Bright Colors Art & Collectibles

Artist Biography

biographies of some of the artist’s featured on this website

Ernie Barnes’ ‘Sugar Shack’: Why museum-goers line up to see ex-NFL player’s painting



At the California African American Museum’s retrospective dedicated to late artist and former NFL player Ernie Barnes, “The Sugar Shack” is an undeniable star.

Visitors often form a line around the painting, said the show’s curator, Bridget R. Cooks, associate professor in the departments of African American studies and art history at UC Irvine. They all wait for their moment with Barnes’ work, a piece that entered pop-culture consciousness after appearing on the 1970s sitcom “Good Times” and as the cover art to Marvin Gaye’s 1976 album, “I Want You.”

“The Sugar Shack” transports viewers to a jubilant black club. Vibrant, dancing partygoers and musicians fill the 3-by-4-foot canvas. Most have their eyes closed, a signature in nearly all of Barnes’ paintings, referring to his oft-stated belief that “we are blind to each other’s humanity.”

As a neo-mannerist who referenced the late Renaissance period of Leonardo da Vinci and Raphael, Barnes painted the figures in “The Sugar Shack” as exaggerated and elongated forms, one man’s arms joyously nearly reaching the top of the canvas, another woman’s curvy legs stretching halfway across the dance floor. Barnes’ expressive style helps viewers identify with the rhythm and sensuality of the painting, Cooks said.

One central figure in the painting is a woman in a yellow dress and white shoes, dancing at the front of the tall stage, her back to the viewer. She’s a character who appears in artworks throughout Barnes’ career.

It’s easy to get lost in the revelers, but a closer look reveals unexpected details. Nestled in a corner between the stairs and the stage is a black man in a blue uniform, sitting with a newspaper at his feet. Unlike the rest of the figures on the canvas his expression is downcast. He seems to be an outsider.

Cooks isn’t certain if he’s working security or if he’s an off-duty policeman relaxing with the music. But she compared the figure to Jean-Michel Basquiat’s 1981 work “Irony of the Negro Policeman.” “He’s representing law and order and we don’t think about the police being, especially today, friends of the black community,” Cooks said.

Barnes was born into a working-class family in segregated Durham, N.C., in 1938. He painted “The Sugar Shack” from a childhood memory — sneaking into the Durham Armory, a venue that hosted segregated dances and that still exists today. “This was a place where you could go as a black person and see Duke Ellington and see Clyde McPhatter,” Cooks said. Barnes, who died in 2009, recalled in a 2008 interview that the experience was the “first time my innocence met with the sins of dance.”

After being drafted by the Baltimore Colts in 1959, Barnes played professional football for teams including the Denver Broncos and San Diego Chargers until 1965, before pursuing his passion for art.

Ernie Barnes at work

Ernie Barnes working in his studio in 1992.
(Ricardo DeAratanha / Los Angeles Times)

In the early 1970s, Barnes settled in L.A.’s Fairfax district. He became interested in Jewish culture and was impressed with how much the community knew of its history, Cooks said. “And he really wished that black people had the same type of cultural education.” Inspired by the “Black Is Beautiful” movement, he premiered his exhibition “The Beauty of the Ghetto,” 35 paintings depicting everyday scenes from black life, in 1972.

His work during the time, including “The Sugar Shack,” was about “showing blackness as beautiful and even exaggerating form,” Cooks said. “It’s not about trying to hide the curves of your body or the facial features that you have. It’s about showing them, even exaggerating them and making it not even just OK but something to really be celebrated.”

“The Sugar Shack” ascended into pop culture by chance.

After Barnes played a game of basketball with Gaye, the soul singer caught a glimpse of Barnes’ painting in his car. “He went crazy and he was like I have to have this,” Cooks said.

Barnes augmented the painting to include references to Gaye’s music, and the work became the cover of his “I Want You” album in 1976. That same year, Barnes painted a “Sugar Shack” duplicate, which is on display at CAAM. According to a note written by the artist, he created the second painting because the first “moved around, uninsured” and out of his control.

