Visual art
Subject Source: Sackner Database
Found in 588 Collections and/or Records:
[Original Postcard Work] , 1981
Ornamental Design, 1985
The paper base for this drawing is a sketchbook page. The forms with their descriptive colors are reminiscent of American Indian designs. -- Source of annotation: Marvin or Ruth Sackner.
Our Lady [1], 1952
According to a personal communication from Charles Verey to the Sackners, Houedard was alternating his time in Prinknash Abbey and Rome, Italy from October 1951 to July 1954. He believed that most of the visual art was done in Rome. -- Source of annotation: Marvin or Ruth Sackner.
Our Lady [2], 1952
According to a personal communication from Charles Verey to the Sackners, Houedard was alternating his time in Prinknash Abbey and Rome, Italy from October 1951 to July 1954. He believed that most of the visual art was done in Rome. -- Source of annotation: Marvin or Ruth Sackner.
Our Lady Abstraction [1], 1953
Our Lady Abstraction [2], 1953
Our Lady Abstraction [3], 1953
According to a personal communication from Charles Verey to the Sackners, Houedard was alternating his time in Prinknash Abbey and Rome, Italy from October 1951 to July 1954. He believed that most of the visual art was done in Rome. -- Source of annotation: Marvin or Ruth Sackner.
Our Lady Abstraction [4], 1953
According to a personal communication from Charles Verey to the Sackners, Houedard was alternating his time in Prinknash Abbey and Rome, Italy from October 1951 to July 1954. He believed that most of the visual art was done in Rome. -- Source of annotation: Marvin or Ruth Sackner.
Our Lady Abstraction [5], 1953
According to a personal communication from Charles Verey to the Sackners, Houedard was alternating his time in Prinknash Abbey and Rome, Italy from October 1951 to July 1954. He believed that most of the visual art was done in Rome. -- Source of annotation: Marvin or Ruth Sackner.
Our Lady Abstraction [6], 1953
According to a personal communication from Charles Verey to the Sackners, Houedard was alternating his time in Prinknash Abbey and Rome, Italy from October 1951 to July 1954. He believed that most of the visual art was done in Rome. -- Source of annotation: Marvin or Ruth Sackner.
Our Lady Abstraction [7], 1953
According to a personal communication from Charles Verey to the Sackners, Houedard was alternating his time in Prinknash Abbey and Rome, Italy from October 1951 to July 1954. He believed that most of the visual art was done in Rome. -- Source of annotation: Marvin or Ruth Sackner.
Oyvind Fahlstrom, 1979
Includes Fahlstrom's manifesto for concrete poetry (1953). *WEB 1998: Sharon Avery-Fahlstrom Executrix, Estate of Oyvind Fahlstrom commented that the principal contributor to this catalogue was Oyvind Fahlstrom. -- Source of annotation: Marvin or Ruth Sackner.
Oyvind Fahlstrom, 1980
This catalogue is almost identical to the one published for the Modern Museet exhibition except that the text is written in French. -- Source of annotation: Marvin or Ruth Sackner.
Paesaggi Della Memoria 1982-84. No.29, 1984
The photography was done by Mazza and the text written by Caruso. -- Source of annotation: Marvin or Ruth Sackner.
Pains of Class , 1982
Adrian Mitchell wrote the introduction and images by Frans Masareel were used to illustrate this book. -- Source of annotation: Marvin or Ruth Sackner.
Painting, 1996
Pavel Babenko was the father of the visual poet, Dmitry Babenko. -- Source of annotation: Marvin or Ruth Sackner.
