The Bridge (Mid-Century Abstract Painting with blue, yellow, white & black)
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Richard SorbyThe Bridge (Mid-Century Abstract Painting with blue, yellow, white & black)circa 1962
circa 1962
About the Item
- Creator:Richard Sorby (1911 - 2001)
- Creation Year:circa 1962
- Dimensions:Height: 34 in (86.36 cm)Width: 42.25 in (107.32 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:very good to excellent condition. Recently cleaned by a conservator. No damage or other notable imperfections.
- Gallery Location:Denver, CO
- Reference Number:Seller: DCG-244881stDibs: LU2734424451
Richard Sorby
J. Richard Sorby earned his bachelor of fine arts degree at the Colorado State College of Education (now the University of Northern Colorado) in Greeley, where he studied with Estelle Stinchfield, a founder member of the Denver Artists Guild in 1928. Following graduation, he was an art instructor for four years at Greeley High School before joining the faculty at the University of Nebraska in Lincoln (1941–42). He also studied privately with Vance Kirkland and William Joseph Eastman of Cleveland, Ohio, who was active in Colorado. Beginning in the early 1940s, Sorby employed a modernistic style for the representational subject matter he painted throughout his career, as seen in his watercolor of a Colorado subject, Hogback Range and Cherry Trees (c. 1941), now in the collection of the Smithsonian American Art Museum. The painting was included in an exhibition of 200 American watercolors at the National Gallery of Art in Washington D.C. in 1941. During the Second World War, Sorby was a Lieutenant in the U.S. Naval Reserves. After naval training in Arizona, Ohio, Oklahoma and Florida, he served as a recognition and training officer at the Naval Flight Prep School for aviation cadets in Monmouth, Illinois. He later was assigned to Trinidad in the British West Indies as a training officer for three squadrons of Martin Mariners (American patrol bomber flying boats designed in 1937). After the war, he rose to the rank of Lieutenant Commander in the Naval Reserve from which he retired in 1970.
In 1951, he earned his master’s degree at the Colorado State College in Greeley. His thesis provided an early indication of his later facility as an artist, because he did six oil paintings on the same subject, the harbor at Barbados, in six different styles, from realistic to non-objective. He also undertook postgraduate studies at the University of the Americas in Mexico City (1951), the University of California at Los Angeles with John Fetten (1953) and in the mid-1950s, at the University of Colorado-Boulder with Jimmy Ernst (son of pioneer artist of the Dada movement and Surrealism, Max Ernst) when he participated in the Visiting Artists Program there in the summers of 1954 and 1956. The influence of the younger Ernst’s work is reflected in Sorby’s watercolor, Spatial Tensions, "composed of fine light lines over dark free washes, creating the effect of light in space, such as celestial constellations." The painting is in the collection of the Nelson-Atkins Museum of Art in Kansas City, Missouri. While earning his master’s degree, Sorby started teaching in 1946 as an assistant professor in the art department at the University of Denver, later becoming an associate professor of painting and design, from which he retired in 1959. At the university, he was faculty advisor to the Daubers, a students’ club whose members enrolled in at least one art course and showed an interest in the profession. Students took sketching trips to hospitals around Denver and the nearby mountains and participated in the club’s annual Beaux Arts Ball. He also included his students' work in an illustrated slide lecture, "Design," presented at the general meeting of the Denver Artists Guild on November 13, 1957. He willingly shared his knowledge about art with students whom he met at visits to colleges outside Denver. It allowed them to encounter modern painting firsthand and to meet one of its creators who told them, "You must look at art with your heart and mind and head. If you do, it will make life more worthwhile… Artists are sensitive antennae of society. They must show life to interpret it."
