Nick Sarazan

	Title: Procida fishing Harbor. Naples. Italy. Oil painting on canvas size: 50 x 60 cm. prise : €
	Title: First light, Kastelorizo, Meis, Greece. Oil painting on canvas size: 60 x 40 cm. prise : €
	Title: Noon, Castelorizo, Mais. Greece Oil painting on canvas size: 50 x 60 cm. prise : €
	Title: Behind. Rome. Street scene. Oil painting on canvas size: 80 x 70 cm. prise : €
	Title: Night out in Provence. France. Oil painting on canvas size: 80 x 60 cm. prise : €
	Title: Tourists gone. Stockholm city, old town. Gamlastan. Oil painting on canvas size: 60 x 80 cm. prise : € 1350 Sold

News archive:   Newsletter we have received from various art websites.

 From Impressionism to Modernism: The Chester Dale Collection

Chester Dale’s magnificent bequest to the National Gallery of Art in 1962 included a generous endowment as well as one of America’s most important collections of French painting from the late 19th and early 20th centuries. This special exhibition, the first in 45 years to explore the extraordinary legacy left to the nation by this passionate collector, features some 83 of his finest French and American paintings. Among the masterpieces on view are Jean-Baptiste-Camille Corot’s Forest of Fontainebleau (1834), Auguste Renoir’s A Girl with a Watering Can (1876), Mary Cassatt’s Boating Party (1893/1894), Edouard Manet’s Old Musician (1862), Pablo Picasso’s Family of Saltimbanques (1905), and George Bellows’ Blue Morning (1909). Other artists represented include Paul Cezanne, Edgar Degas, Vincent van Gogh, Henri Matisse, Amedeo Modigliani, and Claude Monet. Dale was an astute businessman who made his fortune on Wall Street in the bond market. He thrived on forging deals and translated much of this energy and talent into his art collecting. He served on the board of the National Gallery of Art from 1943 and as president from 1955 until his death in 1962. Portraits of Dale by Salvador Dali and Diego Rivera are included in the show, along with portraits of Dale’s wife Maud (who greatly influenced his interest in art) painted by George Bellows and Fernand Leger. Organization: Organized by the National Gallery of Art. Sponsor: The exhibition is made possible by United Technologies Corporation.

The Gothic Spirit of John Taylor Arms

John Taylor Arms (1887-1953), an American printmaker, believed in the uplifting quality of Gothic art and the power of close observation, skillfully transcribed. Not all of his prints depict Gothic subjects, but all reflect the spirit of an artist whose intense devotion to craftsmanship echoed that associated with medieval artisans. This exhibition presents selected examples from the artist’s entire career, from his early New York works to his finest images of European cathedrals.

Born in Washington, Arms began his career as an architect in New York but soon dedicated himself to printmaking. He adapted the meticulous drafting skills required in his architectural practice to the execution of finely wrought prints. Arms tended to create prints in series based on a particular place or subject, from the Italian countryside to French gargoyles. Selections from major series are featured in this exhibition along with independently conceived works. Some 60 prints, copperplates, and drawings are on view, drawn primarily from the Gallery’s collection as well as from other lenders both private and public.

Italian Master Drawings from the Wolfgang Ratjen Collection: 1525-1835

The splendors of Italian draftsmanship from the late Renaissance to the height of the neoclassical movement are showcased in an exhibition of 65 superb drawings assembled by the European private collector Wolfgang Ratjen (1943-1997). Works are featured by many of the most important artists of the period, from Giulio Romano to Giovanni Domenico Tiepolo. Outstanding Venetian examples include those by such artists as Domenico Tintoretto, Giovanni Battista Piranesi, and Canaletto, whose elegant rendering of the “Giovedì Grasso” festival in Venice is perhaps his finest surviving drawing. Organization: Organized by the National Gallery of Art, Washington. Sponsor: The exhibition is made possible through the generous support of the STIFTUNG RATJEN, Liechtenstein.

SANTIAGO RIBEIRO AND PAULA ROSA EXHIBITION – “PORTUGUESE SURREALISM “

Surrealist artists Santiago Ribeiro, from Coimbra and Paula Rosa, fromLisbon, will organize an exhibition entitled “Portuguese Surrealism in the21st Century”, at Moinho das Lapas Museum, in Cernache, Coimbra, Portugal.Santiago Ribeiro will present traditional paintings, oil on canvas, while
Paula Rosa will present digital mixed media artworks. This exhibitionoffers to the public the possibility to see around 15 artworks that willenrich the space of the museum, under the direction of Marco Cruz.The exhibition will continue to January 8th and can be visited.  “Portuguese Surrealism in the 21st Century” is a project that aims tocelebrate the Surrealism’s transversality understood as awareness in theface of civilization and culture, rejecting conventionalities and divininto the realm of absolute freedom of expression. Far from feeding sterile
polemics and meta- perceptive languages, the project exalts the revolutionary and avant-garde aspects of the surrealist imagery, focusedon the insight, the discovery, the internal development of the artist and in the importance of the metaphor, symbol and analogy. As an art movement, Surrealism has its chronological origin perfectly defined in the history of art, in the context of the 20’s of the last century, a period of strong social and political uncertainty, an aspect which has been recurrent in the history of our civilization. Prevailing cultural beliefs in Europe, as well as human vulnerability, were beingquestioned facing a reality more and more difficult to understand and to accept. Surrealism sought to overcome the conventional and traditional perception of reality, developing an aesthetics based on the value of the
Freudian findings about the Unconscious as a complement to the conscious life and the dream’s ability to communicate. It appears, therefore, as awareness, opposing to the conventions with freedom itself, replacing positivism by dreams, the unbelievable, the unusual, because it was felt
that man overcomes the limitations of matter in the pursuit of abstract