Hand-picked selection of the 20th century's masterpieces


Edigaryan, Eduard ˜ Centaur Art Galleries

Eduard Edigaryan was born in 1943 in the Armenian city of Gjumri. He is married with two children. His studies included attendance at the Arts School in Gjumri, the Arts Faculty in Erevan, and the Arts Institute in Erevan. From 1970 to 1974 he was the main set designer in the Dramatic Theatre in Gjumri, and in 1974 was accepted in the Artists Union in the Soviet Union. In 1987 he was declared a National Artist and in that same year he created costumes and set decorations for over 40 plays at the Erevan Opera and Ballet Theatre. Sadly, in 1988 an earthquake destroyed nearly all his works, including 200 costume designs for the Armenian Opera “David Sasunci”. He moved to Prague in 1996, where he established a home for his family. He has had personal exhibitions in Germany, the Netherlands, Norway, Italy, and Belgium, and his work can be found in private collections and galleries in the United States, Australia, Canada, England, Scandinavia and South Africa. His works are rich both from the drawing and color points of view. Edigaryan paints mainly sitting or lying woman figures, whose symbolic meaning achieves an uncertain Oriental touch through the impact of golden and ultramarine colors. There is a very personal artistic language, where figurative elements intentionally mix with a dense combination of symbols, where some of them copy the contours of human figures.

Erté ˜ Centaur Art Galleries

Erté AKA Roman Petrovich Tyrtov (1892-1990)

Born: November 23, 1892
Died: April 21, 1990
Nationality: Russian

Erté was a Russian artist and designer known for his glamorous opera sets, jewelry, costumes, and graphic arts. His work is quintessentially emblematic of the Art Deco style in its use of tapering lines and simplified ornamentation inspired by the natural world, and his figurines are internationally known and desired as collectible objects. Born Roman Petrovich Tyrtov on November 23, 1892 in St. Petersburg, Russia to an aristocratic family, he moved to Paris in 1910, disobeying his father’s wishes for him to become a naval officer. In 1915, he secured a contract with Harper’s Bazaar magazine, producing numerous illustrations and other media. Today, Erté’s work can be found in the collections of the Metropolitan Museum of Art in New York, the Los Angeles County Museum of Art, and the Victoria and Albert Museum in London. He died on April 21, 1990 in Paris, France.

Koson Ohara ˜ Centaur Art Galleries

Biography of Koson Ohara

Kacho-e is the Japanese word for prints of birds and flowers. And Koson Ohara is the best-known printmaker for kacho-e in the twentieth century. At lifetime his prints were exported in large numbers to the United States.

Koson Ohara was born in 1877 in Kanazawa in Ishikawa Prefecture in the North of Japan with the given name Ohara Matao. He had studied Japanese painting as an art student of Suzuki Koson, whose name he adopted as his artist go. During his career he changed his name to Shoson and Hoson. So when you read Ohara Shoson or Ohara Hoson or the other way round as Shoson Ohara or Hoson Ohara, don’t be confused. It is the same artist.

In 1904 Koson made Russo-Japanese war prints. That was nothing unusual. Practically all ukiyo-e artists of the time had produced war illustration prints either of the Sino-Japanese (1894/95) or the Russo-Japanese (1904/05) war.

At the time of the Russo-Japanese war, the art of ukiyo-e had come out of fashion and nearly out of business. While the prints with scenes of the Sino-Japanese war (1894-1895) were sometimes sold out within one day, only few were interested in ukiyo-e anymore ten years later. Photography had replaced the woodblock print as a way of illustrating news events.

The Shin Hanga Artist

Ohara Koson was at least not economically affected by the decline of ukiyo-e. He had a steady income as a teacher at the Tokyo School of Fine Arts.

Koson had an American colleague, Ernest Fenellosa, at the Art School. He was an advocate of traditional Japanese art and ironically he was the one who convinced Koson to make woodblock prints in traditional style. His first flower and bird prints in tanzaku format were published by Matsuki Heikichi.

