작품 상세

Lot of 3 prints: George Alexander Picken, (1898 - 1971), Robert Popick, (b. 1945), Philip Howard (Blashki) Evergood, (1901 - 1973) George Alexander Picken, (1898 - 1971) urban scene, lithograph. Pencil signed lower right. Robert Popick, (b. 1945), Barns, etching. Signed lower right, numbered 11/50 lower left. Philip Howard (Blashki) Evergood, (1901 - 1973), Beginning of a Dance, 1930, etching. Signed in the plate lower left. Biography from the Archives of askART: George Picken studied at the Art Students League in New York as well as in Paris, France. He was a member of The American Artists Congress; American Society of Painters, Sculptors, and Gravers; An American Group; American Association of University Professors; Federation of Modern Painters and Sculptors; "The Islanders"; National Society of Mural Painters; Society of American Graphic Artists; Society of Audubon Artists. During his most creative and productive years while living in New York City he was among a very select stable of artists handled by the Frank Rehn Gallery. Those artists included Edward Hopper, Charles Burchfield, Alexander Brook, Henry Mattson, Reginald Marsh and other fine American artists. George also taught at many distinguished institutions throughout his career, including: Art Students League, New York, NY Hofstra University, Hempstead, NY Columbia University, New York, NY Kansas City Art Institute, Kansas City, MO Cooper Union, New York, NY Berkshire Museum, Pittsfield, MA; Brooklyn Museum School, Brooklyn, NY Hartford University, West Hartford, CT After George's death his son David Picken arranged for Ronald Pisano to handle George's estate. When Ronald died David Picken took over the responsibilities of the art estate. EXHIBITIONS One-Man Exhibitions Group Exhibitions Annuals & Biennials Public Collections * 2005 Berkshire Museum, Pittsfield, Massachusetts * 2001 Monique Goldstrom Gallery, New York, NY * 1999, 2000 M B Modern, New York, NY * 1999, 2000 D. Wigmore Fine Art, Inc., New York, NY * 1971, 1967, 1963, 1960, 1954, 1952, 1949, 1947, 1945, 1942 Frank K.M. Rehn Galleries, New York, NY * 1970 The Image Gallery, Stockbridge, MA * 1970 Simon's Rock School, Great Barrington, MA * 1970 St. Michael's College, Winooski, VT * 1968 Grace Gallery, New York City Community College, Brooklyn, NY * 1967, 1953, 1940 Berkshire Museum, Pittsfield, MA * 1966 Gallery One, Hillsdale, NY * 1966 Kansas City Art Institute, Kansas City, MO * 1963 Rondo Gallery, Lenox, MA * 1949 Cowie Galleries, Los Angeles, CA * 1943 Kalamazoo Institute of Art, Kalamazoo, MI * 1940, 1938, 1936, 1935 Marie Harriman Gallery, New York, NY * 1932 Union College Library, Schnectady, NY * 1932, 1928, 1924 The New York Public Library, New York, NY * 1924 S.S. Carvalho Gallery, Plainfield, NJ Source: georgepicken.com with permission from David Picken, son of the artist 15 3/4"H x 11 1/2"W (sheet) Biography from Marks Antiques: Robert Francis (`Rob') Popick was born on Jan. 24, 1945, in New York City to Stephen Popick and Frances Popick (nee Sliwa), and grew up and attended school in Hunterdon County, New Jersey. Rob began his lifelong career in art as a young man; he first worked as an apprentice in an art gallery and printmaking shop in Flemington, N.J., and later studied painting at the New School of Social Research in New York City. In 1971, he moved to Monkton, VT where he opened a frame shop and art restoration studio. He relocated his home and studio to Waltham,VT in 1981. Rob was a prolific artist, producing works indiverse media, and best known for his Vermont landscapes in watercolor. Submitted by Bill Marks, dba Marks Antiques Biography from the Archives of askART: Born in New York City with the name Philip Blashki, he became, with the name Philip Evergood, one of the leading modernists of the 20th Century with styles combining abstraction and realism and subjects in the 1930s that made him one of the leading social realists in New York City. He was raised in London, England where he moved in 1909 with his parents until 1923. He studied at Eton and Cambridge University and then at the Slade School with Henry Tonks and Havard Thomas. Returning to New York, he was a student of George Luks and William von Schlegell at the Art Students League. From 1924 to 1926, he traveled in Europe and studied in Paris at the Academie Julian and again lived abroad from 1929 to 1931. He was especially influenced by the Spanish artist El Greco. During the 1930s, he was a muralist for the W.P.A. in the Federal Art Project, and his mural work includes The Story of Richmond Hill for the library in that part of New York City, and another work, Cotton from Field to Mill for the Post Office in Jackson, Georgia. Politically active, he served as President of the New York Artists Union. He also taught at various institutions in the 1940s, and in 1952 moved to Southbury, Connecticut and two years later to Bridgeport until his death. In the 1920s and 1930s, Evergood focused on many Biblical themes with a distorted style reflective of both Cezanne and El Greco in that his figures seemed to be in fanciful worlds or "imagined space". (Baigell) By 1935, he did American Scene painting with politically and social-message works whose themes were the unhappiness of people caught in the Depression. In 1937, his painting, Art on the Beach, which was part of his solo exhibition at the National Gallery of Melbourne, caused a riot led by some academics who were furious about the paintings modernist style. Sir John Longstaff, Australian artist, went to the defense of Evergood, and helped raise money for the subsequent gift of the painting to Melbourne's National Gallery. In the 1940s, Evergood distanced himself from political and social issues to figures that were more fanciful and free seeming. 13"H x 20"W