Anastasiia Danilenko Paintings

Artist/ School: French expressionist/ abstract contemporary artist, 21st century Title: Abstract composition Medium: oil/mixed media painting on canvas, unframed. canvas: 25.75...

Antique American modernist abstract painting. Oil on canvas, circa 1940. Housed in a vintage frame. Image size, 18L x 24H.

Tomasz Kozlowski is a Polish artist, born in 1983 in Piotrkow Trybunalski, He lives and works in Lodz. He studied at the faculty of textiles and fashion of the Fine Arts School in Lo...

A Geometric Play of Masks, Eyes and Lines. Post war Expressionism. 1970's. Patrick Boudon. Art Informel. Ecole de Paris. Technique: oil on canvas, very textural and colorful. Patr...

Kristy Chettle's "Rising" is a 72" x48" oil on canvas that embodies the raw, emotive power of abstract expressionism infused with figurative elements. Swirls of dark and moody blues ...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Abiodun Nafiu Azeez is an accomplished artist with a diverse background in contemporary painting, particularly Osogbo art. However, his true passion lies in abstract expression, where he seeks to promote African art, culture, and nature. Influenced by his artist father, he paints to preserve memories and connect with broader societal concerns. Abiodun's artistic style is characterized by the abstraction and simplification of human compositions. He employs vibrant oil colors, often focusing on primary colors that transition into secondary and tertiary hues. His subjects stand out against neutral backgrounds, creating a harmonious balance in his paintings. A prominent feature in his works is the use of red, blue, and yellow tones, subtly blended to emphasize form and shape. His artistic journey includes training under renowned bead painting contemporary artist Jimoh Buraimoh...

"News Update" by Abiodun Nafiu Azeez is a captivating artwork that portrays a group of people, some of whom are holding newspapers. Through this piece, Azeez skillfully explores the relationship between media and society. The juxtaposition of individuals reading newspapers in a group setting speaks to the shared experiences and conversations that news can generate among people. Azeez's work invites viewers to reflect on the influence of media in shaping our collective understanding of the world. The piece beautifully captures the essence of interconnectedness and the power of information in our lives. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Abiodun Nafiu Azeez is an accomplished artist with a diverse background in contemporary painting, particularly Osogbo art. However, his true passion lies in abstract expression, where he seeks to promote African art, culture, and nature. Influenced by his artist father, he paints to preserve memories and connect with broader societal concerns. Abiodun's artistic style is characterized by the abstraction and simplification of human compositions. He employs vibrant oil colors, often focusing on primary colors that transition into secondary and tertiary hues. His subjects stand out against neutral backgrounds, creating a harmonious balance in his paintings. A prominent feature in his works is the use of red, blue, and yellow tones, subtly blended to emphasize form and shape. His artistic journey includes training under renowned bead painting contemporary artist Jimoh Buraimoh...

Mark Acetelli's "The Muse" beckons viewers into a world of artistic contemplation through this mesmerizing original abstract figurative painting. Executed with a masterful command of...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Modernist abstract figurative oil painting of a woman with musicians by San Francisco artist Michael William Eggleston (American, 20th century). Signed with monogram "MWE" and dated ...

Ralph Rosenborg (American, 1913-1992) "American Landscape, Sky and Shore, 1973" Oil on canvas. Signed 'Rosenborg' (lower right). Titled (verso). 30 x 40 in Ralph Rosenborg (1913–1992) was an American artist whose paintings were described as both expressionist and abstract and who was a colleague of the New York Abstract Expressionists in the 1940s and 1950s. Unlike them, however, he preferred to make small works and tended to explicitly draw upon natural forms and figures for his abstract subjects. Called a "highly personal artist," he developed a unique style that was considered to be both mystical and magic. His career was exceptionally long, covering more than 50 years. Rosenborg was born in Brooklyn, New York, on June 9, 1913. In 1929, while he was a high school student, he began to work with the designer, artist, and instructor, Henriette Reiss. When Rosenborg encountered her, Reiss was serving as an instructor for the School Art League in the American Museum of Natural History. She was then engaged in instructing both students and their teachers in the city school system by a method she called Rhythmic Design. She believed inspiration for abstract designs could be found in rhythms—rhythms that could be perceived in ordinary perceptions much as they are when listening to music. In May 1930 Reiss selected a drawing by Rosenborg to be shown in an exhibition of creative design by City high school students. From 1930 to 1933, aged 17 to 20, Rosenborg studied with Reiss in what Vivien Raynor of the New York Times called a "pupil-apprentice" relationship. During this time she instructed him in music appreciation, literature, and art history as well as giving technical training in art. In April 1934 Rosenborg was one of 1,500 artists to participate in the annual Salons of America exhibition, which was held that year in Rockefeller Center RCA Building. Each paid two dollars for the privilege of hanging up to three works and none was given prominence over the others. The New York Times reported that by the time the show closed a month later, some 30,000 people had viewed it. The following year he was given a solo exhibition (his first) at the Lounge Gallery of the Eighth Street Playhouse. The year after that he participated in a group show held by the Municipal Art Committee and in 1937 was given a second solo exhibition, this time in the Artists Gallery. That year he also became a founding member of and participated in a group show held by American Abstract Artists, a loose assembly of artists that aimed to promote abstract art and artists in New York. Its founders included Josef Albers, Ilya Bolotowsky, Werner Drewes, Ibram Lassaw, Mercedes Matter, Louis Schanker, Vaclav Vytlacil and Rudolph Weisenborn. At roughly the same time Rosenborg associated himself with a group of abstractionists that called itself "The Ten" (It included Ben-Zion, Mark Rothko, Adolph Gottlieb and Joe Solman) and in May 1938 joined with its other members in what would be his first appearance in a commercial gallery: the Gallery Georgette Passedoit. In 1938 he his work appeared in a group show at the Lounge Gallery, in 1939 in group shows at the Artists Gallery and at the Bonestell Gallery with David Burliuk, Earl Kerkam, Karl Knaths and Jean Liberte...

Jesus and Mary Magdelene Oil Painting Modernist indistinctly signed M....... dated 1955 Dedicated on the reverse and dated 10/4/56 signed Maurice Unusua...