After returning to painting, Koson resumed the design of Kacho-e prints in 1926. Most of them were published by Watanabe Shozaburo, the initiator of the Shin Hanga movement. Practically all prints made by Ohara Koson were exported to the USA. At that time the Japanese had lost any sense for their traditional values. Since the late nineteenth century, Japanese art, old and new, was exported to Europe and North America in considerable quantities.

The Art of Koson Prints

Koson Ohara bird and animal prints remind the viewer somewhat of watercolors. This is not astonishing looking at the artist’s origins as a painter in watercolors and oil. His kacho-e were performed with an extremely high degree of craftsmanship. Details like the bird’s plumage are carefully executed. Of course, the merits for the execution of the carving and printing goes to Watanabe’s artisans. Let’s remember, Koson made the designs, the rest was done by the carvers and printers. That was the concept of shin hanga taken over from the old ukiyo-e team work idea.

Koson Ohara used different signatures and seals over the years. The precise dating of his prints is sometimes difficult if not impossible. As a rule of thumb, the Koson prints made after 1923, the year of the great earthquake in Japan, have brighter colors than his early works. Koson Ohara died in 1945 in Tokyo.


Burmann, Kurt C. ˜ Centaur Art Galleries

Founded in 1979 Burmann Art Productions is the proud establishment of renowned Artist Kurt C. Burmann and wife Carol. Producing and promoting an impressive list of famous works ranging from space art to subtle still life paintings. From our humble beginnings in rural Michigan, Burmann Art Productions excelled early on exceeding all expectations by reaching a magnitude of success and audiences. From major publications, exhibitions, and museums world wide, including the Smithsonian Institution.

Culminating a pinnacle place in the space and astronomical industry, depicting numerous space art visuals, providing both educational and visionary elements. Burmann Art Productions has since creatively branched into a diversity of unique and successful fine art genres. Throughout the many years we have proudly indulged a large diversified audience of art enthusiast, connoisseurs, collectors and people from all- walks-of-life including many children and prominent celebrities.

Relocating to Scottsdale, Arizona in 1990 Burmann Art Productions has continued to strive for professional excellence in the field of fine art. With continued success in both the creative and public arena offering some of the best in visual fine art available. Our goal is to enrich the viewer with a compelling visual experience, accelerating the imagination and amplifying the senses. May it be a surrealistic vision or a realistic interlude captivating a moment.

Conveying a feeling that moves ones spirit within, gratifying all aspects of life.

Rembrandt, Harmenszoon van Rijn ˜ Centaur Art Galleries

Rembrandt was born in Leiden in the Netherlands in 1606. It was during a period known as the ‘Dutch Golden Age’. He came from a reasonably wealthy family. His father was a miller and somehow managed to send his son to a Latin school and later the University of Leiden. His education and knowledge of scriptures later proved important when he sought to capture the essence of biblical scenes in his art.
However, Rembrandt wasn’t inspired by studying and he left university to begin an apprenticeship as a painter in Leiden. In 1624, he spent his first period of time in Amsterdam where he was able to study under a famous painter called Pieter Lastman. With this period of apprenticeship under his belt, he returned to his hometown in Leiden and set up his own independent workshop.In 1629, Rembrandt was discovered by the statesman Constantijn Huygens, who secured for Rembrandt important commissions from the Court of the Hague. This source of commissions was important because, in Holland, the Protestant Reformed Church did not support artists like the old Catholic church.
This was the start of Rembrandt’s successful professional career as an artist and, in 1831, he moved the expanding business to the capital Amsterdam. It was here that he met and married his future wife, Saskia Van Uylenburg – who came from a wealthy family and this added to Rembrandt’s income. Around this time, Rembrandt began to take on students, and he became admitted to the Guild of Painters.
Unfortunately, Rembrandt’s family life was subject to many misfortunes. Three of their four children died in early infancy, and Saskia died after only ten years of marriage in 1641, aged just 30.
This personal tragedy seemed to bring forth an added emotion and intensity in the paintings and art of Rembrandt as a painter. His bedside paintings of his dying wife are indicative of his ability to encapsulate human emotion and display Rembrandt’s profound ability to empathise with aspects of the human condition.Though Rembrandt’s paintings have often sold for millions of dollars, he died penniless, and the cost of his burial had to be met by his friends.
Rembrandt loved to paint alone. In fact, he could not bear to be disturbed while painting and often would take an oath to work in pin drop silence. He said that when painting, he would not even give an audience to the first monarch of the world.
Unlike many artists of his day, Rembrandt, never visited Italy to see the work of the great Masters. He felt that everything he needed to learn from painting he could do in his own country.

