SIGNED Art LITHOGRAPH Hebrew AVIGDOR STEMATSKY Ofakim Hadashim ISRAEL Jewish

Description

DESCRIPTION
:
Here for sale is an ORIGINAL hand SIGNED ( With pencil ) , LIMITED and NUMBERED 83/135 Jewish - Judaica COLORFUL STONE LITHOGRAPH by the acclaimed Israeli artist of RUSSIAN descent who is considered one of the Eretz Israeli - Hebrew - jewish pioneers of Israeli ABSTRACT ART , One of the most important and influential FOUNDERS of the "OFAKIM HADASHIM - NEW HORIZONS" artistic group - AVIGDOR STEMATSKY . Depicting an ISRAELI VIEW , Very likely JERUSALEM or NAZARETH .
The STONE is HAND SIGNED "A.STEMATSKY" and NUMBERED  ( 83/135) by STEMATSKY with pencil .  Sheet size is around 20
x 28 " ( Not accurate ) . Heavy LITHOGRAPH stock  . Very good condition.( Pls look at scan for accurate AS IS images )
. The lithograph will be sent rolled in a special protective rigid sealed tube.
AUTHENTICITY
: This is an ORIGINAL vintage hand signed LITHOGRAPH , NOT a reproduction or a reprint  , It holds life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.
PAYMENTS
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ayment method accepted : Paypal
& All credit cards
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SHIPPMENT
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Shipp worldwide via registered airmail is $ 25 .
The lithograph will be sent rolled in a special protective rigid sealed tube.
Handling around 5 days after payment.
Avigdor Stematsky (1908–89) was a Russian-born Israeli painter. He is considered one of the pioneers of Israeli abstract art.[1] Contents 1 Biography 2 Gallery 3 Education 4 Teaching 5 Awards and prizes 6 See also 7 References 8 External links Biography[edit] Stematsky was born in 1908 in Odessa. He joined the Massad group in Tel Aviv. In 1929, he went to Paris to study at Académie de la Grande Chaumière and Académie Colarossi. He was one of the founders of the New Horizons group.[2] He held his first solo exhibition at the Tel Aviv Museum of Art at the age of 31.[3] In the constellation of Israel art, Stematsky and Yehezkiel Streichman stand out as a pair. Although each developed his own distinct, individual style, there are many points of affinity between them: a common background as students of Bezalel in the 1920s, a response to the influences of the Jewish School of Paris in the 1930s, and of the "modern" (late cubist) art in the 1940s and fifties, when they were also leading teachers in Tel Aviv. Gallery[edit] Etude, 1962 Israel Museum Collection B95.0596   Painting, 1975-76 Israel Museum Collection B78.0004 Education[edit] 1925–26 – Herzliya Hebrew Gymnasium, Tel Aviv 1926–28 – Bezalel Academy of Arts and Design Jerusalem, with Arie Aroch, Moshe Castel and others 1928 – Technion, Haifa, Architecture 1929 – Yitzhak Frenkel Studio, Tel Aviv 1930–31 – Académie de la Grande Chaumière, Paris, with Avni Teaching[edit] 1954-58 Studio with Yehezkel Streichman which was active until 1948 1952–60 Avni Institute of Art and Design, Tel Aviv 1973, 1977 Haifa University and Avni Institute of Art and Design Awards and prizes[edit] 1941 The Dizengoff Prize for Painting and Sculpture, Municipality of Tel Aviv Jaffa, Tel Aviv 1956 The Dizengoff Prize for Painting and Sculpture, Municipality of Tel Aviv Jaffa, Tel Aviv 1958 Ramat Gan Prize 1965 Milo Club Prize 1967 First Prize Tower of David Exhibition, Jerusalem 1973 The Meir Sherman Prize, Israel Museum, Jerusalem 1976 Sandberg Prize for Israeli Art, Israel Museum, Jerusalem *****The Ofakim Hadashim art movement began with a group of artists who mounted an exhibition in Tel Aviv's Habima national theater in December 1942, under the name "The Group of Eight". The group evolved into a coherent artistic movement only after the founding of the state of Israel in 1948. Members of the school included Arie Aroch, Zvi Meirowitch, Avraham Naton (Natanson), Avigdor Stematsky and Yehezkel Streichman. The work of sculptor Dov Feigin also appeared in the catalog of the 1942 exhibition, though it was not displayed. In February 1947 five of the original members of the group joined Joseph Zaritsky for an exhibit called "The Group of Seven" at the Tel Aviv Museum of Art.