In the 1970s, producer Norman Lear commissioned Barnes to create original paintings for the Jimmie Walker character J.J. in “Good Times,” the sitcom about a black family living in a Chicago housing project. In later seasons “The Sugar Shack” was the backdrop for the show’s credits.

The painting became part of American national memory, something of a mythical object, Cooks said. The curator believes Barnes would have found “The Sugar Shack” selfie lines at CAAM to be meaningful.

“It’s wonderful to see how much respect the painting commands,” she said. “People really understand this is a painting that in some ways belongs to everyone.”

‘Ernie Barnes: A Retrospective’
Where: California African American Museum, Exposition Park, 600 State Drive, Los Angeles
When: 10 a.m.-5 p.m. Tuesdays-Saturdays, 11 a.m.-5 p.m. Sundays, through Sept. 8.
Admission: FreeInfo:

colescott print

Warrington Colescott, Who Etched With a Satirical Edge, Dies at 97

Warrington Colescott, an innovative printmaker who deftly navigated the intersection between tragedy and high comedy with biting etchings about civil rights, history, politics and the Internal Revenue Service (which audited him), died on Sept. 10 at his farmhouse in Hollandale, Wis., southwest of Madison. He was 97

His son, Julian, confirmed the death.

“Etching quickens the blood, lights up the eye, affects the satirical mind in the same way that a low-cut neckline affects Dracula,” Mr. Colescott wrote in a catalog for an exhibition of his prints at the Milwaukee Art Museum in 1996.

A Fulbright and Guggenheim fellow whose prints are widely collected, Mr. Colescott employed a figurative style that tinkered liberally with reality in wildly colorful, cartoonish and sometimes disquieting ways.

“In Birmingham Jail” (1963) was inspired by the bloody demonstrations in the Deep South against segregation in the 1950s and early ’60s. Its two panels show rows of darkened jail cells where protesters are beaten by grotesquely drawn police officers — images that Mr. Colescott interspersed with pictures of a girls choir and Bart Starr, the Alabama-born quarterback of the Green Bay Packers, his favorite team.

“Golly!” he says. “A big mother.” Beneath the jet, a whale is harpooned in the middle of an oil spill


“He was a dyed-in-the-wool Democratic progressive,” Mary Weaver Chapin, who curated a retrospective exhibition of Mr. Colescott’s prints at the Milwaukee Art Museum in 2010, said in a telephone interview. “And this was really an attack on Bush’s environmental policy.”

Mr. Colescott sometimes created series of etchings, like one about Lyndon B. Johnson’s Great Society, another about the bank robber John Dillinger and a third, “A History of Printmaking,” that reimagines historical moments in graphic arts involving Benjamin Franklin and artists like Rembrandt, Albrecht Dürer and Robert Rauschenberg.

In the riot of bellicose images that compose “Goya Studies War” (1976), Mr. Colescott shows Goya — the Spanish master who created a series of prints in the early 19th century called “The Disasters of War” — talking to a general and taking notes while a corpse is removed on a cart.

“What makes Colescott’s work so appealing is its mix of erudition and irreverence,” the critic Jennifer A. Smith wrote in 2010 in Isthmus, an alternative weekly newspaper in Madison, about an exhibition of his work that year at the city’s Grace Chosy Gallery. His prints, she added, were in the tradition of artists and social critics like William Hogarth and Honoré Daumier.

Warrington Wickham Colescott Jr. was born on March 7, 1921, in Oakland, Calif., to Creole parents from Louisiana. His mother, Lydia (Hutton) Colescott, was a schoolteacher who played the piano; his father, Warrington Sr., was a porter on the Southern Pacific Railroad and played the violin.