Braque, Georges ˜ Centaur Art Galleries

GEORGES BRAQUE (1881—1963)

In 1899 Braque began an apprenticeship as decorative painter in Le Havre, which he continued in Paris in
1900. Alter one year’s military service, the artist enrolled at the ‘Académie Humbert in 1902. In 1903
Braque transferred to the ‘Ecole des Beaux Arts for a short time, but returned to ‘Académie Humbert’ that
very same year. In 1904 the artist got himself a studio and began to paint independently.

In 1905 Braque was so impressed by the works of Matisse and Derain shown at the ‘Salon d’Automne’,
that he integated their Fauvist style in his painting. His studies of the Fauves, Braque’s first encounter
with Picasso in 1907 and the discovery of the works of Cézanne, which were very important for the
generation of young painters, were the decisive factors, which ultimately lead Braque to his first
formanalytical attempts.

Together, Braque and Picasso developed Cubism, whose classic period until 1914 is divided into an
analytical and a synthetic phase. The analysis and breakdown of an object into its basic forms was their
program, in which the reference to reality stepped back increasingly and in which the subject was
ultimately almost entirely dissolved into color and form structures.

Braque and Picasso parted company at the beginning ofWorld War I. Braque was drafted and after a
serious injury in 1917 returned to Paris, where he spent the rest of his life, except for his summer stays in
Varengeville. While Braque‘s earliest post—war pictures could still be assigned to synthetic Cubism, he
tended toward a more pictoral and realistic style of painting from 1920.

The period in which pure color and the commitment to a complex space and its pictorial realisation
dominated, came to an end with the four ‘Grands Guéridons’, executed from 1928. World War II
prompted the artist to produce more down-to—earth works, which were more appropriate for the gravity of
the situation.

From 1947 Braque was often forced into inactivity due to ill health. In the years between 1949 and 1956
he realised the ‘Ateliers‘ series including eight oil paintings and particularly dealt with the subject of birds.
On August 31, 1963, the artist died in his Paris apartment. Braque is one cf the most important Modern
artists and lefl an impressive oeuvre, which can be admired in important museums and collections.

Matisse, Henri ˜ Centaur Art Galleries

Throughout his decades-long career as a painter, sculptor, draftsman, and printmaker, Henri Matisse continuously searched, in his own words, “for the same things, which I have perhaps realized by different means.” Celebrated as both an orchestrator of tonal harmonies and a draftsman capable of distilling a form to its essentials, he long sought a way to unite color and line in his work. The relationship between these two formal elements can be traced from early works like Dance (I)—in which the side of a dancer’s body, set against fields of rich blue and green, is described in a single, arcing contour—to his late cut-outs like The Swimming Pool, in which the artist discovered a way at the end of his life to “cut directly into vivid color.”
Matisse was born in 1869 to generations of weavers in Le Cateau-Cambrésis, a northern French town whose woolen mills constituted the main industry. He was raised in nearby Bohain, famous for its luxury fabrics. This early exposure to textiles would shape his visual language: examples from his own collection of carpets and cloths from Europe, Africa, and the Middle East would deeply inform his sense of color and pattern and appear in his compositions.
Taking up painting after first studying law, Matisse studied with the Symbolist Gustave Moreau and participated in Paris’s official Salons. His breakthrough as an artist came during the summers of 1904 and 1905, when the bright sunlight of the South of France inspired him—along with artists like André Derain and Maurice de Vlaminck—to create optically dynamic works of bright, clashing colors that led to these artists being derided with the epithet fauves (wild beasts). Known as Fauvism, the work from this period set him on a career-long path that he described as “construction by colored surfaces.” This approach remained central through the various stages of Matisse’s body of work—from his rigorous, abstracted paintings of the 1910s to the decorative, sunlit interiors of his so-called “Nice period” of the 1920s to the radically innovative cut-outs of his last decade.
Though much of his work—whether an ink drawing with a flowing arabesque line or a painting with flat expanses of unmodulated color—looks as if it might have been executed with effortless ease, Matisse cautioned that this effect was only an “apparent simplicity.” In reality, he labored exactingly to achieve the “art of balance, of purity and serenity” of which he dreamed.