[1] Members of the group stated that "The group is based in modernism, especially French, yet seeks a unique style that expresses our own reality".[2] For these artists, this was not only a statement of philosophy, but a practical work plan. Zaritsky, who served as chairman of the League of Painters and Sculptors in the Land of Israel, opposed the league's philosophy of equality among artists. In 1948, at the time of the opening of the artists' house that was to become the League's permanent home, he was delegated to select works for the Bienniale in Venice. His selections caused such an outrage among the members that he was ousted from his position. He walked out with a group of artists, and founded an alternative movement, the "New Horizons". On 9 November 1948, the Tel Aviv Museum of Art opened the first exhibit bearing the movement's name. Among the artists showing were Pinchas Abramovich, Marcel Janco, Aharon Kahana, Yohanan Simon, Avshalom Okashi and Moshe Castel, as well as movement founders Zaritsky, Streichman and Feigin. The group sought a style that reflected the striving for Zionism and Modernism. This style was largely dictated by the leading artists of the group - Zaritsky, Stematsky Mairovich and Streichman. In practice, this style was a variant of European modernism. The style has been called "lyrical abstract", but in fact, there was little purely abstract art, but rather works rooted in the local visual landscape. This essentially figurative style was pushed toward the abstract by bold brush strokes, and a strong use of bright colors typical of the "Land of Israel" style, reflecting the strong Mediterranean light. Formats were generally rather small, and the style was similar to European abstract art before the second World War, akin to the art of Wassily Kandinsky, and unlike the abstract art prevalent in the United States at the time. For example, in his series "Yehiam" (1949–1952), Zaritsky depicts scenes from the establishment of Kibbutz Yehiam in northern Israel. The early paintings in this series (mostly watercolors) depict the natural landscapes of the region, while the later paintings are (mostly oil) abstractions of these earlier scenes. This progression, contends art critic and curator Mordecai Omer, reflects Zaritsky's belief that external visual reality is the basis of artistic originality.[3] Zvi Meirovich, a prominent members of Okakim Hadashim he painted in the abstract lyric style but unlike his colleagues Mairovich was more inclined to a German rather than a French pallette. Hs bold use of black and reds particularly in the gouaches. The big breakthrough was in oil pastels, that only he made in large format. Using a deep space photo surface rather than a flat paper was pioneering moment. Others in the group, however, deviated from this style. Marcel Janco, of international fame for his involvement in the Dada movement in Europe in the 1930s, did not adopt this approach to abstraction; rather his art uses European Cubist and Expressionist styles to create a Jewish-Zionist narrative. Moshe Castel, also, went through a transformation during the 1950s from abstraction to expressionism characteristic of the Canaanist movement. In the field of sculpture, the group introduced new media. Yechiel Shemi, Dov Feigin, and, after a sojourn in Britain, Itzhak Danziger, introduced welded steel as a new medium. This new form freed these artists from the figurative character of stone and wood carving, for a more purely abstract oeuvre. Here, too, however, there is frequent reference to the Canaanite figurativeness and symbolism. Indeed, during the 1950s, the "New Horizons" group tended more and more toward the abstract, and away from reliance on the figurative. Zaritsky led this shift, which was rooted in what he saw as a guiding ideology. Some members of the group, however, rejected this ideology, and eventually quit the movement. These included Janco, Aharon Kahana and Yehiel Simon.