Sorby used a variety of media, oil, watercolor, acrylic and pyroxylin to create representational and abstract interpretations inspired by nature. In the early 1950s the Ford Times, a widely-read travel and motoring magazine published by the Ford Motor Company in Detroit, commissioned him to paint an image of the Great Sand Dunes National Park in southern Colorado. His watercolor, Sand Dunes, illustrated a story, Incredible Sand Dunes by Marian Talmadge and Iris Gilmore in the May 1954 issue of the Lincoln-Mercury Times magazine. In an interview published in the October 1958 issue of The Club Bulletin in Denver, Sorby discussed his approach to painting: “Inspiration generally is derived from nature in one aspect or another. By nature, I mean much of the universe about us, the tangible world of land and water, and the intangible world of light, sky and air, the forces in nature of growth and life.” These themes have concerned artists since the Renaissance, although today it is more their essence than their outward form which the modern artist seeks to distill. In the early 1950s, Sorby began doing acrylics on masonite in a more modernistic, referentially-abstract style such as Sails and Whales (1951; Kirkland Museum of Fine & Decorative Art, Denver) and an urban-inspired scene, Spires and Wires, both dominated by geometric shapes. His painting, The Thorns (1955; Colorado Springs Fine Arts Center), creates the impression of a cruel and unapprehended post-war world. Other images are abstract, such as Fin Flash (1957) artfully capturing motion on a two-dimensional surface with a stylized, rotating vortex. A corrugated wood panel shown in the 1958 Metropolitan Exhibition at the Denver Art Museum, and perhaps inspired by the exhibition Le Mouvement at Galerie Denise René in Paris in 1955, Fin Flash conveys the optical illusions of Kinetic/Op Art. Evenly-spaced vertical lines and interlocking geometric shapes create a progression from warm to cool tones as the viewer moves in front of the composition. He painted the piece in pyroxylin, a durable but flammable medium similar to lacquer and polymer resin, which he encountered in Mexico in the early 1950s, where it had been successfully used for outdoor murals. As president of the 15 Colorado Artists, founded in Denver in 1948 to break away from the predominant academic and regionalist styles dominating the Denver Artists Guild, Sorby headed the artists’ protest in the local press in 1957 to Denver Art Museum director, Dr. Otto Karl Bach, about the lack of communication regarding the change made in the 63rd annual art exhibition from a juried to an invitational one and the inclusion of so few Colorado-based artists. John Lembach, editor of the Colorado State Art Association Bulletin, wrote of Sorby’s art in a joint exhibition held at Vance Kirkland’s Denver studio in the Fall of 1954 with John E. Billmyer and William Sanderson, fellow members of the 15 Colorado Artists: “[Sorby’s] paintings have that handsome quality characteristic of his Navy officer’s white uniform [a reference to his position in the Naval Reserve after World War II]... When looking at his paintings, we are always conscious of the importance of him, of the design element, his love of the precision of purism. His work is as streamlined as a sports car.” In his work, there is something of the beautiful design quality of Juan Gris modernized. In 1958, Sorby completed a painting, Papantla, for the Little Theater of the Rockies at the Colorado State College of Education, his alma mater, as a memorial to Denver artist, Elisabeth Spalding. The painting was inspired by Pre-Columbian art that fascinated him since his visit to Mexico in 1951. He also produced some limited edition lithographs of referentially-abstract landscape vignettes. He relocated to California in 1959, where for the next 13 years, he was professor of design and painting at the California State University, San Jose, becoming professor emeritus in 1972. He also was a guest professor at the Southern Utah University, Cedar City in June and July 1964. He served as vice president of the East Bay Art Association (1966–68) and president of Group 21 in Los Gatos, California (1970–71). An example of his work from the 1960s is Bridge, a California-inspired composition of an abstracted bridge image whose structure is defined with geometric shapes of varying sizes and animated by the light effects and the progression through several layers of superimposed planes to a cityscape backdrop. In retirement, he designed and built a home in the Paso Robles area before settling in Sun City with his wife, Elizabeth, a former art teacher whom he married in 1950. Following her death, he spent the remainder of his life as Artist-in-Residence at Casa de las Campanas, a retirement community in Rancho Bernardo in the northern hills of San Diego, California. During his affiliation with the University of Denver, he had two one-man shows at the Denver Art Museum (1948, 1954) and participated in a number of its annual exhibitions. He also showed at important national venues outside the state such as the Whitney Museum of American Art, New York; the National Gallery of Art, Washington D.C.; the Pennsylvania Academy of the Fine Arts, Philadelphia; the Cleveland Museum of Art; the Detroit Institute of Art, Walker Art Center, Minneapolis; the Art Institute of Chicago; the Nelson-Atkins Museum of Art, Kansas City, Missouri; the Joslyn Art Museum, Omaha; the Crocker Art Gallery, Sacramento and the San Diego Art Institute.
