream world.

Oil on canvas; 174 x 122 cm. each panel.

Pablo Palazuelo was a Spanish painter and sculptor.

Pablo Palazuelo was born in Madrid in 1916. In 1933 he studied architecture at the School of Arts and Crafts at Oxford University. Upon returning to Madrid in 1939, he began to devote all of his time to painting. During these early years, reflecting the influence of Picasso and Cézanne, his figurative art became progressively more abstract, simplified and transformed.

Palazuelo was attracted to, and later influenced by, the work of Paul Klee, which he saw for the first time in 1947. It was in this year that Palazuelo's first abstract art appeared. The following year he was awarded a grant by the French Institute in Madrid to pursue his art in Paris. In the same year, 1948, he was selected to exhibit at the Salon de Mai, which led to an invitation to join the prestigious Galérie Maeght (currently Galérie Lelong), an association of nearly fifty years that continues to this day. Palazuelo went on to receive the coveted Kandinsky Prize in 1952.

His attention became focused on the nature of "form" itself rather than on what it represented. In 1953 his investigation into form led to his discovery: Trans-geometría-the rhythms of nature translated into plastic art. This new way of seeing was initially expressed in his Solitudes series shown in his first solo exhibition in 1955.

"Ascendente no. 2", his first sculpture, appeared in 1954. However, it was not until 1962 that his exploration of the qualities of space through his metal sculpture began in earnest, and his two-dimensional drawings became transformed into their three-dimensional counterparts. Conflict between large, flat, colorful forms characterized the series entitled Onda, Onfalo and Tierra, exhibited in 1963, and indicated a significant change in the direction of his art. In 1969 Pablo Palazuelo returned to Spain, where he continued to probe the mysteries of form through his paintings, sculptures, writings and research. He began to work in a 14th-century castle in Monroy, near Cáceres in 1974. During this time he captured the phenomenon of transformation, from its origin to its cyclic end, in his Monroy series.

The surprising appearance of "signs" in his El número y las aguas series in 1978 marked another level of his inquiry into "the moment of formation." Palazuelo's Yanta paintings, exhibited in 1985, represented diagrams of two-dimensional force and structures of three-dimensional force, which constituted figures of conception. Constantly changing lineal rhythms characterized his Nigredo, Anamne and Sinesis series, which were exhibited at the Galería Soledad Lorenzo in Madrid in 1991.

Since 1955 Palazuelo has shared his relentless journey of formal discovery in twenty-three solo exhibitions, as well as in numerous group exhibitions in France, Spain and throughout Europe. Palazuelo continued the realization of the endless potentialities of form through his Sydus series.

In order to appreciate fully the unique nature of Pablo Palazuelo's art, one must trace his ongoing investigation of "form."

Oil on canvas; 92 x 133.5 cm.

Serge Poliakoff was a Russian-born French modernist painter belonging to the 'New' Ecole de Paris (Tachisme). He was born in Moscow in 1906, the thirteenth of fourteen children. His father, a Kyrgyz, supplied the army with horses that he bred himself and also owned a racing stable. His mother was heavily involved with the church, and its religious icons fascinated him. He enrolled at the Moscow School of Painting, Sculpture and Architecture, but fled Russia and the Russian Revolution in 1917. He arrived in Constantinople in 1920, living off the profits from his talent as a guitarist.

He went on to pass through Sofia, Belgrade, Vienna, and Berlin before settling in Paris in 1923, all the while continuing to play in Russian cabarets. In 1929 he enrolled at the Académie de la Grande Chaumière. His paintings remained purely academic until he discovered, during his stay in London from 1935 to 1937, the abstract art and luminous colours of the Egyptian sarcophagi. It was a little afterwards that he met Wassily Kandinsky, Sonia and Robert Delaunay, and Otto Freundlich.

With these influences, Poliakoff quickly came to be considered as one of the most powerful painters of his generation. In 1947, he was trained by Jean Deyrolle in Gordes in the Vaucluse region of France amongst peers such as Gérard Schneider, Giloli, Victor Vasarely, and Jean Dewasne. By the beginning of the 1950s, he was still staying at the Old Dovecote hotel near Saint-Germain-des-Prés, which was also home to Louis Nallard and Maria Manton, and continuing to earn a reliable income by playing the balalaika. A contract enabled him to quickly gain better financial stability.