[4] Realism and Social art While the abstract and secular works of the New Horizons group had profound influence on the course of art in Israel, they were nonetheless considered at the time to be on the fringes of mainstream art, which was mostly figurative and often bearing explicit Jewish and Zionist messages. This explicitly nationalist trend in Israeli art was denounced by its opponents as "regionalism".[5] New Horizon critics, who maintained that art was international and universal, were opposed by the ideology of the Bezalel School at the time. Mordechai Ardon, head of Bezalel, wrote in 1954, "Every artist, like every citizen, must serve his country in heart and in soul".[6] New Horizons artists, too, despite their avowed adherence to a philosophy of universality, often expressed in their works sentiments of nationalism, Zionism, and socialism. For example, Zaritsky, one of the leading ideologues of the universalist school, produced series of paintings focusing on Israeli kibbutzim - his series "Yehiam", and a similar series on Naan (a kibbutz in central Israel), 1950–1952. Both these series include abstractions of the Israeli landscape. Zvi Meirovich one of the founders of New Horizons produced a series of large oil paintings called Mizpe Ramon focusing on the Israeli deseret. Sculptor Dov Feigin produced "Wheat Sheaves" in 1956, and Dadaist Janco painted "Soldiers", "Air raid Alarms" and "Maabarot" (jerry-built communities housing new Jewish immigrants in the 1950s). Some of the New Horizons artists belonged to the "Center for Advanced Culture" run by the Socialist-Zionist youth movement "Hashomer Hatzair ".[7] This activity culminated in the founding of the artists' village Ein Harod by a group of artists headed by Janco. There, Janco hoped to found a new socialist and artistic utopia. Mordechai Ardon's work stands out from that of other New Horizons artists for dealing with the mystical and historical, rather than concentrating on the present. His canvases often depict episodes from Jewish history, from Biblical scenes to the Holocaust. In 1965 Raffi Lavie founded a group called "10+", which sought an alternative to the "lyric abstraction" of the New Horizons group. Group members Arie ArochZvi MeirovichAvraham Naton (Natanson)Avigdor StematskyYehezkel StreichmanDov FeiginJoseph ZaritskyPinchas AbramovichMarcel JancoShmuel RaayoniAharon KahanaYohanan SimonAvshalom OkashiMoshe CastelAvigdor Renzo LuisadaMordechai ArieliItzhak DanzigerJacob WexlerMoshe PropesRobert BaserRuth ZarfatiChaim KieweMoshe SternschussYechiel ShemiKosso Eloul
Exhibitions Painters and Sculptors Pavilion, Jerusalem, 23 November, 1949 - 23 December, 1949Tel Aviv Museum of Art, 11 January, 1953 - 12 January, 1953Tel Aviv Museum of Art, 22 March, 1955 - 22 April, 1955Tel Aviv Museum of Art, 5 June, 1956 - 6 June, 1956Museum for Modern Art, Haifa, 1957Tel Aviv Museum of Art, 1958Museum of Art, Ein Harod 13 July, 2006Museum of Art, Ein Harod, 13 October, 2009 - 11 November, 2009Museum for Modern Art, Haifa, 27 December, 2012 - 16 January, 2013 [8] See also Israeli sculptureList of public art in IsraelVisual arts in Israel References 1. · Gila Blass, New Horizons (Reshefim Publishers, Tel Aviv, 1980), pp. 16-17 (in Hebrew). · · Davar Ha-Shavua, 12 February 1947. · · Mordechai Omer, Zaritzky (Tel Aviv Museum, Tel Aviv, 1984), p. 86. · · See: Gila Blass, New Horizons, pp. 64-66. · · Yona Fischer, Tamar Manor-Friedman, The Birth of Now: The 1960s in Israeli Art (Ashdod Museum of Art, 2008), p. 10 (In Hebrew). · · Cited in: Galia Bar-Or, Gideon Efrat, The First Decade: Hegemony and Multiciplicity (Museum of Art Ein Harod, 2008), p. 21 (In Hebrew). · · See: Gila Blass, New Horizons, p. 29. 