Michael Marlowe

Long Division #7

2022

"The paintings are a meditation on my youth growing up in and around Cincinnati Ohio. This group of paintings reflects a journey back in time. A boy walking the furrowed fields of th...

gouache on paper 61.25 x 39 x 1.5 inches framed In the fields of sculpture and drawing, George Thiewes creates sharp, angular work with a focus on the interaction of light and dar...

"The paintings are a meditation on my youth growing up in and around Cincinnati Ohio. This group of paintings reflects a journey back in time. A boy walking the furrowed fields of th...

"The paintings are a meditation on my youth growing up in and around Cincinnati Ohio. This group of paintings reflects a journey back in time. A boy walking the furrowed fields of th...

"The paintings are a meditation on my youth growing up in and around Cincinnati Ohio. This group of paintings reflects a journey back in time. A boy walking the furrowed fields of th...

"The paintings are a meditation on my youth growing up in and around Cincinnati Ohio. This group of paintings reflects a journey back in time. A boy walking the furrowed fields of th...

ink and watercolor on paper, 82" x96" This painting is from a new series of works by Jesse Lambert which ink and depict ad-hoc structures that are constructed out of scraps of woo...

A set of 12 original mixed media monotype and painting mixed media works by American contemporary artist Monica Angle. These pieces were inspired by the changing light throughout th...

"Once Upon a Time" is a multimedia large scale 72 piece series by Indian Artist Ritu Sinha. This immersive series tells stories, talks back and forth to each other and the viewer. So...

Ashley John is proud to offer this artwork by: Gershon Benjamin (1899 - 1985) Gershon Benjamin is a painter of portraits, landscapes, still lives, and the urban scene. He had a pro...

Sam FRANCIS (1923-1994) THE YELLOW AND WHITE SQUARE Signed, titled and dated 1959 on the reverse Watercolor on paper 11 by 10 in. (27.9 x 25.4 cm.) Executed in 1959 This work is identified with the interim identification number of SF58-133 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. PROVENANCE Zoe Dusanne...

Gouache on paper, 18 7/8 x 14 3/4 in. Signed (at lower right): Morris; (with monogram, on the back): GLKM [monogram] / 1932 [sic] Executed circa late 1940s A passionate advocate of abstract art during the 1930s and 1940s, George L. K. Morris was active as a painter, sculptor, editor, and critic. An erudite man with an internationalist point of view, Morris eschewed the social, political, and figural concerns that preoccupied so many artists of Depression-era America, believing that painters should focus their attention on the beauty, refinement, and simplicity of pure form instead. His goal, he said, was “to wedge the expression further and further into the confines of the canvas until every shape takes on a spatial meaning” (as quoted in Ward Jackson, “George L. K. Morris: Forty Years of Abstract Art,” Art Journal 32 [Winter 1972–73], p. 150). Born into an affluent family in New York City, Morris was a descendent of General Lewis Morris, a signer of the Declaration of Independence. From 1918 until 1924, he attended the Groton School in Connecticut, studying classics and art. He continued to focus on literature and art while attending Yale University (1924–28), an experience that prepared him well for his future activity as an artist-critic. After graduating in 1928, Morris studied at the Art Students League of New York, working under the realist painters John Sloan and Kenneth Hayes Miller, as well as Jan Matulka, the only modernist on the faculty. In the spring of 1929, Morris traveled to Paris with Albert E. Gallatin, a family friend and fellow painter who introduced him to leading members of the Parisian avant-garde, including Jean Arp, Pablo Picasso, Georges Braque, Jean Hélion, and Piet Mondrian. Morris also took classes at the Académie Moderne, studying under Fernand Léger and Amédée Ozenfant, important exponents of Synthetic Cubism who influenced his aesthetic development. Indeed, after experimenting with the simplified forms of Modernism for a few years, Morris moved on to abstraction by 1934, adopting a hard-edged, geometric approach inspired by Leger’s cubist style and the biomorphic shapes of Arp and Joan Miró. Following his return to New York in 1930, Morris built a white-walled, open-spaced studio (inspired by that of Ozenfant, which had been designed by Le Corbusier) on the grounds of Brockhurst, his parents’ 46-acre estate in Lenox, Massachusetts. In 1935, he married the painter and collagist Estelle “Suzy...