Color-Field Art

Oil on canvas. Signed, titled, and dated verso. 40.25 x 34 in. 41.5 x 35.5 in. (framed) Custom framed in a solid maple floater, with a matte white finish. Provenance The Betty Par...

Shooting Star - 1979 Print - Silkscreen 36.5'' x 36.75'' Edition: Signed in pencil, dated and marked 238/250 Unframed

Larry Poons Midget Racer, 1963 Colored Pencil on Graph Paper Signed, titled, and dated by the artist on the lower right front Original frame with gallery label included This work has...

Kenneth Noland Untitled Target, 2001 Acrylic paint on offset lithograph Signed, dated, and dedicated along lower edge: For Howard and Susan with Love Kenneth Noland 6.10.01 Framed This original acrylic target painting on offset lithograph paper was gifted by the artist to the influential publishers, authors, and film producers Howard and Susan Kaminsky, and it bears a warm personal inscription followed by the artist's signature. Measurements: Framed: 22 x 21.75 x 1.25 inches Unframed: 19 1/2 x 19 inches Provenance: Gifted by Kenneth Noland to the distinguished publishers, authors, and film producers Howard and Susan Kaminsky. (Howard also became a member of the Council on Foreign Relations...

Oil on canvas. Signed, titled, dated verso. 40 x 44 in. 41.5 x 45.5 in. (framed) Custom framed in a natural cherry floater. Provenance Knoedler Contemporary, New York Ludwig Sand...

from the smoke and ash - Abstract tantric stain painting, acrylic on raw canvas by contemporary artist Elisa Niva33 inches x 29 inches. One of the main i...

Jules Olitski Play of Angels, 2000 Watercolor and gouache on all-rag paper Signed and dated 2000 by the artist on the front Frame included (elegantly floated and framed in light wood...

Color Field / AbEx

'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...

"Subtle Was Rarely An Option" is a lithograph with chine-collé elements exemplifying Calvert's exploration of the "...conversations that develop between everyday objects of comfort ...

Divided Lands, Signed Contemporary Blue Abstract Color Field Digital Painting 30" x 30" x 1.5" (HxWxD) Archival Print on Canvas Hand-signed by the artis...

This artwork was made in the Colorfield concept with the character elements - the formulas on the painting are from mathematical game theory. In game theory, the battle of the sexes...

Color screenprint on Arches paper. Signed, titled, dated and numbered 22/73 in pencil by Gilliam. Printed by Lou Stovall at the Workshop, Inc., Washington,...

Bright reds, yellows, blue and green stripes adorn a wall in lower Manhattan. Chairs of the same color scheme line the street and have an older woman with a scarf covering her face. ...

Artist: Joseph Solman, American (1909 - 2008) Title: The Red Beard Medium: Oil on Canvas, signed Size: 20.25 x 12 inches Frame Size: 30 x 22 inches

Ex collection Carolyn Dunlap Millet Exhibited: Knoedler and Co, NY; Tibor de Nagy, Houston; Berry Campbell, NY Walter Darby Bannard was a leading prop...

Kenneth Noland Limited Edition Canvas Tote, 1977 Mixed Media: Silkscreen on Canvas with handles and leather tag. Numbered with ink stamp 15 × 15 inches Edition 268/500 Plate signed and dated Kenneth Noland and stamp numbered from the edition of 500 Very good vintage condition with handling and creasing (see photos) This was not commercially marketed but was designed as a prototype with each one stamp numbered. Not too many are around, and very rarely found in such good condition. This work is sold unframed as shown in the first image, but for inspiration only, see a photograph of how one collector framed a different edition of this work - and it looks like a print or painting! (see last image) A true vintage collectors item.

Lime Green abstract painting color field painting

American, b. 1948 Artist Statement "My paintings are intuitive responses to the myriad forces that shape my life—emotions that translate into color, visual memories of forms and co...

Artist Angelo Ippolito (1922-2001) produced a body of oils on canvas, works on paper, and assemblages renowned for their lyrical color, light, and compositional rigor. His paintings ...

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-...

This 30 color screen print was created at Brand X Editions to commemorate the terrorist attacks of September 11, 2001 in New York City. This print comes directly from the publisher, Lincoln Center Editions...

Artist Angelo Ippolito (1922-2001) produced a body of oils on canvas, works on paper, and assemblages renowned for their lyrical color, light, and compositional rigor. His paintings ...

Elliott Thompson Eleven Thirteen, (Dancing Line Series), 1972 Signed, Elliott Thompson, dated, 2/72, and inscribed, Eleven Thirteen, on verso and agai...

Artist Angelo Ippolito (1922-2001) produced a body of oils on canvas, works on paper, and assemblages renowned for their lyrical color, light, and compositional rigor. His paintings ...

