Dan Christensen

Malinke

1979

Provenance: Fischbach Gallery, New York Collection of A. Aladar Marberger Ray Parker, a New York School Abstract Expressionist, was a colorist influenced by Cubism in his early wor...

Cleve Gray (1918-2004) was admired for his large-scale, vividly colorful and lyrically gestural abstract compositions and achieved his greatest critical recognition in the late 1960's and 70's after working for many years in a comparatively conservative late-Cubist style. Inspired in the 1960's by artists like Jackson Pollock, Clyfford Still, Mark Rothko and Helen Frankenthaler, Gray began to produce large paintings using...

If ever the art world could be said to have a Renaissance Man (excluding Da Vinci!) it would be Jack Roth, abstract expressionist painter, poet, photographer and mathematician. He received degrees in chemistry and fine art, did graduate work in mathematics, and would teach mathematics and art throughout his career. Roth is a second-generation Abstract Expressionist painter, known for his Colorfield work. Though he was fully two decades younger than some of the elder statesmen...

David Einstein's gestural abstraction has a semiotic quality to it. It is a study of how meaning is created, not what is. Indeed, the artist calls himself "a mark maker," as much as ...

We are pleased to offer this work by second generation AbEx painter Robert Natkin and painted in delicious colors of yellow, tangerine, blue, red and purple. It fits well within a variety of decor settings. Described as the "author of a dappled infinite," Natkin created some of the most innovative color abstractions of the late 20th century. Populated by stripes, dots, grids, and an array of free-floating forms, his light- filled canvases are sensuous, playful, and visually complex. While attending the school of the Art Institute of Chicago from 1948 to 1952, Natkin was afforded the opportunity to study the museum's world-class collection of French post-impressionist art and decided to turn his attention to painting instead. During these formative years, Natkin was inspired by the examples of Pierre Bonnard and Henri Matisse, who used decorative patterning and arbitrary color to evoke mood. Most importantly, he also discovered the work of Paul Klee, the Swiss-German artist whose whimsical, semi-abstract paintings reflected his belief that "art does not reproduce the visible but makes visible"--a credo that nurtured Natkin's burgeoning interest in emotional content. In 1952, he lived briefly in New York, where he saw and was influenced by the bold canvases of Willem de Kooning. In 1959, aware of the limited patronage for abstract art in Chicago, Natkin and Dolnick moved to New York, where Natkin joined the stable of artists associated with the Poindexter Gallery, known for its support of emerging painters and sculptors. Immersed in the dynamism of the New York art world, where Abstract Expressionism and Color-Field painting were the dominant styles of the day, Natkin's aesthetic approach continued to evolve. In 1961, he adopted a serial approach to painting, a practice he would adhere to throughout his career. Natkin began to develop a more intricate style (indebted to Klee), depicting diamonds, polygons, ovals, squiggles and other shapes against textured, delicately toned backgrounds interspersed with seemingly randomly placed dots and daubs of pigment and areas of crosshatching. This new style is evident in the "Intimate Lighting" series works. In 1970 Natkin put aside his brushes and began to use sponges...

Exhibited: Tibor de Nagy Poulis is a color field painter associated with the abstract expressionist school. One critic describes his work thusly: "These paintings are about mark-...

"Blue and Green Abstract" by Claudia Sisemore, acylic on canvas, 43.5 x 46 inches, $4,800. "I have a vague idea of what I am going to paint. I...

"Untitled, 1974" by Claudia Sisemore, acylic on canvas, 58 x 56 inches, $7,200. Unframed. "I have a vague idea of what I am going to paint. I read that many artists are inspired by an idea before they begin their work and plan their approach and process based on that idea or muse. Others become inspired after they have begun working and watching colors, shapes and designs form. I basically belong the second group. Usually, after painting begins in a loose, free manner, I become excited by certain colors and patterns and continue from there." -Claudia Sisemore -- Caudia Sisemore says she was teaching English when artist David Chaplin (an equally popular and influential teacher) was at Weber and initially got her into landscape painting. “Then he took me to a show at the Art Barn and Lee [Deffebach] was showing there [with Don Olsen...

"Untitled, 1975" by Claudia Sisemore, acylic on canvas, 41.5 x 50 inches, $4,800. "I have a vague idea of what I am going to paint. I read that many artists are inspired by an idea before they begin their work and plan their approach and process based on that idea or muse. Others become inspired after they have begun working and watching colors, shapes and designs form. I basically belong the second group. Usually, after painting begins in a loose, free manner, I become excited by certain colors and patterns and continue from there." -Claudia Sisemore -- Caudia Sisemore says she was teaching English when artist David Chaplin (an equally popular and influential teacher) was at Weber and initially got her into landscape painting. “Then he took me to a show at the Art Barn and Lee [Deffebach] was showing there [with Don Olsen...

'ephemeral vignette #03' acrylic painting by contemporary artist Elisa Niva, Acrylic on raw canvas 36 inches x 44 inches. Ephemeral is a large fluid pain...

Acrylic on canvas. Signed, dated, and titled verso. 52.25 x 52.75 in. 54 x 54.25 in. (framed) Custom framed in a maple hardwood floater. Provenance Salander O’Reilly Galleries, Ne...

Acrylic on canvas. Signed and dated lower right, titled verso. 69 x 68.25 in. 70.5 x 70 in. (framed) Custom framed in a solid maple floater. Provenance Private Collection, Hilton ...