In 1962 a room was given over to his paintings by the Venice Biennial, and Poliakoff became a French citizen in the same year. His works are now displayed in a large number of museums in Europe and New York. Poliakoff also worked with ceramics at the Manufacture nationale de Sèvres. He influenced the paintings of Arman.

Acrylic on canvas; 200 x 200 cm.

Tomie Ohtake (Kyoto, November 21, 1913) is a Japanese naturalized Brazilian artist. Her work includes paintings, prints and sculptures. She is one of the main representatives of the informal abstractionism.

In 1936, when she was twenty-three years old, Ohtake traveled to Brazil to visit a brother but could not return due to World War II.[1] Ohtake settled herself in São Paulo with her husband and started painting in 1951, after a visit to the studio of the painter Keisuke Sugano.[2]

She had her first exhibition in 1957, in the Salão Nacional de Arte Moderna and in 1961 she participated in the São Paulo Biennale. In 1972 she participated in the Prints section of the Venice Biennale and in 1978 of the Tokyo Biennale. She created dozens of public space sculptures from the late eighties; her work has been featured in several cities in Brazil, but especially in the state of São Paulo.

In 1988 Ohtake was awarded the Order of Rio Branco by the public sculpture commemorating the 80th anniversary of Japanese immigration in São Paulo, and in 2006 she was awarded the Order of Cultural Merit (Brazil).

Tomie Ohtake is the mother of architect Ruy Ohtake.

en.wikipedia.org/wiki/Tomie_Ohtake

Untitled Composition #18

Acrylic and Oil on Canvas

24" x 24" x 2.5"

2012

Collection of Elizabeth Todd, Naples, FL

This painting, like most others, is painted on all sides with compositions on the edges independent of the frontal composition:

[http://www.flickr.com/photos/31207458@N07/7993955676/]

Bryce Hudson’s paintings are as notable for their nuance and sophistication as they are for their compositional drama. His geometric oil and acrylic on canvas paintings can be described as having a certain movement and three-dimensionality while retaining a reductive quality that is general to geometric abstraction. The hard-edged forms are bordered by bright bands of contrasting color of varying angle and width producing multiple fields of form and color that play against one another.

Using a strict geometric language, limited palette and consistent compositional format, Hudson achieves a remarkable diversity within a narrow framework. Often is the case, architectural elements are Hudson’s muse – flipping and dissecting elements, transforming them into a dizzying array of colors and shapes until all context is lost. The surprisingly bright color bands provide a rich contrast to the somber predominant blacks, grays and whites, and add weight and movement to the paintings.

For example, central areas in the paintings, rather than appearing completely static, have a subtle yet rich variety of tones, weight, and illusion of depth or flatness, all achieved by employing directional brushwork and few variations in surface finish. Hudson’s edges are taut and sharp, and there is an inner tensile strength expressed in the forms. The emphatic diagonal movement in his many of the works relates a feeling of containment within the picture frame, and a further implication of spatial depth. The scale of the works ranges widely, from medium-format works on paper to long eight-foot horizontals.

I'm at www.brycehudson.com - Stop by, say hi!

Untitled Composition (#23)

Oil and Acrylic on Arches Watercolor Board, Wood, Adhesive

Has a total of (4) independent elements

16″ x 20″

Total Size Unframed: 16″ x 20″ x .5″

Total Size Framed: 18.5″ x 21.75″ x 1.25″

2012-2013

Framed archival – Floating with permanent hinging on white acid-free mat board – Clear Glass

Signed and dated lower right in pencil.

As Usual - I'm at www.brycehudson.com Stop by, say hi! I love connecting with other fans of modern and contemporary art and design.

"Tate Modern’s Rodchenko & Popova: Defining Constructivism looks at art in Russia c.1917-25 through the work of two of the country’s leading artists. The exhibition brings together over 350 works.

After the Bolsheviks seized power in October 1917 Russia’s artists, writers and musicians were swept into the task of transforming their society into the first Communist State. Amongst others, Rodchenko and Popova pioneered a new art for this revolution. As part of the Constructivist movement they rejected ideas of illusory representation, believing instead that only the universal language of abstract form could truly put art at the service of the people. Further, for the first time a new sexual equality was born; men and women played an equal role in society and the simple pairing by the Tate of works by a man and a woman (who weren’t lovers) eloquently displays how the quality and themes of the two artists’ works were indistinguishable. This exhibition also demonstrates the way these two artists were ultimately lead away from fine art into design and from there to architecture, film, print, propaganda and advertising posters, clothing and theatre design. Among the convictions of the Constructivists was equality in all of its manifestations."

