Renzo Vespignani (1924 — 26 April 2001)was an Italian painter, printmaker and illustrator. Vespignani illustrated the works of Boccaccio, Kafka and T. S. Eliot, among others.In 1956, he co-founded the magazine Citta Aperta («City Opened») and in 1963, co-founded the group II Pro e II Contro (Pro and Con) for neorealism in figure art.Renzo Vespignani was born in Rome, Italy in 1924, and he grew up in a Roman working-class suburb named Portonaccio. He began to paint during the difficult years of the German occupation of Rome, hiding himself at Lino Bianchi Barriviera’s residence.His drawings in 1944 recorded the ravages of German-occupied Rome in realistic detail.Those images, often likened to German Expressionist works, were featured in his first solo exhibition at Rome's Galleria La Margherita in 1945. Meanwhile, he collaborated as a designer with many political-literary reviews done as poetic documentaries, relating to the cinema of Rossellini and Vittorio de Sica.After the war, Vespignani contributed illustrations to political and literary journals.At New York's Hugo Gallery, his works were introduced to the U.S.

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Lengani Salifou — African contemporary artist — Burkina Faso

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Stephen De Staebler (March 24, 1933 – May 13, 2011) was an internationally celebrated American sculptor, best recognized for his work in clay and bronze. Totemic and fragmented in form, De Staebler's figurative sculptures call forth the many contingencies of the human condition, such as resiliency and fragility, growth and decay, earthly boundedness and the possibility for spiritual transcendence.

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Exposition Art Blog Josef Mikl — Art Informel — European Abstract Expressionism
Josef Mikl (August 8, 1929 – March 29, 2008) was an Austrian abstract painter of the Informal style.
Born in Vienna, he received his first training at the Graphische Lehr- und Versuchsanstalt, studying at the prominent Viennese academy from 1949 to 1956 under Josef Dobrovský.
He worked in oil, pastels and water colors, as well as sculptures and drawings

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Pencil work

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Tsuruko Yamazaki — born in 1925, Ashiya, Hyogo, Japan
Tsuruko Yamazaki was the only woman artist who remained a member of the Gutai Art Association from its founding to its disbandment. Shortly after joining the Association, she produced glittering works using tin and zinc plates. Seeing her works, Michel Tapié, a French art critic who supported Gutai, suggested that she should paint on canvas, because those metals were not sufficiently durable. Around the end of 1950s, she began painting on canvas using bright primary colors. The work titled by a figure, displayed at her solo exhibition in 1963 held at Gutai Pinacotheca, is highlighted by a cloud-like shape, which became the title of the work. This work is lively and full of energy, with dynamic stripes running diagonally and colorful shapes and lines floating above the painting surface. In this oil painting, the artist demonstrates the powerful brightness that she had previously found in metal materials. 

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Hannelore Baron (June 8, 1926 – April 28, 1987) was an artist whose work has become known for the highly personal, book-sized, abstract collages and box constructions that she began exhibiting in the late 1960s. Born in Dillingen/Saar, Germany, she and her family fled persecution in Nazi Germany, illegally crossing the border into Luxembourg in 1939. In 1941 Baron’s family sailed from Lisbon to New York and settled in the Bronx, New York City. By the time she graduated from the Staubenmiller Textile High School in Manhattan, Baron was avidly reading eastern philosophy, making increasingly abstract paintings and probably already experiencing the symptoms of claustrophobia and depression that would lead to a series of nervous breakdowns throughout her life.

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In 1949 Truitt studied sculpture for one academic year at the Institute of Contemporary Art in Washington, D.C., followed by three months at the Dallas Museum of Fine Art. Following this formal training, she experimented with various media and techniques, including clay, cast cement and plaster, and steel welding. In 1961 Truitt began to work in the style for which she later became known: painting multiple delicate layers of color characterized by subtle variations onto wooden constructions fabricated in accordance with scale drawings; the structural elements of these sculptures constitute armatures supporting color. Writing in April 1965, Truitt stated: «What is important to me is not geometrical shape per se, or color per se, but to make a relationship between shape and color which feels to me like my experience. To make what feels to me like reality.»

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Burkina Faso

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