Mr. Colescott’s 1973 print, “Prime-Time Histories: George Washington Meets Betsy Ross, but Too Late.”Creditvia Michael Tropea/Milwaukee Art Museum
Mr. Colescott’s 1973 print, “Prime-Time Histories: George Washington Meets Betsy Ross, but Too Late.”Creditvia Michael Tropea/Milwaukee Art Museum

As a boy, Warrington was drawn to artifacts that his father brought him from fighting in France during World War I — like a gas mask and a dented helmet — and used them to play war with his friends and scare people on Halloween. He drew pictures, too, and was influenced by newspaper comic strips.

“My drawing style has, in many ways, remained constant since childhood,” he said in the book “Progressive Printmakers: Wisconsin Artists and the Print Renaissance” (1999), which he wrote with Arthur Hove. “The marks of the pen or brush spill out with a kind of attack. Ultimately, they all fuse together and become a narration.”

He drew cartoons for his high school newspaper and for the campus newspaper and humor magazine at the University of California, Berkeley, where he earned a bachelor’s degree in art. One of his cartoon creations was adapted into Berkeley’s mascot, Oski the Bear.

In 1942, Mr. Colescott was drafted into the Army and served in Okinawa late in World War II and in Korea as part of the postwar occupation. On his return, he got his master’s in art from Berkeley and began teaching drawing and painting at Long Beach Community College in California. He joined the University of Wisconsin-Madison in 1949, where he taught painting and printmaking for 37 years.

Mr. Colescott started out concentrating on painting and silk screens but became fascinated with etching after a year of study at the Slade School of Fine Art in London in the 1950s under his Fulbright grant. His initial etchings were abstract, but they soon evolved to a more figurative look that suited the events and figures he would illustrate.


Mark Sabin Portfolio

Mark Sabin

Born in New York City and raised in Florida, Mark Sabin has produced paintings that embody a synthesis of the primitive and the surreal. The artist is a graduate of the University of Michigan and Columbia University School of Law. He attended New York University Film School and worked for a time in the motion picture industry. He studied print-making at Pratt Graphics Center and has created lithographs, silkscreens, and etchings. Mark Sabin’s paintings and prints are in many prestigious collections, including the permanent collections of the Museum of American Folk Art in New York and the American Museum in Bath, England. His work has been exhibited in museums and galleries in New York, London, Montreal, Boston, Santa Fe, Philadelphia, and Palm Beach. His paintings have appeared on the cover of Harper’s Magazine and the Bloomingdale’s Christmas catalogue. The Museum of Modern Art in New York has selected his work for reproduction and his art has been featured in numerous leading publications. The artist currently lives and works in East Hampton, New York.
Watercolor painting

Sorel Etrog Biography

Sorel Etrog artist, writer, philosopher (born 29 August 1933 in Laşi, Romania; died 26 February 2014 in Toronto, Ontario). For more than half a century, Sorel Etrog was one of Canada’s most renowned contemporary sculptors.

Sorel Etrog, CM, artist, writer, philosopher (born 29 August 1933 in Laşi, Romania; died 26 February 2014 in Toronto, Ontario). For more than half a century, Sorel Etrog was one of Canada’s most renowned contemporary sculptors. A Member of the Order of Canada and a Chevalier dans L’Ordre des Arts et des Lettres in France, Etrog’s work is included in museum collections around the world, including the Art Gallery of Ontario, the National Gallery of Canada, the Museum of Modern Art, New York, the Solomon R. Guggenheim Museum, New York, the Hirschorn Museum, Washington, DC, and the Tate Gallery, London. In 1968, Etrog was asked to design the Canadian film award called the Genie. A career-spanning retrospective of Etrog’s work was mounted at the Art Gallery of Ontario in 2013.