Acrylic on canvas

Artist Angelo Ippolito (1922-2001) produced a body of oils on canvas, works on paper, and assemblages renowned for their lyrical color, light, and compositional rigor. His paintings ...

A very good impression of this color screenprint on white wove paper. Signed and numbered 248/250 in pencil by Davis. Based on a series of oil paintings made by Davis, completed afte...

Brodsky’s first classroom experience under Ad Reinhardt at Brooklyn College in 1961 was an extraordinary one. The students were asked to take their places in front of their easels in...

"Moving and Changing" is a hand-painted acrylic painting on high-quality 300g paper by artist Ryan Rivadeneyra. These painting, influenced by modernist artists of the 50's, 60's, an...

Helen Frankenthaler Frankenthaler (Hand signed and inscribed), 1988 Offset lithograph (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Color field abstract painting , grey blue, gold orange neutral peach, beige. Abstract Acrylic Painting Minimalism painting

"Color Field Flowers" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful series of organic large forms combined with subtle tones and unique shapes that is bo...

Abstract color-blocked painting. Acrylic on sturdy canvas.

Stewart Waltzer was Kenneth Noland's studio assistant in the 1970s and 1980s, an acclaimed artist in his own right and a noted curator and art critic. His work appears rarely

This image is as much about the color of the red wall and the psychedelic colors of the female's shirt street as the three figures who populate the composition. Color is a co-subject...

"Fields of Colors" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful combination of geometric shapes in a vivid gamut of gradient colors. Natalia Roman was born in 1984 in Girona...

"Grusgrav", a wonderfully minimal yet expressive mid century modern abstract limited edition hand signed lithograph by Frede Christoffersen (Danish, 1919-1987). This 1962 color-field abstract features a subdued palette of earthy golden rod yellows and sage, the geometric areas of color divided into fractured shapes with organic and expressive texture. Grusgrav, the title of the piece, is Danish for gravel pit. Titled "Grusgrav", signed with the artist's initials "FC" and dated "62" lower right. Numbered "36/80" lower left. Signed "Frede Christoffersen" on verso. Official Org. U.M. Grafik warranty certificate stamp on verso. Displayed in a vintage painted wood frame. Image size: 11.5"H x 17"W. Another lithograph print of "Grusgrav" from the same edition, number 44/80, is included in the collection of the Fuglsang Art Museum (Fuglsang Kunstmuseum) on the island of Lolland in Denmark. Born in Borup, Denmark, outside out Copenhagen. Christoffersen spent a short period at the Copenhagen Arts and Crafts School before travelling to the Far East in 1940-41. The result was his 20 "Smaa sorte Tegninger" published in 1941. From 1942 to 1943, he studied at the Royal Danish Academy of Fine Arts, both at the graphic arts school and at the school of painting, under Aksel Jørgensen...

This Gene Davis screenprint can only be described as jewel toned, with vibrant ink in peridot green, sapphire blue, turquoise green, amethyst purple, carnelian brown, grey, and pink....

The early 1970s was a period of reexamination of the state of photography for Mitchell Funk. He broke with the tradition of shooting gritty street photography in black and white and ...

Paul Feeley Rafina II Greece, 1961 Watercolour on paper Hand Signed, titled and dated lower front In 1961, color field painter Paul Feeley created a series of watercolors - Rafina an...

Street photographer Mithcell Funk celebrates the colorfully painted Victorians in Alamo Square with a color photograph that reveals the true character of the architecture. It's a jo...

A bright red 1970s Porsche is photographed and fills the composition's foreground. It's bright red color functions more like a color field painting. This is a trail-blazing image. ...

This image of an elderly man entering a dilapidated Miami Beach apartment building shows how the famous resort looked before it became a hip inte...