- 1950s Framed Abstract Expressionist Oil Painting, Mid Century Modern, Green RedBy Charles Ragland BunnellLocated in Denver, COVintage 1950s mid century modern abstract expressionist painting by Colorado artist, Charles Ragland Bunnell in shades of red, green, white, and black. Presented in the artist's orig...Category
1950s Abstract Expressionist Abstract Paintings
MaterialsOil, Wood
- Composition in Red and Blue - Abstract Expressionist 1950s Oil PaintingBy Charles Ragland BunnellLocated in Denver, CO'Composition in Red and Blue' is a vintage abstract expressionist original oil painting on board by Charles Bunnell (1897-1968) from 1951. Signed and dated by the artist in the lower left corner. Abstract composition painted in shades of white, cream, blue, red, and tan. Presented in a vintage frame, outer dimensions measure 28 ½ x 22 ½ x 1 inches. Image size is 24 x 18 inches. About the Artist: Charles Bunnell developed a love for art at a very young age. As a child in Kansas City, Missouri, he spent much of his time drawing. When he was unable to find paper he drew on walls and in the margins of textbooks for which he was often fined. Around 1915, Bunnell moved with his family to Colorado Springs, Colorado. He served in World War I and later used his GI Training to study at the Broadmoor Art Academy (later renamed the Colorado Springs Fine Arts Center) during 1922 and 1923. In 1922, he married fellow student, Laura Palmer. He studied with Ernest Lawson in 1927-1928 and, in the winter of 1928-1929, he served as Lawson’s assistant. In the late 1920’s, the Bunnell’s settled just west of Colorado Springs and 1928, they welcomed the first of their three children. Their one-acre homesite, which they referred to as “Old Home Place”, was situated between two sets of railroad tracks at the foot of Pike’s Peak. Charlie converted an old railroad boxcar into his studio, where he later gave lessons. Beginning in 1931, Bunnell spent a year and a half studying under Boardman Robinson. The two men clashed constantly due to a generation gap and markedly different philosophies. Robinson encouraged his students not to stray from realism and though Bunnell mastered Robinson’s preferred style of American Scene painting, he regularly irritated his professor with his abstract sketches. Bunnell taught at the Kansas City Art Institute during the summers of 1929, 1930, 1940, and 1941. Between 1934 and 1941, he painted and taught under federal projects which included assisting Frank Mechau on murals for the Colorado Springs Post Office. However, he did not take to mural making and, after criticism from Boardman Robinson about his use of “heavy daubs which have no place in mural work,” he abandoned mural-making altogether. By the late 1930’s, Bunnell’s work departed from the American Scene/Modernist style he was trained in towards abstraction. This is marked by his “Black and Blue” series, consisting of 83 abstracted ink and watercolors. Affected by the Second World War and the loss of his 10-year old son, Bunnell’s work of the early 1940’s took on a Transcendental and Surrealist tone. The works from this period are moody and readily reflect the political and personal turmoil experienced by the artist. In the late 1940’s, Bunnell began experimenting with Abstract Expressionism. He alone is credited with introducing Colorado Springs to the new style as it was excluded from the Fine Art Center’s curriculum by Boardman Robinson. Bunnell excelled in Abstract Expressionism and continued to evolve in the style through the 1950’s continuing to his death in 1968. He was recently recognized as a premier American Abstract Expressionist by his inclusion in the book American Abstract Expressionism of the 1950’s: An Illustrated Survey. Solo Exhibits: Kansas City Art Institute, Kansas City, Missouri, 1930; Santa Fe Museum, Santa Fe, New Mexico, 1947; University of Illinois, Urbana, Illinois, 1948; University of Kentucky, Lexington, Kentucky, 1949; Taos Gallery, Taos, New Mexico, 1951; Carl Barnett Galleries, Dallas, Texas, 1952; The Bodley Gallery, New York, 1955; Amarillo, Texas, 1955; Haigh Gallery, Denver, Colorado, 1955; Colorado Springs Fine Arts Center, Colorado Springs, Colorado, 1956; Dord Fitz Art Gallery, Amarillo, Texas, December 1956 – February 1957, 1959, 1969 (retrospective). Group Exhibits: Carnegie Institute, 1927-1928; Colorado State Fair, 1928 (1st prize); Artists Midwestern, Kansas City, Missouri, 1929 (Gold Medal); Art Institute of Chicago, 1947 (the exhibit traveled to ten major museums in the United States); “Artists West of the Mississippi”, Colorado Springs Fine Arts Center, Colorado Springs, Colorado (7 times); Denver Art Museum Western Annual, Denver, Colorado (5 times); Mid-America Annual, Kansas City, Missouri, 1958; First Provincetown Festival, 1958; Southwestern Annual, Santa Fe, New Mexico, Winter 1957-1958; Central City, Colorado; Cañon City...Category