Early Life, Education, and Career

Born in Moldavia in what is now northwestern Romania, Etrog, who was Jewish, managed to survive the Second World War and immigrated along with his family to Israel in 1950. In Israel, he studied drawing, painting, sculpture, graphic design, and theater set design at the Tel Aviv Art Institute. His first exhibit in 1958 in Tel Aviv helped win him a scholarship to study at the Brooklyn Museum in New York. In 1959, the Solomon R. Guggenheim Museum purchased one of his early sculptures. It was during this period in New York that Etrog met his long-standing collector and patron, Samuel Zacks, leading to his first solo exhibition in Canada at Gallery Moos in Toronto. Etrog moved to Toronto is 1963 and became a Canadian citizen. He was one of the three artists who represented Canada at the 1966 Venice Biennale, alongside Alex Colville and Yves Gaucher.
Mature Style

Etrog’s style is deeply indebted to both surrealism and Pablo Picasso’s work of the 1930s, as well as to major 20th century sculptors such as Romanian-born modernist Constantin Brancusi and American abstract-expressionist David Smith. While much of Etrog’s work appears abstract, it invariably alludes to the figure and more specifically to the human form. Etrog’s overriding theme is the integrity of the human body in an industrialized world, and thus his sculptures typically consist of elaborately interlocking parts that resemble the elements of a machine. In Ariana (Big Queen) (1961–1963), for instance, a widening shaft rises from a pedestal and bursts into curving forms that resemble shoulders and a head. In another work in bronze, Don Giovanni (1967), knotted shapes rise into rough, rectangular wing-like shapes, eventually curving up to a triangle that stands in for a head.
While Etrog’s finest work is sculptural and in bronze — he worked directly with plaster models, which allowed him to give even large sculptures an intimate sense of detail and texture — he was also an accomplished painter and draftsman. Etrog typically used painting and drawing as a testing ground for ideas he then developed into larger sculptures. In Vladimir and Estragon (Waiting for Godot) (1967) — the title refers to the two main characters in Samuel Beckett’s play Waiting for Godot —giant hands interlock with faceless heads inlaid with rings and bolts. Two Haitian Women (Homage to Gaugin) (1968/69), a painting in oil on Masonite in tribute to the great 19th century French painter Paul Gaugin, consists of schematic figures facing each other built up out of interlocking wrenches, the colours cool blue-greys and smouldering reds.

Public Commissions
Etrog received numerous major public commissions, including Expo 67, Montréal; SunLife Centre, Toronto; Windsor Sculpture Garden, Windsor, Ontario; Los Angeles County Museum; and Olympic Park in Seoul Korea. For the Pavilion of Canada at Expo 67, he created Flight (1967), which features a pair of wings sprouting from a dense knot of forms and twin heads hovering above. Dreamchamber (1976), located on Bloor Street in downtown Toronto, consists of large interlocking wedges of bronze that resemble a brain split open for view. Sun Life (1984), set in front of the Sun Life Financial Centre in downtown Toronto, is, on the other hand, more purely abstract, with rectangular bars jutting sharply from a circular base like rays of sunlight.
Other Activities

In addition to his work as a painter and sculptor, Etrog published poetry, plays, and non-fiction, including the books Dream Chamber: Joyce and the Dada Circus – a collage (1982) and The Kite (1984). He did book illustrations for Eugene Ionesco and Samuel Beckett. He also collaborated with Marshall McLuhan on the publication of Spiral in 1976, a book interweaving still images from his 1975 film of the same name with quotes from a wide variety of writers.

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Gustav Likan

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Gustav Likan, a painter from Yugoslavia, hasn`t been around Chicago much since the day in 1967 when the Chicago Academy of Fine Arts fired him from his job as professor because, he claims, he insulted the city`s Picasso sculpture. But he came back to town last weekend for a local exhibit of his paintings, and to try and recapture something he lost during the days when he was poor and sketching $10 portraits on Chicago street corners.

The prospects don`t look too good, though.

What he`s looking for is a portrait of his wife that he painted in 1958. Likan lost the portrait in 1962 in a Cook County sheriff`s auction after a brother-in-law sued him to get back $2,000 that Likan had borrowed so he and his family could migrate to the United States

Likan, now 77 and still painting in Austin, Tex., had made a name for himself decades before by painting portraits of Yugoslavia`s young King Peter and murals for Argentine First Lady Eva Peron`s schools.

