oliviera forgeriesDEBORAH GOODMAN
has anyone come across or know anything about Nathan Oliviera forgeries...especially works on paper done around 1981. I am collecting information for a book. Apparantly, a large body of work was sold on ebay by an unknown artist.
No provenance was given, but the collection was very impressive, seemingly authentic, and included many important artists. Anyone who has further info would be very helpful.
Santa Fe Wing 29 - Stanford University 100 yearsdonnalee kennedy
I have this commemorative signed work found in a local consigment store. It is quite beautifully done. Does anyone know about Oliveira's work at Standford?
A major retrospective of the work of Nathan Oliveira opened in June at the Neuberger Museum of Art at Purchase College, State University of New York, and will run through September 8. 2002.
The exhibition was organized by the San Jose Museum of Art and is curated by Peter Selz.
A monograph was compiled.
Nathan Oliveira BiographyCaroline Seigel
This biography is from the Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska-Lincoln website: http://sheldon.unl.edu/HTML/ARTIST/Oliveira_N/TO.html Nathan Oliveira was born in Oakland, California to parents of Portuguese descent. As a youth he was interested in art and music, and considered the possibility of becoming a coronetist in a jazz band. However, during his high school years he visited the California Palace of the Legion of Honor where he saw a Rembrandt painting that profoundly influenced the course of his life. For a time he attempted to study advertising art before enrolling in the Calfornia College of Arts and Crafts in Oakland with the intention of pursuing a career as a portrait painter. During the course of his college studies he began to move from portraits to a more expressionistic and nonspecific figuration. Despite the shift to a more abstract mode of expression, Oliveira's work has always remained tried to recognizable content rather than pure abstraction. He said,"It is important to make something out of this abstract language... concrete images which one can believe in (Curtis, p.12)." Oliveira graduated in 1951, then stayed to earn a Masters of Fine Arts Degree and to teach printmaking before being drafted into the Army. Completing his stint in the Army, Oliveira returned to Oakland to begin teaching and serving as head of the graphic arts department at the California School of Fine Arts. He began to achieve recognition and awards "beyond his fondest expectation," with several foundation fellowships (including a Guggenheim Fellowship in 1958) and the inclusion of his work in the 1959 Museum of Modern Art exhibition, _New Images of Man_. Then, after an intensely productive five-year period, he suffered growing doubt and inability to work. Describing this time Oliveira said, "I was making a figure with paint, not painting a figure. I lost faith in my ability to construct a painting (San Francisco Museum of Modern Art, p.16)." Despite this "fallow period," his work continued to receive public recognition and he was invited to join the faculty at Stanford University to teach painting and printmaking. (Throughout his career, Oliveira has been involved in printmaking, producing lithographs and monotypes since his undergraduate days.) Eventually working through the period of self-doubt, he started over again with a steady acceleration of output. In the seventies Oliveira's work moved away from figurative work to abstractions and then to the "site" paintings of the eighties. More recently, he has returned to painting the figure, using a live model instead of deriving images from his imagination as he had done in the past. References: Curtis, Cathy. "A Survivor from the Abstract Road." _San Francisco Chronicle_. 9 September 1984. San Francisco Museum of Modern Art. "Places Without Location: The Paintings if Nathan Oliveira." In: _Nathan Oliveira: A Survey Exhibition 1957-1983, Exhibition Catalogue_. San Francisco, CA: San Francisco Museum of Modern Art, 1984.