1950s Abstract Expressionist Abstract Paintings
MaterialsCanvas, Oil
- 1950s Abstract Expressionist Composition, Mid Century Oil Painting, Blue YellowBy Charles Ragland BunnellLocated in Denver, COOriginal 1958 mid-century modern oil painting by Charles Bunnell (1897-1968), abstract expressionist composition in colors of Yellow, Blue, Teal, Green, Gray, Orange, Red & White, signed and dated lower right. Presented in a vintage gold tone frame, outer dimensions measure 34 ¾ x 28 ¾ x 1 ½ inches. Image size is 29 ¾ x 23 ¾ inches. Painting is clean and in very good vintage condition - please contact us for a complete condition report. Provenance: Estate of Charles Ragland Bunnell Expedited and international shipping is available - please contact us for a quote. About the Artist: Charles Bunnell developed a love for art as a child in Kansas City, Missouri. Around 1915, Bunnell moved with his family to Colorado Springs, Colorado. He served in World War I and later used his GI Training to study at the Broadmoor Art Academy (later renamed the Colorado Springs Fine Arts Center) during 1922 and 1923. In 1922, he married fellow student, Laura Palmer...Category
1950s Abstract Expressionist Abstract Paintings
MaterialsOil, Board
- Mid Century Modern Abstract Oil Painting by Werner Drewes, Green Blue Red YellowBy Werner DrewesLocated in Denver, COAbstract oil on canvas painting by Werner Drewes painted in vibrant shades of green, blue, and red from 1944. Signed by the artist in the lower right corner of the canvas. Presented ...Category
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$6,975 Sale Price20% Off - 1950s Abstract Oil Painting, Framed Mid Century Modern Painting Blue Black WhiteBy Paul Kauver SmithLocated in Denver, COOriginal oil painting by mid-century modernist Paul K. Smith (1893-1977). Painted in a soft gray, blue, ivory, brown and black with subtle under layers of oran...Category
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MaterialsOil
- Crystal, Series #3 Ros, 1960 Abstract Collage Painting in Purple & Pink TonesBy Margo HoffLocated in Denver, COMid-century modern abstract painting of crystal formations by Margo Hoff (1910-2008) created with acrylic and canvas collage in purple and pink coloring. Wrapped canvas is ready to hang, outer dimensions measure 49 x 49 x 1 ¼ inches. Provenance: Estate of the Artist, Margo Hoff About the Artist: Born Oklahoma 1910 Died New York 2008 A prolific artist, Margo Hoff’s exquisite style evolved throughout her career yet was always rooted in the events, people, and places in her life. The human experience was her sole focus, expressed through her eyes alone. Born in 1910 in Tulsa, Oklahoma, Hoff began creating white-clay animals at a young age, giving them to her friends and family. At eleven she contracted typhoid fever and was bedridden for a summer. During her convalescence, she drew and made cutouts, and it was during this time that her bold, artistic imagination came alive. She began formal art training in high school and continued her education at the University of Oklahoma, Tulsa. In 1933 she moved to Chicago and attended the National Academy of Art and the School of the Art Institute of Chicago. Between 1933 and 1960—her Chicago years—Hoff’s works was deeply rooted in a figurative, regionalist style. She often used elements of magical realism, and many of her paintings have dreamlike qualities. As a child she learned about color by grinding down rocks, plants, and berries. Her color pallet during the Chicago years is indicative of her early-life color experimentation as she consistently used warm, earth tones in her work. Hoff was a born adventurer and traveled extensively. She lived, worked, taught, and painted in Europe, Mexico, Lebanon, Uganda, Brazil, and China. She also showed at the Denver Art Museum’s Annual Western Exhibitions in 1952-54, 56, and 57. In 1957 she showed along side Colorado modernist Vance Kirkland at the Denver Art Museum’s exhibition, Man's Conquest of Space. What was once a focus on the representational, her work began to change after 1957 when she saw Sputnik in its orbit around Earth. At that moment, feet firmly placed on the ground, she was able to imagine herself in space, looking down from the cosmos, and what