But in Chicago in 1962, Likan was a struggling immigrant artist with a family. He didn`t have the money to pay off the court judgment, so his brother-in-law got the portrait for $355 at the auction. Likan thinks it quickly was resold.

The brother-in-law and his wife died without children in the mid-1960s, and the two families parted ways after the spat, so Likan doesn`t know where the painting went.

When Likan`s wife died last year, he decided he would like to have the portrait back, for sentimental and artistic reasons. He said he figures it`s somewhere in Chicago, on a wall or packed away in someone`s attic.

“It`s a dream, to have this picture,“ he said. “Maybe the owner is rich. He doesn`t need the painting. It`s worth a lot more to me, from an artistic standpoint and for my family.“

In other portraits-he would later paint Conrad Hilton, former President Herbert Hoover, and Samuel Cardinal Stritch, former Roman Catholic archbishop of Chicago-Likan said he compromised a little to please his subjects. But he says he painted his wife just as he saw her. “That`s because she wasn`t paying,“ he explained.

His wife was 38 when she sat for the 30-by-40 inch painting. He portrayed her in a violet dress sitting on a sofa with a cat in her lap. The painting was valued at $2,000 when it was sold at auction in 1962, and Likan thinks today it would be worth about $8,000. He said he would be willing to swap another painting to get it back.

“My wife was so beautiful. The picture really had a lot of charm,“ he said.

Bob Chase, owner of Merrill Chase Galleries where Likan had his exhibit last weekend, said the artist was just devastated by his wife`s death. “They were together 50 years. This thing with the picture, it`s a human thing. I see his sorrow.“

But neither Likan nor anyone local are very hopeful.

“It could be anyplace. It`s like looking for a needle in a haystack,“

said Capt. James Zurawski of the Chicago Police Department`s financial investigation unit. Zurawski said his unit has handled only one case involving paintings in the last several years, and that involved a thief who eventually returned them.

“I used to work at the galleries,“ said Zurawski. “Paintings go for cash usually, and the buyer is usually just an initial.`


“It reduces down to any other kind of object, like a chair you lost 50 years ago,“ said Michael Galfer, vice president of merchandising at Merrill Chase. “If I want to find a particular painting of Renoir`s, that`s something people keep track of. But this is not the same kind of situation.“

Likan says he enjoyed living in Chicago. In 10 years, he saw it from top to bottom. “When we arrived, I tell you we had 10 cents in our pocket. I couldn`t even get downtown to get a job,“ he said. But on his second day in the city, he charged a man $10 for a street portrait, and the man gave him $50.

Later he had a studio with several other artists at 619 N. Michigan Ave., and was invited to Conrad Hilton`s office to paint a portrait of the founder of the hotel empire.

After he had established himself, he began teaching painting at the Chicago Academy of Fine Arts. But early one morning in 1967, a dean called to say that his classes had been canceled. The academy said it was because he didn`t have enough students, he allowed smoking in the classes and he never took attendance.

But Likan is convinced it had more to do with the TV interview he gave the night before, during which he belittled the Picasso sculpture in the Daley Center Plaza.

“I said `It`s not fine art, it`s decorative art,“` Likan recalls. “I said `It looks like it was built in a steel company. After three weeks you can throw it away.` The next day they fired me.“

“They always told me you`re in a free country,“ he says. “You can say anything you want, but don`t insult anyone.“

Harvey Daniels Vintage 60s Pop Art

Original Harvey Daniels prints circa 1968



About Harvey Daniels

HarveyBiography 1936 – 2013

While never being a pop-artist exactly, his engagement with the banal image and its bold, bright presentation continued long into the 1970s, even though in purely formal terms the underlying disciplines of abstraction remained a determining force upon his work. And with his subsequent commitment, through the 1980s and 90s, to a full abstraction of his own, something of the reverse is true – that there remains to his statement and presentation of the entirely abstract figure, something of the cheerful take-it-or-leave it quality of his old pop images.” William Packer writing for the Harvey Daniels Retrospective at the White Gallery 2001

