
seen from Sweden

seen from United States

seen from Sweden
seen from China
seen from United States
seen from Guatemala
seen from China

seen from United States
seen from Ireland

seen from Malaysia
seen from China

seen from United States
seen from United States
seen from United States

seen from Philippines
seen from China
seen from United States
seen from United States
seen from United States
seen from United States
Idelle Weber, Vampirella--E. 2nd St., 1975, watercolor and pencil on paper, image: 24 3⁄8 x 35 in. (61.8 x 88.9 cm), Smithsonian American Art Museum, Museum purchase, 1976.66
Untitled (c. 1968-70). Idelle Weber.
Idelle Weber (American, 1932-2020), Madison Avenue, 1960s. Tempera and graphite on paper, 19.1 x 25.4 cm.
Reflection, Idelle Weber, 1962
Liquitex on linen 79 x 71 in. (200.66 x 180.34 cm) Albright-Knox Art Gallery, Buffalo, NY, USA
On November 12, Hollis Taggart will open Figure as Form , a group exhibition that explores the ways in which artists,...
“Figure as Form,” a group exhibition that explores the ways in which artists, from the post-war era to the present day, have used the human form as a compositional device. Grounded in the 1909 text, “An Essay in Aesthetics,” written by British art critic Roger Fry, the presentation highlights the ways in which artists use line, gesture, light, and color to convey emotion and sensation, pushing beyond the creation of naturalistic human likeness to achieve broader imaginative effects. By bringing together works by modernists such as Romare Bearden, Richard Pousette-Dart, William Scharf, and Idelle Weber with contemporary artists like Alex Kanevsky, Joshua Hagler, Kenichi Hoshine, and Aubrey Levinthal, the exhibition captures the ongoing relevance of these formal dialogues and considers how formalist interpretations of the body continue to convey narrative and socio-political content and also enhance awareness and engagement with lived experience.
Pistia-Kew, 1989-1990 - Idelle Weber (b. 1932)
Idelle Weber