Louis S. Glanzman

The Frontersman

Signed Lower Right

Date: 1945 Medium: Gouache Dimensions: 21.25" x 16.50" Signature: Signed Lower Left Cover of The Saturday Evening Post, February 3, 1945

Medium: Oil on Panel Dimensions: 40.00" x 30.00" Signature: Titled, Numbered, and Signed Acquired from the artist.

Medium: Oil on Board Dimensions: 10.00" x 8.00" Signature: Signed Upper Right A still life image of wine and fruit (pitcher and fruit). There are two pictures.

Medium: Oil on Board Dimensions: 10.00" x 8.00" Signature: Signed Upper Left A still life image of wine and fruit (pitcher and fruit). There are two pictures.

Date: 1917 Medium: Gouache on Illustration Board Dimensions: 13.00" x 20.75" Signature: Signed

James Grant's "Large Blue and Pink Still-Life" oil painting delves into the timeless genre of still life, a tradition that has evolved over centuries. While early still-life painting...

Every artwork is hand-made and supported with a certificate of authenticity. Made in Spain, 2024. Package: protected cardboard box. Dispatching terms: 2-3 working days. Location and ...

Every artwork is hand-made and supported with a certificate of authenticity. Made in Spain, 2024. Package: protected cardboard box. Dispatching terms: 2-3 working days. Location and ...

Meghan Gerety lives and works in Marfa, TX and New York City. She received her BA in Studio Art from Barnard College after attending Atelier Clouet in Paris. Her work has been exhibited at Bill Arning Exhibitions, Renyolds Gallery, White Columns, Andrew Kreps Gallery...

Meghan Gerety lives and works in Marfa, TX and New York City. She received her BA in Studio Art from Barnard College after attending Atelier Clouet in Paris. Her work has been exhibited at Bill Arning Exhibitions, Renyolds Gallery, White Columns, Andrew Kreps Gallery...

Acrylic on masonite. This is a pivotal work in deep and radiant cobalt blue from 1950. It dipicts calligraphic and hieroglyph structures over a grid and pyramidal base by the first generation abstract expressionist. Provenance: Skinner: November 13, 1992 [Lot 00219}, The entry in the Skinner catalog indicates that the painting came directly from the artist to the family of the consignor to Skinner. Kaminsky Auctions. There is an unbroken paper trail that traces the ownership of the painting from the current owner, through two auction houses to the artist. Perfect unbroken provenance. Pousette-Dart was among the most inventive of the Abstract Expressionist generation, His uncanny talent was to expand the nature of abstraction and still make each mark each element very much his own; a reflection of what he called   "the concealed power of the spirit," he said, “not of the brute physical form."   His was not aiming for a singular, realized aesthetic formula but to expand the possibilities of painting; the transcendental in painting. Typical of such invention and exploration is this  painting  Untitled 1950 when the artist was only 34 years old and represented by one of the champions of the new American painting, Betty Parsons.  
A banner year for Pousette-Dart, the Museum of Modern Art acquired their first painting by the Minnesota born artist.  He worked on easel size works such as this painting an oil on masonite. At the same time Pousette-Dart was also working on larger scale works such as Path of the Hero, running over ten feet in length now in the collection of the Metropolitan Museum of Art.  Both contain fields of color articulated by a highly sophisticated white hieroglyphic vocabulary. Rather than demonstrate an expressionist sensibility, Pousette-Dart harnesses his more cerebral ideas transforming thick areas of paint into a more refined composition of geometric forms akin to the pattern and forms of say a stained glass window. In a way he is looking back at Fugue, 1940 a black and white composition which makes use of a similar format of painting albeit smaller. Color and form are minimal, but what Pousette-Dart has maximized is the rhythmic and syncopated character of painting casting his ideas into purely symbolic terms that one might link to the pictograms of Adolph Gottlieb. Nonetheless, nature is always at the core of Pousette-Dart’s thinking and dreaming. Here he has transformed the local Ramapo Mountains—where he will eventually move with his family to live and work— into a complex series of articulated fragments linked by style, scale and color.  The painting’s imagery built on two large triangles and reduced to just two colors, cobalt blue and white all outlined in black.  Pousette-Dart symbols stacked in horizontal and vertical rows:  blue is ground, white is language, symbolic of light, consciousness and awareness . The painting maintains a mystical character images compounded that formulate a secret code and linked to the series of white paintings Pousette-Dart authored in the first half of the 1950s. Get up close to the picture and you discover images within images a kind of picture puzzle...