8. · Information Center for Israeli Art. Additional years (1950 , 1952 , 1959) noted in Ruth Zarfati biography see here ****  Avigdor Stematsky 1908 - 1989   Avigdor Stematsky, one of the forefathers of Israeli abstract, was born in Odessa and immigrated to Israel in the early 1920's. Between 1925 and 1930 he studied with artist Arie Orland and at the Bezalel Academy, and then spent a year in Paris, where he was introduced to the avant-garde style of the early twentieth century. In 1946, he, together with Yehezkel Streichman, founded the famous “Studia”, which cultivated many artists who became well-known, such as Leah Nikel and Danny Caravan.  In 1948, he joined the founders of the "New Horizons" movement and quickly became one of the group’s most influential members.  Since his first solo exhibition in the Tel Aviv Museum of Art at the age of 31, his works have been exhibited and purchased by important museums galleries, in Israel and worldwide. In the last decade of his life, Stematsky created a series of pure abstracts using a unique technique of thinned tempera on industrial paper, all sized 100 x 140 cm, displaying new peaks of freedom, movement and sensuality never before seen in his work. 10 of these will be exhibited at Golconda Fine Art in October 2008.***Avigdor Stematsky, an Israeli painter and prints artist, was born in Odessa, in the Russian Empire, in 1908. In 1921 he immigrated with his family to the Land of Israel. Stematsky studied at the Bezalel Academy between 1926-1929. In the thirties he went to Paris, where he experienced the Avant-garde art of the early 20th century. Upon his return to Israel Stematsky founded the group "Massad", and later co-founded "Ofakim Hadashim" ("New Horizons"), where he was one of the most prominent artists, alongside Joseph Zaritsky and Yehezkel Streichman. Stematzky's work style was influenced by European abstract painting but, like most Israeli abstract painting, uses figurative sources. His stay in France did not change his style, which was already formed. He remained an individualist, living in his own world. He knew how to combine colors and get a grid of lines and color tones that meet one another and intertwined. In his colorful surfaces, a refined sensitivity is found, that is very reminiscent Zaritsky. Stematsky died in 1989 in Tel Aviv. Education 1922-25 Montefiore School, Tel Aviv 1925-26 Herzliya Hebrew Gymnasium, Tel-Aviv 1926-28 Bezalel, Jerusalem, with Avni, Arieh Aroch, Moshe Castel and others 1928 Technion, Haifa, Architecture 1929 Yitzhak Frenkel Studio, Tel Aviv 1930-31 Académie de la Grande Chaumière, Paris, France, with Avni Teaching 1954-58 Studio with Yehezkel Streichman 1952-60 Avni Institute, Tel Aviv 1973, 1977 Haifa University and Avni Institute Awards And Prizes 1941 Dizengoff Prize for Painting and Sculpture 1956 Dizengoff Prize for Painting and Sculpture, Municipality of Tel Aviv-Jaffa 1958 Ramat Gan Prize 1965 Milo Club Prize 1967 First prize in an exhibition in honor of the liberation of Jerusalem, David's Tower, Jerusalem 1973 The Meir Sherman Prize, Israel Museum, Jerusalem 1976 Sandberg Prize for Israeli Art, Israel Museum, Jerusalem**** Avigdor Stematsky (1908–89) was a Russian-born Israeli painter. He is considered one of the pioneers of Israeli abstract art.Stematsky was born in 1908 in Odessa. He joined the Massad group in Tel Aviv. In 1929, he went to Paris to study at Académie de la Grande Chaumière and Académie Colarossi. He was one of the founders of the New Horizons group. He held his first solo exhibition at the Tel Aviv Museum of Art at the age of 31. In the constellation of Israel art, Stematsky and Yehezkiel Streichman stand out as a pair. Although each developed his own distinct, individual style, there are many points of affinity between them: a common background as students of Bezalel in the 1920s, a response to the influences of the Jewish School of Paris in the 1930s, and of the “modern” (late cubist) art in the 1940s and fifties, when they were also leading teachers in Tel Aviv. **** ebay3429