Steven H. Rehfeld

'Untitled' Red, Yellow, Blue, Black Mixed Mixed Textured Abstract Oil on Wood

2001

This 20" x 20" by Steven Rehfeld marries the energy of contemporary art with the depth of mixed media. The composition swirls with a blend of layered elements, from collaged numerica...

Steven Rehfeld's 18.25" x 18.25" piece "Prism" is a symphony of colors, each note more vibrant than the last. The textured strokes, both bold and deliberate, seem to dance across the...

Steven is now one of the top emerging artists in the U.S. His works are groundbreaking, bold, and imbued with unflinching disregard for painting conventions. Many works are in collec...

Untitled, another mesmerizing artwork by Steven H. Rehfeld, is a stunning abstract composition that showcases a harmonious blend of colors and textures. Created on wood, this captiva...

Size: 4ft x 8ft each panel Mixed Media: oil, saw dust and foam on wooden panel. Steven is now one of the top emerging artists in the U.S. His works are ground breaking, bold and imb...

Nan Van Ryzin's 48" x 60" masterpiece is a mesmerizing exploration of texture, depth, and contrast. Aptly named "Entwined," the piece delves into the interconnectedness of mediums an...

This abstract work by Chicago artist Patrick Fitzgerald belongs to a series of “track paintings” that materialize the imagined tracks navigated by his miniature soap-box car sculptures. Inspired by slot-car racetracks, each painting depicts a meandering, yet cyclical path that twists and turns upon itself in an endless loop. Isolated from time and place, the painting achieves a sense of timelessness and draws a through line linking the past, the present, and the future. Entitled "Superior," this track painting is one of five compositions inspired by the Great Lakes...

Laser cut plywood won board with oil and acrylic paint

Laser cut plywood with oil and acrylic on canvas

Lou Fink The Patriot Oil on canvas, 1970 (mixed media with iron lock) Provenance: Collection of The Southampton Hospital Association, Southampton, New York. This abstract expressionist painting entitled "the Patriot" is done in patriotic shades of red, white and blue in a color field pattern reminiscent of Mark Rothko. It has an assemblage, collage, lock installed at its center, with great color and texture. This piece has a sculpture quality to it. Louis R. Fink (1925 - 1980) American modernist artist. He lived in Staten Island, New York. Lou Fink is known for abstract painting, collage and assemblage Education Art Students League (studied with Harry Sternberg, Louis Bosa, and John C. McPherson) Solo Exhibitions: 1955 Wagner College Studio-Gallery, Staten Island 1960-1980 Environment Gallery, N.Y., seven one-man shows 1981 Elaine Benson Gallery, Bridgehampton, N.Y., Memorial Exhibition Group Exhibitions: 1949 Art Students League (works by disabled GI Bill students) 1952-54 Art Institute of Chicago, International Exhibition of Contemporary Drawing (traveling exhibition) 1955 Pennsylvania Academy of the Fine Arts, Annual Exhibition 1956 National Academy of Design, 131st Annual Exhibition 1956 Museum of Modern Art, "Recent Drawings— U.S.A." (along with Andy Warhol, Josef Albers, Louis Schanker, Larry Rivers, John Levee...

Ben Wilson Byzantium, 1975 Oil on Masonite painting Hand signed reverse, Titled, "Byzantium", dated 1975 by the artist and also with estate stamp - in addition to Ben Wilson's hand signature Frame included: elegantly framed in a handmade white wood frame with UV plexiglass This painting is done by the second generation Abstract Expressionist artist Ben Wilson - one of the youngest artists to be given a show at ACA Gallery in 1940. The work is signed by the artist on the back and also signed with the Estate Stamp and signature on the back. Ben Wilson was born in Philadelphia in 1913 to Jewish parents who had emigrated from Kiev and settled in New York City. He was educated in Manhattan public schools and graduated from City College in 1935. To gain exposure to a wider range of styles, he also studied at the National Academy of Design and at the Educational Alliance. Admired by critics throughout his long career, Wilson was singled out as a “discovery” by the New York Times art critic Edward Alden Jewel even before his first one-man show at the Galerie Neuf in 1946. His paintings of the ’30s and ’40s were expressionistically rendered, often Biblical parables, filled with what he called “the grief of the intolerable” and reflecting an acute awareness of the agony of the time, from the Holocaust to the Spanish Civil War. A WPA artist who identified strongly with the plight of the Jews in Europe, he relentlessly explored themes of war, torment, and futility in his early decades of painting. When times changed and social pressures subsided, Wilson’s mood lifted. He spent 1952-54 in Paris working at the Academie Julien. During the ’50s his involvement with specific imagery persisted but became more psychological and mythic in orientation. Influenced by Cubism, he created a vocabulary of interlocking shapes and bold, sweeping gestures that served as a transition between his early figurative expressionism and his later abstract constructivist concerns. Towards the end of the decade Wilson reached a crossroads, moving towards abstraction and searching for what he called “a scaffolding under the externals.” By 1960, influenced by the Russian Constructivists, Mondrian, and Abstract Expressionism, Wilson turned to abstraction. Reexamining the basic elements of painting, he evolved his own personal vocabulary and structure, fusing the cerebral and the emotive. He became increasingly experimental, using house paint, sand, and other unorthodox materials in paintings that he worked from all directions, dripping, spraying, stenciling, and collaging. He employed elements of disjunction, repetitions of geometric motifs, linear networks, and complex overlays to create the transparent, multi-layer development of space that characterizes his later paintings. A consummate draftsman, Wilson filled notebook after notebook with drawings that he amplified in his paintings. Eschewing popular movements, Wilson was always one to pursue a personal aesthetic. Despite more than 30 one-man shows and 50 years of teaching, he increasingly withdrew from the gallery scene but continued to paint daily until his death at age 88 in 2001 in Blairstown, New Jersey, where he and his sculptor wife Evelyn Wilson...

Untitled 16, 2019 by Francisco Larios Lacquer, Acrylic, oil, and gold leaf on MDF Deep Image Size: 11.5 in. H x 9.5 in. W Frame Size: 14 in. H x 11.6 in. W x 1.5 in. D One of a kind ...