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AMERICAN BEST FURNITURE - AMERICAN BEST


AMERICAN BEST FURNITURE - OUTDOOR BAR PATIO FURNITURE - SWEDISH MODERN FURNITURE.



American Best Furniture





american best furniture






    furniture
  • A person's habitual attitude, outlook, and way of thinking

  • Small accessories or fittings for a particular use or piece of equipment

  • Furniture is the mass noun for the movable objects ('mobile' in Latin languages) intended to support various human activities such as seating and sleeping in beds, to hold objects at a convenient height for work using horizontal surfaces above the ground, or to store things.

  • furnishings that make a room or other area ready for occupancy; "they had too much furniture for the small apartment"; "there was only one piece of furniture in the room"

  • Large movable equipment, such as tables and chairs, used to make a house, office, or other space suitable for living or working

  • Furniture + 2 is the most recent EP released by American post-hardcore band Fugazi. It was recorded in January and February 2001, the same time that the band was recording their last album, The Argument, and released in October 2001 on 7" and on CD.





    american
  • A native or citizen of the United States

  • of or relating to the United States of America or its people or language or culture; "American citizens"; "American English"; "the American dream"

  • a native or inhabitant of the United States

  • A native or inhabitant of any of the countries of North, South, or Central America

  • The English language as it is used in the United States; American English

  • of or relating to or characteristic of the continents and islands of the Americas; "the American hemisphere"; "American flora and fauna"











Seligmann, Kurt (1900-1962) - 1946 Initiation, (Christie's New York, 1993)




Seligmann, Kurt (1900-1962) - 1946 Initiation, (Christie's New York, 1993)





Oil on canvas; 71 x 91.4 cm.

Kurt Seligmann was a Swiss-American Surrealist painter and engraver. Born in Basel he was the son of a successful Furniture Department store owner. After study at the Ecole des Beaux Arts, Geneva, and several unhappy years working in his father's business in Basel, Seligmann left for Paris where he looked up his old friends from Geneva, the sculptor Alberto Giacometti and the art critic Pierre Courthion. Through Giacometti he met Hans Arp and Jean Helion, who admired his sinister biomorphic paintings and invited him to join their group, Abstraction-Creation Art Non-Figuratif. In the mid-1930s his work began to take on a more baroque aspect, as he animated the prancing figures in his paintings and etchings with festoons of ribbons, drapery and heraldic paraphernalia. It was about this time (1935) that he married Arlette Paraf, a granddaughter of the founder of the Wildenstein Gallery. Together they traveled extensively, first around the world (a year-long honey-moon trip in 1936) and then to North America and British Columbia (1938). In 1937, Seligmann was formally accepted as a member of the Surrealist group in Paris by Andre Breton, who collected his work.

At the outbreak of World War Seligmann was the first European Surrealist to arrive in New York, ostensibly for an exhibition of his work. Once there, he began a concerted effort to aid his Surrealist colleagues left behind in France and bring them to safety. Seligmann's art continued to evolve and really matured in the 1940s in the United States, where he did his best work. Beginning in 1940, he and Arlette lived at the Beaux Arts Building at 40th Street in New York, and later acquired a farm north of the city in the hamlet of Sugar Loaf, in Orange County. Seligmann befriended many American artists and became a close friend of the art historian Meyer Schapiro. With Schapiro as author, he produced in 1944 a limited edition set of six etchings illustrating the Myth of Oedipus, surely his masterpiece in this medium and one of the greatest works of Surrealist printmaking. As the Surrealists' expert on magic, he also wrote The History of Magic : The Mirror of Magic (Pantheon Books, 1948). Mythology and esoterica always informed the fascinating and turbulent imagery of his "dance macabre" paintings, and his work began to be exhibited widely and acquired by museums throughout the United States and Europe after the war.

Seligmann taught for many years at various colleges around New York, particularly at Brooklyn College, from which he retired in 1958. The changing nature of the New York art world toward an embracement of Abstract Expressionism caused his work to be relegated to past history. Due to illness, he gave up his New York apartment and retired to his farm, where he died of an accidental self-inflicted gunshot wound in 1962.













Seligmann, Kurt (1900-1962) - 1933 The Harpist (Smart Museum of Art at the University of Chicago, U.S.A.)




Seligmann, Kurt (1900-1962) - 1933 The Harpist (Smart Museum of Art at the University of Chicago, U.S.A.)





Oil on board; 81.9 x 104.8

Kurt Seligmann was a Swiss-American Surrealist painter and engraver. Born in Basel he was the son of a successful Furniture Department store owner. After study at the Ecole des Beaux Arts, Geneva, and several unhappy years working in his father's business in Basel, Seligmann left for Paris where he looked up his old friends from Geneva, the sculptor Alberto Giacometti and the art critic Pierre Courthion. Through Giacometti he met Hans Arp and Jean Helion, who admired his sinister biomorphic paintings and invited him to join their group, Abstraction-Creation Art Non-Figuratif. In the mid-1930s his work began to take on a more baroque aspect, as he animated the prancing figures in his paintings and etchings with festoons of ribbons, drapery and heraldic paraphernalia. It was about this time (1935) that he married Arlette Paraf, a granddaughter of the founder of the Wildenstein Gallery. Together they traveled extensively, first around the world (a year-long honey-moon trip in 1936) and then to North America and British Columbia (1938). In 1937, Seligmann was formally accepted as a member of the Surrealist group in Paris by Andre Breton, who collected his work.

At the outbreak of World War Seligmann was the first European Surrealist to arrive in New York, ostensibly for an exhibition of his work. Once there, he began a concerted effort to aid his Surrealist colleagues left behind in France and bring them to safety. Seligmann's art continued to evolve and really matured in the 1940s in the United States, where he did his best work. Beginning in 1940, he and Arlette lived at the Beaux Arts Building at 40th Street in New York, and later acquired a farm north of the city in the hamlet of Sugar Loaf, in Orange County. Seligmann befriended many American artists and became a close friend of the art historian Meyer Schapiro. With Schapiro as author, he produced in 1944 a limited edition set of six etchings illustrating the Myth of Oedipus, surely his masterpiece in this medium and one of the greatest works of Surrealist printmaking. As the Surrealists' expert on magic, he also wrote The History of Magic : The Mirror of Magic (Pantheon Books, 1948). Mythology and esoterica always informed the fascinating and turbulent imagery of his "dance macabre" paintings, and his work began to be exhibited widely and acquired by museums throughout the United States and Europe after the war.

Seligmann taught for many years at various colleges around New York, particularly at Brooklyn College, from which he retired in 1958. The changing nature of the New York art world toward an embracement of Abstract Expressionism caused his work to be relegated to past history. Due to illness, he gave up his New York apartment and retired to his farm, where he died of an accidental self-inflicted gunshot wound in 1962.









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Post je objavljen 20.10.2011. u 23:01 sati.