Thomas Victor Downing (1928 - 1985) Nineteen, 1968 Acrylic on canvas 35 1/2 x 16 1/2 inches Signed on the reverse Provenance: Estate of the artist Henri Gallery, Washington, D.C. Private Collection, Washington, D.C. Thomas Downing was born in Suffolk, Virginia. In 1950, after graduating from Pratt Institute in New York City, he received a grant from the Virginia Museum of Fine Art to study in Europe. Upon returning from Europe, he settled in Washington, DC to teach at Catholic University. In 1954 Downing became a friend of Kenneth Noland, whose life drawing course he attended. From 1955 to 1956 Downing shared a studio with Howard Mehring, another artist who came to be identified with the Washington Color School. Downing had his first one-man show at the Washington Workshop Center for the Arts in 1959. That year, Downing, Mehring, and Betty Pajac founded Origio, a cooperative art gallery in Washington. In 1959 Downing first began using the small dot in his work, a motif he explored fully into the 1970s. In the early works colorful dots determined the structure of the painting in their size, position, and repetition within a grid. Often there was a sense of concentration and expansion of the composition from the center to the edge of the canvas, achieving a visual impression of expanding open space. Looking for the fusion between the grid and color, Downing eliminated overlapping dots in 1962. The dots arranged in grids seem to project from the canvas surface, giving the impression the color floats unrestricted by the square format of his paintings. Downing’s position in the Washington Color School came from his consistent approach to color. The canvas was the receptacle of color, on which Downing often worked in tonal modulations of a hue. Downing developed shaped canvases in 1966 as a structural solution to his deeper consideration of the “spatial definition” of color. After first working in a parallelogram shape, Downing next worked in chevron-shaped canvases that examined the illusionistic qualities of color. He exhibited these works in a solo exhibition at the Corcoran Gallery in 1966-1967 and later at the Allan Stone Gallery in New York in 1967. Downing’s second series of shaped canvases titled Folds were created in 1968. In the Fold series he discovered a new effect of relief and spatial depth within a flat work that could be enhanced by color. The projections and folding in the Fold paintings suggest the paintings exist in a world without gravity. Downing exhibited in a group show at Jefferson Place Gallery in 1960 and had his first solo exhibition there in the spring of 1961. Downing had solo exhibitions in New York at Allan Stone Gallery in 1962, 1967, and 1968. He also had solo exhibition in New York at Stable Gallery in September 1963 and January 1965. In the early 1970s Downing had regular solo exhibitions at the Pyramid Galleries in DC. In the 1960s Downing was included in important museum exhibitions, including: Post Painterly Abstraction at Los Angeles County Museum of Art, 1964 (Clement Greenberg curated and included three of Downing’s dial paintings); The Responsive Eye at the Museum of Modern Art, 1965; Colorists, 1950-1965 at the San Francisco Museum of Art, 1965; Systemic Painting at the Solomon R. Guggenheim Museum, New York, 1966; and Color Field Painting at the Philadelphia Museum of Art in 1970. Thomas Downing: Recent Paintings was held at the Corcoran Gallery of Art in December 1966 - January 1967. A solo exhibition of his paintings from 1962 to 1968 was held at the La Jolla Museum of Art then travelled to the Phoenix Art Museum in 1968. Downing had a solo exhibition at the Phillips Collection in 1985. Downing taught at the Corcoran School of Art and Design, Washington, DC from 1965 to 1968. There he was influential for the next generation of DC color...

Artist: Gene Davis Title: Carousel Year: 1980 Medium: Lithograph on Arches Paper, signed and numbered in pencil Edition: 250 Image 13.5 x 20 inches Paper Size: 17 x 24 inches

"Soothing" marine paint oil 92x72cm 2008 Emmanuelle Vroelant The algae flowing in the transparency of the water. The sense that they’ve been there for so long....

Signed lower left Born in Stuttgart, Germany, in 1927, Wolf Kahn immigrated to the United States by way of England in 1940. In 1945, he graduated from the High School of Music & Art...

A marquee for an Art Deco Movie theater in Denton, Texas is photographed with meticulous precision by street photographer Mitchell Funk. Funk's approach...

Provenance: Southampton, NY collector; Peter Marcelle Gallery, Southampton Raymond Parker (1922-1990) was an Abstract expressionist painter who also is associated with Color Field ...

Gabriele Evertz Untitled, 1993 Acrylic on canvas 48 x 48 inches Provenance: The artist Private Collection, Long island (acquired from the above) G...

Punchy reds and zestful hot pinks convey a sense of intense motion and engine heat. The art is as much as color-field painting as a narrative work. It was a commissioned illustration for Sports Illustrated...

Jules Olitski (1922-1977) is one of the most collected and accomplished artists associated with the color-field movement, if not 20th-century American abstraction. Created in the m...

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...

Larry Zox Dexter's Choice, State II, ca. 1990 Mixed media, Watercolor pochoir, and Oil stick Wax, Water-Based Crayons, on heavy Arches museum watercolor rag paper with deckled edges ...

This stunning serigraph, "Untitled" (Diagonal Composition) was realized by the esteemed American color field artist Larry Zox (American, 1936-2006) circa 1965. It features a dynamic ...

Agent X Chorioferol mRNA (black) (Pop Art, Street Art, Urban Art) Digital Print on Archival Paper Year: 2021 Edition: 70 Size: 35 x 35 inch Signed COA provided Ref.: 924802-855 ---...

Colorful abstracted color field painting of matchsticks by Bay Area artist Michael Pauker (American, b. 1957), circa 2000. Unsigned, but was acqui...