Oil on canvas; 76.2 x 60.9 cm.

Yayoi Kusama (草間 彌生 or 弥生 Kusama Yayoi?, born March 22, 1929) is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, including painting, collage, sculpture, performance art and environmental installations, most of which exhibit her thematic interest in psychedelic colors, repetition and pattern. A precursor of the pop art, minimalist and feminist art movements, Kusama influenced contemporaries such as Andy Warhol and Claes Oldenburg.[1] Although largely forgotten after departing the New York art scene in the early 1970s, Kusama is now acknowledged as one of the most important living artists to come out of Japan, and an important voice of the avant-garde.

Born in Matsumoto, Nagano into an upper-middle-class family of seedling merchants,[2] Kusama started creating art at an early age, going on to study Nihonga painting in Kyoto in 1948. Frustrated with this distinctly Japanese style, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo during the 1950s. In 1957 she moved to the United States, settling down in New York City where she produced a series of paintings influenced by the abstract expressionist movement. Switching to sculpture and installation as her primary mediums, Kusama became a fixture of the New York avant-garde, having her works exhibited alongside the likes of Andy Warhol, Claes Oldenburg and George Segal during the early 1960s, where she became associated with the pop art movement. Embracing the rise of the hippie counterculture of the late 1960s, Kusama came to public attention when she organized a series of happenings in which naked participants were painted with brightly colored polka dots.

In 1973, Kusama moved back to her native Japan, where she found the art scene far more conservative than that in New York. Becoming an art dealer, her business folded after several years, and after experiencing psychiatric problems, in 1977 she voluntarily admitted herself to a hospital, where she has spent the rest of her life. From here, she continued to produce artworks in a variety of mediums, as well as launching a literary career by publishing several novels, a poetry collection and an autobiography.

Kusama's work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. Kusama is also a published novelist and poet, and has created notable work in film and fashion design. Major retrospectives of her work have been held at the Museum of Modern Art, the Whitney Museum, and Tate Modern, whilst in 2008 Christies New York sold a work by her for $5.1 million, then a record for a living female artist.

en.wikipedia.org/wiki/Yayoi_Kusama

Oil on canvas; 77.7 x 98 cm.

By the time László Moholy-Nagy turned towards painting after graduating from law school and developed his own abstract style influenced by Malewitsch and El Lissitzky, it was inevitable that he would become one of the most important artists of Constructivism. He soon exposed himself in Hungary as the founder of the artist group "Ma", but left his home country after the failure of the revolution.

He moved to Berlin In 1920 where Gropius noticed him and invited him to join the "Bauhaus" in 1923. There Moholy-Nagy ran the metal class but also worked in all other areas of design in which he was equally influential. The artist published his ideas in the series of Bauhaus books, for example "Malerei, Fotografie, Film" (1925). Moholy-Nagy wanted an "experimental, functional artist […] who considers art as a laboratory for new forms of expression which were then supposed to be employed in all areas of modern life" (Karin Thomas).

The expectations of the age of technology and his new media led Moholy-Nagy to a functional use of Abstraction, which he managed to show in all areas of design and which guided him through different phases of experimenting. His varied oeuvre ranges from painting, photography, film, design and stage design to experiments with photograms which considerably influenced the development of light art and kinetic art. László Moholy-Nagy left the "Bauhaus" in 1928 together with Gropius and worked in Berlin as a stage designer, exhibition organiser, typographer and film producer. He emigrated to the USA in 1937 and ran the "New Bauhaus" in Chicago. Moholy-Nagy opened his own art institute, the "School of Design", in Chicago in 1938 and enlarged it in the following years by adding the faculties economics, psychology and information theory.

László Moholy-Nagy became severely ill and died one year later, in 1946.

'Chromatic Accelerator' (1967) by Montreal artist Claude Tousignant at the National Gallery of Canada in Ottawa, Ontario, Canada.

Claude Tousignant is a Canadian abstract painter and sculptor who lives and works in Montreal.

Tousignant was born on December 23, 1932 in Montreal, Quebec. He attended the School of Art and Design at the Montreal Museum of Fine Arts from 1948 to 1951.