1936 Born London
1951-56 Willesden School of Art, NDD
1956-58 London University, Slade DipFA (London)
1958-59 Brighton College of Art (now University of Brighton) ATD
1963-89 Lecturer, Brighton College Art, Brighton Polytechnic
1967 Marriage to artist Judy Stapleton
1970 Birth of daughter Zoe
1972 Birth of daughter Prudence
1989 Studios in Brighton and La Rochelle, France
2001 Moved French studio to Lézan, France


_DSC0041_DxOWorks in Public Collections include

Museum of Modern Art (MOMA), New York
Metropolitan Museum, New York
Victoria and Albert Museum, London
London University, Extra-Mural Dept, London
Hove Museum of Art, Hove, Sussex
Trinity College, Oxford
Hertfordshire County Council, Hertfordshire
Redbridge Art Centre, Redbridge, Essex
Detroit Institute of Art, Detroit, USA
Flint Museum, Michigan, USA
Trisolini Gallery, Ohio University, Ohio, USA
Wright State University, Ohio, USA
The Aldrich Collection, University of Brighton
British Council Collection, London
Shipley Art Gallery, Gateshead
South London Art Gallery, London
Eastern Michigan University, Ypsilanti, USA
Cumberland House Museum, Southsea, Hampshire
Free Library of Philadelphia, USA
Yale University Art Gallery, Connecticut, USA
Grampian Hospitals Arts Trust
Bergens Kunstforening, Norway
City Art Gallery, Leeds
Tower Art Gallery, Eastbourne
University of Sussex, Falmer, Brighton

Publications Include

2002 Drawings by Harvey Daniels Introduction by Michael Tucker, published by Four Square.
1988 The Day Book: 378 British Artists , edited by Andrew Jones. First exhibited at Smith’s Gallery, London
1986 Article for Peacock Printmakers catalogue, Talbot Rice Gallery, University of Edinburgh, in conjunction with Peacock Printmakers, Aberdeen
1974 Printing , Paul Hamlyn
1972 Exploring Printmaking for Young People; Simple Printmaking for Children (with Silvie Turner), Van Nostrand Reinhold
1970 Printmaking , Paul Hamlyn

Public Lectures include

2000 B.I.P. Brighton Independent Printmaking. Prints and aspects of my work from 1950 to 2000. All day lecture and seminar.
2000 B.I.P. Brighton Independent Printmaking. Drawings and watercolours. All day lecture and seminar.
1996 Color and other elements in my work Tate Gallery Talks (with David Whitaker and Ben Johnson) London
1996 Harvey Daniels: the Development The Victorian College of the Arts, Melbourne, Australia; also given at The University of New South Wales, Sidney
1981 Lecture tour to the USA included: Chicago Art Institute, Ohio University, Cincinnati University, University of North Kentucky, The Baltimore Institute, University of Milwaukee, Cincinnati Art Academy

Solo exhibitions

2011 Chez Arthur et Janine, Arles, France
2008 Ateliers Ouverts Chemin a’Art Cevennes, Harvey Daniels Open Studios, Chemin de la Caladette, 30350, Lézan, France
2007 Ateliers Ouverts Chemin a’Art Cevennes, Harvey Daniels Open Studios, Chemin de la Caladette, 30350, Lézan, France
2004 Galerie Kämmerling Aachen , Germany
2003 Galerie Eclats d’ Art Aspects Harvey Daniels with Judy Stapleton Uzès, France
2003 Some very small paintings, Brighton Festival Open House, Fiveways artists, Brighton
2002 Harvey Daniels – A Retrospective, White Gallery, Hove
2001 Harvey Daniels – Bridget Riley, White Gallery, Hove
2001 Harvey Daniels Exhibition, Roffey Park, Surrey
2000 Brighton Festival, Five Ways Open House
2000 Paintings, Prints and a Sculpture, Open House, Brighton Festival
1999 Harvey Daniels – 10 Years, Peacock Gallery, Aberdeen, Scotland
1997 Harvey Daniels: Ten Years, University of Brighton Gallery
1997 Komedia Cafe Gallery, Brighton
1996 Pallant House, Chichester
1995 Harriet Green Gallery, London
1995 The Cadogan Gallery, London
1994 Open House, Brighton Festival
1993 London Print Workshop
1992 The Barbican Centre, London
1992 The City Art Gallery, London
1990 HALL Richards Gallery, London
1990 Groucho Club, London
1989 Printworks Gallery, Chicago

