Prints

"Holy Entrance to the Slavic Mystery Place," created in 1920, is a haunting and evocative masterpiece of Polish Symbolism. The painting depicts a central female figure, nude and poised in a moment of ritual or revelation, framed by the towering, weathered gates of a sacred ancient site. Flanking the entrance are two massive, totemic idolsmonumental representations of Slavic deities, carved with intricate and weathered details that speak of long-forgotten myths. The contrast between the deep, verdant teals of the stonework and the luminous, pink-hued clouds of the sunset creates a surreal, dreamlike atmosphere. Wawrzeniecki uses a rich, textured application of paint to emphasize the antiquity of the setting, making the stones appear to pulsate with age and secret knowledge. The pots in the foreground suggest a place of offering and transition, where the human form meets the divine and the historical meets the mystical. This work is a profound exploration of cultural roots, spiritual mystery, and the enduring power of the landscape.

Printed on archival-quality heavyweight matte paper, on wide format Canon professional series fine art pigment-based printers. Boarderless.

Vasily Kandinsky was forced to leave Germany and the Bauhaus school of art, architecture, and design due to political pressures during World War II, but he did not allow the mood of desolation pervading war-torn Europe to manifest in his paintings. The canvases and works on paper he completed during his 1934–44 residence in Neuilly-sur-Seine are marked by a general lightening of palette and the introduction of organic, even biological, forms.

Capricious Forms is a product of the artist at perhaps his most playful moment: interspersed with the clearly delineated circles and squares—the fundamental geometric shapes of his Bauhaus works—are floating and dancing curvilinear figures, all rendered in pastel shades. Several forms can be interpreted as stylized representations of embryo-shaped figures. Additional shapes resemble scientific illustrations of placental tissue, with which Kandinsky (who collected embryological, zoological, and botanical sourcebooks) was undoubtedly familiar. The biological imagery may be read as the artist’s optimistic vision for a not-too-distant future of rebirth and regeneration.

-Nancy Spector, Guggenheim 

Printed on archival heavyweight matte paper, on wide format Canon professional series fine art pigment-based printers. 

Edmund Dulac's illustration of "the little mermaid." From Hans Christian Andersen's book, "The Snow Queen and Other Stories from Hans Andersen

Printed on archival heavyweight matte paper, on wide format Canon professional series fine art pigment-based printers. Borderless.

Printed on archival heavyweight matte paper, on wide format Canon professional series fine art pigment-based printers. Borderless.