Royo, Jose ˜ Centaur Art Galleries

Jose Royo

Born in 1941 in Valencia, Spain, Jose Royo began demonstrating his artistic talent early. At the age of 9 his father, a prominent physician and avid art enthusiast, employed private tutors to instruct Royo in drawing, painting, and sculpture. When Royo turned 14 he entered the San Carlos Royal Academy of Fine Arts in Valencia. Upon turning 18 Royo continued his artistic studies privately with Aldolfo Ferrer Amblat, Chairman of Art Studies at the San Carlos Academy. He also visited the major museums in Europe at this time to study the famous masters-Velasquez, Goya, Renoir, Monet, and Sorolla among others. During the mid-60’s-early 70’s Royo added more dimensions to his skills creating theatre sets and doing graphic illustration and restoration work. He also participated in prestigious competitions gaining major distinctions. In 1968 he began to exhibit in Spain, specifically Lisbon, Madrid and Barcelona. With positive reception of his works in Madrid, Royo received commissions to paint the royal portraits of King Juan Carlos and Queen Sofia. He received subsequent commissions to paint the Judges of the High Magistrature and the Court of Justice, as well as prominent political and society figures. At the age of 25 Royo began feeling a growing desire to paint the land of his birth; to convey the light, the color and the intensity of Valencia and the Mediterranean. This meant a new focus and change of style in his work; he needed to perfect new ways to capture the light, the shadow and to work on classical composition styles. Through the 1980’s Royo perfected his style of painting the Mediterranean and exhibited abroad, notably in London, Brussels, Copenhagen and Paris. He also participated in the International Geneva Art Fair. Beginning in 1989 and continuing until today we see the development of Royo’s “matured” style. His dramatic use of color and “texturing” capture his subject matter with unique flair. Parallels can be drawn to the work of the European masters; for example, with Royo’s “homage to the female form,” we see the distinct influence of Renoir. It is the similar, almost portrait-like treatment of the female model, caught in a serene, contemplative moment, with the surrounding “bursts” of color from the floral landscapes where we see the “Renoir” in Royo’s work. In fact, critics have concluded, “If the artwork of Renoir were blended with that of the ‘Valencian painters’ you would arrive at the Impressive parallels can also be drawn between Royo’s work and that of the Spanish master, Joaquin Sorolla. Both were born in Valencia, both were classically trained, both “matured” into styles of painting capturing the dramatic visual essence of their homeland-Valencia and the Mediterranean Sea. They have both been described as “painters of the Light”; some have said, “of the Light of the South,” that is, the southern coast of Spain. It is the overwhelming influence of Sorolla blended with his own style that make Royo’s masterful treatment of the Mediterranean subjects both haunting and mysterious, yet full of raw power at the same time. The sweeping brush strokes, bold swaths of color, and heavy impasto capture the eye and draws one inward until that final absolute moment of awareness that one is actually there in the scene feeling the light and heat of the sun, the salt and sea spray, and hearing the crashing surf. Royo conveys not merely image, but mood and atmosphere as well.

Centaur Art Galleries of Las Vegas, NV

Fine art gallery repeatedly voted "Best Place to Buy Art" by the Las Vegas Review-Journal