Prizes and awards

2003 Winner of the Royal Watercolour Society award for best watercolour. Open exhibition.
1999 Freshfields Purchase Prize, C20, Bankside Gallery, London
1998 Prizewinner, Chichester Open


2004 A set of 12 new screenprints printed by Jane Sampson at B.I.P. Brighton. Published by Four Square.
2004 Three large dyed woodcuts printed by Michael Waight at Peacock Visual Arts, Aberdeen. Published by Four Square.
1999 Summer Psalms 10 etchings by Harvey Daniels and 10 poems by Gary Pacernik
1988 Exhibition a portfolio of 15 screen prints with title page and original inlaid cover. Printed by Jane Sampson, bound by Roger Green and published in an edition of 30. First exhibited in British Livres d’Artiste, The Hardware Gallery, London

Harvey Daniels is the Andy Warhol of England

Moshe Castel

Moshe Castel (1909-1992) often used Judaic symbolism in his artworks. He became famous for his work using basalt found in the black rock, which is indigenous to several areas of Israel. Many of his paintings are characterized by his creation of what appears to be an ancient form of writing. These symbols are painted in relief utilizing the black rock material. The strong reds, greens and blacks are indicative of his paintings. Castel is one of the most prominent Israeli artists, born in Jerusalem, descendant of a Sepharadic family who came to Israel during the days of the Spanish Expulsion. Studied art at Bezalel School of Arts and later in Paris where he became part of a circle of artists that included Picasso, Matisse, Sutin and Chagall. His works adorn the Israeli Presidential Mansion and the Knesset (Israeli Parliament) in Jerusalem and are exhibited in some of the most important museums around the world. About The Artist: He lived in Paris from 1927 until 1940. There he used the backdrop of the street scenes for his subject matter and exhibited his paintings in the salons of Paris. On his return to Israel he became famous for his work using basalt found in the black rock, which is indigenous to several areas of Israel. Many of his paintings are characterized by his creation of what appears to be an ancient form of writing. These symbols are painted in relief utilizing the black rock material. His portraits and street scenes often possess a Spanish influence, probably based on his Castilian Sephardic heritage. The strong reds, greens and blacks are indicative of this phase of his paintings. From 1959 the artist spent his time between Paris, New York and Israel. He is also famous for his large murals, which can be found in many important edifices around the world. RÉSUMÉ: He is awarded in 1946 the Dizengoff Prize on behalf of the Tel-Aviv Municipality. In 1947, he initiates and founds, together with other painters and sculptors the group “New Horizons” (“Offakim Hadashim”).In 1959, he came to Paris, acquired a studio in Montparnasse where he spends a few months every year. He awarded prize “Premier do Estado” at the Sao Paulo Biennale, Brazil. 1928/40 Participates in individual and group exhibitions in well known galleries and “salons” in Paris. 1955 Exhibition on the entire top floor of the Tel Aviv Museum. This was the first exhibition of abstract art in Israel Mural painting (9 x 4 m) for Hotel Accadia. Israel Mural painting for “El Al” offices at Rockefeller Center, New York. 1958 Mural glass painting “Face to the Future” (18×3.5 m) at the National Convention Center. Jerusalem. 1966 Executed a large basalt mural painting “Glory to Jerusalem” (7 x 3 m) for the Knesset (Israel Parliament) in Jerusalem. 1970/71 Executes two large basalt mural-paintings for the ceremonial hall of the Presidential Mansion in Jerusalem. “Wall of Glory to Jerusalem” and Golden Scroll”. 1984 “Portrait of an artists” Moshe Castel – Israel Film Service producer. 1984/85 Years of Creativity: 1924-1984 – Jubilee Exhibition at the Knesset the House of Parliament, in Jerusalem. 1989 Opening Exhibition of Beer-Sheva Museum of Israeli Art. 1987 Yurek Gallery, Ramat Hasharon Dania Art Gallery, Haifa Works in public collections
  • The Museum of Modern Art, New York
  • The Tate Gallery, London
  • Museum of Fine Arts, Boston
  • The Jewish Museum, New York
  • The Museum of Fine Arts, Houston-Texas
  • Phoenix Art Museum, Arizona
  • Art Museum Berkeley University, California
  • Brandeis University, Boston
  • Smith College Museum, Northampton, Mass
  • Fogg Art Museum, Harvard University
  • Wadsworth Athenaeum, Art Museum, Conn
  • The High Museum of Art, Atlanta, Georgia
  • Baltimore Museum of Art
  • John Hopkins University, Baltimore
  • American Public Insurance Company, Des Moines
  • The Knesset House of Parliament, Jerusalem
  • The Brooklyn Museum of Art
  • Fairleigh Dickinson Fine Arts Museum, NJ
  • U.S. Steel, Pittsburg
  • Rehovot House of Sir Isaac and Lady Edith Wolfson at the Weizman Institute
  • Temple B’nai Shalom, Rockville Center, New York
  • Temple Emanu-El, Providence, Rhode Island
  • San Francisco Museum of Art
  • The Dropsie College, Philadelphia
  • Albright Knox Art Gallery, Buffalo, New York
  • Temple Beth-El of Great Neck, New York
  • Museum of the Vatican, Rome
  • The presidential Mansion, Jerusalem
Additional Information: Born: 1909 Birthplace: Jerusalem, Israel Died: 1992