she saw was an abstracted world. She then had the opportunity to peer into an electron microscope where once again she was looking down into what seemed to be a realm of pure abstraction. These two events profoundly changed her perspective and she began to move from figural painting to abstract, geometric collage. In 1960, Hoff moved to New York City and she began creating collages. Placing the canvas on the ground, and working from all sides, she used strips of painted paper and tissue—and later painted pieces of canvas—glued onto the canvas surface, building layer upon layer, shape against shape, “action of color next to stillness of color.” She believed these simplified, abstracted forms held the spirit of the subject in the same way poetry reduces words to their essence. These pieces range from aerial cityscapes, to dancers in motions, to flora...Category
1960s Abstract Expressionist Paintings
MaterialsAcrylic, Mixed Media, Canvas, Oil
- Untitled, 55By Ben WilsonLocated in Quogue, NYBorn in Philadelphia, Ben Wilson was a New York abstract expressionist painter. His work was exhibited frequently from the mid-thirties through sixties, and less frequently but consi...Category
1960s Abstract Expressionist Abstract Paintings
MaterialsMasonite, Oil
- Chartres, 1989By Ben WilsonLocated in Quogue, NYBorn in Philadelphia, Ben Wilson was a New York abstract expressionist painter. His work was exhibited frequently from the mid-thirties through sixties, and less frequently but consi...Category
1980s Abstract Expressionist Abstract Paintings
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1960s Abstract Expressionist Abstract Paintings
MaterialsMasonite, Oil
- Rock Candy Mountain (unique, signed Abstract Expressionist painting)By Ben WilsonLocated in New York, NYBen Wilson Rock Candy Mountain, ca. 1970 Oil on masonite board (Hand Signed, titled and dated) Hand signed, titled and dated by Ben Wilson on the back Frame Included: held in artist's original vintage 1970 wood frame This stunning painting with candy colors is done by the second generation Abstract Expressionist artist Ben Wilson - one of the youngest artists to be given a show at prestigious ACA Gallery in 1940. In 2017, he was the subject of a career retrospective at the George Segal Gallery at Montclair State University from September 6 to November 4 and it was accompanied by a catalogue. Measurements: Frame: 23.5 x 47.5 x 1 inch Artwork: 25 x 49 inches About Ben Wilson: 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...Category
1970s Abstract Expressionist Abstract Paintings
MaterialsMasonite, Oil
- Concert (unique, signed Abstract Expressionist painting by celebrated artist)By Ben WilsonLocated in New York, NYBen Wilson Concert, ca. 1989 Oil on masonite board (Hand Signed by the artist; also bears the Estate Stamp) Boldly signed front and back, titled and dated on the back by Ben Wilson and also stamped on the back by the estate of Ben Wilson 42 × 48 inches Unframed This stunning painting is done by the second generation Abstract Expressionist artist Ben Wilson - one of the youngest artists to be given a show at prestigious ACA Gallery in 1940. This work "Concert" - depicting instruments, in a light, lyrically abstract painting. Exquisite colors and subtle imagery. In 2017, he was the subject of a retrospective at the George Segal Gallery at Montclair State University from September 6 to November 4 and it was accompanied by a catalogue. About Ben Wilson: 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...Category
1980s Abstract Expressionist Abstract Paintings
MaterialsMasonite, Oil
- Ozymandias (unique, signed Abstract Expressionist painting by renowned painter)By Ben WilsonLocated in New York, NYBen Wilson Ozymandias, 1989 Oil on masonite board Boldly signed by Ben Wilson on the back 36 × 48 inches Unframed Provenance: acquired from the Estate of Ben Wilson This work is titled "Ozymandias" after the famous sonnet written by Percy Bysshe Shelley (1792-1822). Shelley's poem is one of the most poignant meditations on the fleeting nature of human power and the inevitability of decline. The poem serves as a reminder that time erodes even the most imposing empires and leaders and that the pursuit of lasting fame and control is ultimately futile. Depending on how one views Ben Wilson's Abstract Expressionist painting of "Ozymandias" -- some of the imagery might reveal the head of an angry king and a sickle. Shelley's poem Ozymandias reads: I met a traveler from an antique land...Category
1980s Abstract Expressionist Abstract Paintings
MaterialsMasonite, Oil