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16 pieces by Theo Radic
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£1000
Backstage
 
£1800
Radiance 3
 
£1800
Radiance 5
 
£2400
Bold strokes
 
£700
Fête galante
 
£300
Fluid moments
 
£100
Eucalyptus
 
£700
Landscape
 
£200
Mostar
 
£100
Mostar
 
£350
Rainbow mood
 
£2400
Lill-jan woods
 
£750
Little bold strokes
 
£100
Quartet
 
£1880
While listening to Rodrigo's harp concerto
 
£900
Rosa Malheur
 
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Theo Radic Biography
born in San Bernardino, California, 1949
 
Education:
Orange Coast College, Costa Mesa, Long Beach State College, Long Beach, Cabrillo College, Santa Cruz, l’Ecole Nationale d’Arts Décoratifs, Nice, France
 
Single Exhibitions:
1975 Galleri Grafikhuset, Stockholm, Sweden
1976 Galerie Robert Hervieu, Malmo
1977 Galleri Oster, Landskrona
Galleri Carneol, Gothenburg
1978 Galleri Futura, Stockholm
1979 Galleri Futura, Stockholm
1981 Galleri Futura, Stockholm (Visual Fugues)
1982 Galerie Seiler, Stuttgart, Germany
Galleri Olga, Stockholm
Galleri Together, Stockholm
1983 Galleri Sassi, Stockholm
1985 Galerie MB, Stockholm
Galerie La Sensitive, Paris
1986 Galleri 17, Stockholm
1987 San Bernardino Cultural Center, California (twenty-year retrospective)
1988 Galerie MB, Stockholm (Ocean Diary)
1990 Galleri Overkikaren, Stockholm
1993 Galleri Overkikaren, Stockholm (Collage)
1994 Guernica Gallery, Santa Barbara, California (Yucca in Bloom)
Feldheym Gallery, San Bernardino, California
1996 Galleri Baggen, Stockholm (Homage to Byron)
1999 Vasby Art Hall, Stockholm (thirty-year retrospective)
2000 Galleri Baggen, Stockholm
2010 Galleri Svea, Stockholm
 
Group Exhibitions:
1975 Karolyi Foundation for Artists Vence, France
1976 Galerie Remarque, Trans-en-Provence, France
1978 Galerie Remarque, Trans-en-Provence, France
1979 Spring Salon, Liljevalchs Art Hall, Stockholm
1982 Amerika Haus, Munich Germany
1989 Santa Barbara Arts Festival, Santa Barbara
2005 Lessedra Mini Print Annual, Sofia, Bulgaria
 
Artist's Statement:
Everyone experiences drawing and painting as children. I was perhaps one year old therefore when I was first initiated into the painter’s craft. I continued these universal beginnings throughout my school years and sporadic courses in college (which gave me few insights into this art). I had only myself as a teacher in the art of painting. My evolution as a painter paralleled that of art history in general, beginning with my prehistoric period as a one-year-old-clutcher-of-crayolas, groping through Egyptian and Greek periods; a Renaissance period; and then neo-classicism, romanticism and naturalism; impressionism and fauvism; cubism and abstract expressionism. At nineteen I went to Europe, thirsty for scope and depth in Art which America lacks. Having established myself in the south of France, I absorbed the emanations of the modern masters who had lived and painted there. I was profoundly moved by the bizarre snow storm over La Côte d’Azur on the night of Picasso’s death. No such storm had ever been seen before in April, as old-timers in Nice told me. Fully acknowledging my debt to ”abstract expressionism”, I nonetheless do not consider my art ”abstract” – a word that has been grossly misunderstood when applied to painting. For example, the telescopic blue distance behind the head of the Mona Lisa indeed is abstract, considering that the third dimension of depth is non-existent in the painting. It is illusion, trompe l’oeil. ”Abstract” painting is, on the other hand, not really abstract in the sense of the Mona Lisa, because it does not create an abstract third dimension, but remains a surface holding color and form on it. Nor can ”non-figurative” be used to denote my painting, another umbrella term used to denote many unrelated styles that have emerged since World War I. All painting depicts figures in one way or another, whether the nudes of Renoir, the squiggles of Kandinsky or the rectangular clouds of Rothko. Painting cannot avoid being ”figurative”. Painting is a non-verbal art form, and most often the names given to the styles (impressionism, cubism, fauvism, etc.) are derogatory in nature, coined by those who were ignorant of the artist’s aims. The best way to determine a painter’s style is not to name it, but to look at it. Beyond looking lurks that most difficult request made by the painter of the viewer: seeing. (excerpt from Crazy Devil Sweeping)