Charles Bragg

About The Artist: Charles Bragg is indeed a modern-day master of satire, whose career began in the early 1950’s and has to date produced over 350 etchings, the most noted being his series devoted to the medical and legal professions. Bragg’s genius for poking fun at a variety of professions through classical renditions of idiosyncratic characters has given critics reason to equate his talent with that of such great satirists as Daumier, Hogarth and Bosch. His lighthearted social commentary indicates both a keen perception of the human condition and an astute observation of contemporary times. Viewing his work, we are drawn into a world of zany characters whose exaggerated gestures and Freudian mannerisms reveal their innermost soul. Laying bare their fears, trust and curiosity, Bragg’s characters invoke a complex mixture of emotions from tragic tears to comic laughter. Meticulous depiction of human frailities – pompous attorneys, unrelenting judges, infantile pediatricians, lascivious plastic surgeons – threads through all his work. His satirical commentary runs the gamut from law and medicine to business and politics, social and sexual situations, sports and biblical figures, even the animal kingdom. Nothing escapes the artist’s penetrating eye. He never fails to point out that the world is filled with great irony and that things are often not as they appear. As Bragg himself comments, “The world is off center and we each perceive it from our egocentric point of view. It’s just a strange and wondrous thing with little rhyme or reason. It’s all there for the watching.”

Bernard Charoy

Bernard Charoy is a brilliant talented figurative artist, who has continued to follow and develop his creativity instincts for nearly half a century. Charoy is, in large part, a painter of the “eternal feminine” through Charoy is known and, no doubt, will always be remembered first and foremost as a painter of women, there is something more singular, more specific to his oeuvre. Whether it be the mood and mystery of some secluded landscape, the delight and freshness of an adolescent girl discovering and exhorting in her own femininity, or the cool and tantalising gaze of a beautiful woman in full command of her seductive powers, Charoy’s paintings always communicate a feeling.