Chris Hamamoto Art

Oil on canvas, lain to board. Framed.

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

The canvas comes to life with a captivating yet understated painting, heavy on texture, using antique linen, crafted with a unique blend of dye, pigment, and acrylic. The artist's su...

Syril Frank (American, 1929-2021) Untitled, c. 1970s/80s Oil on canvas Framed: 21 3/4 x 25 2/3 x 1 in. This fantastic painting in the abstract expressionist style loosely depicts a ...

Discover the captivating urban narrative of Foti Kllogjeri's painting, a cityscape where towering buildings on either side converge to form a mesmerizi...

"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...

Original Mid-Century oil on canvas composition by American Artist Edith E. Ferullo (1928 - 2008). The painting features a thick textured abstract nude subject. The brutalist artwork ...

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...

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...

Artist: Matt Carone, signed lower right Dated: 1995 Dimensions: 80.25"H x 56.25"L In a fine wooden black and gold gilded frame. Provenance: Freitas Revilla Gallery. Matt Carone (1930-) South Florida artist and gallerist. The Italian- American New Jersey native took up painting in the 1940s after Hans Hoffman asked him to model in a class in which Nicolas Carone, Matt's brother was a student. He has never stopped painting since that seminal experience in Abstract Expressionism. His work reveals a dynamic gestural vocabulary that’s confident, rich in color and texture, and charged with emotion. Matthew Carone opened his famous, influential gallery on Las Olas Boulevard in Fort Lauderdale in 1959, and in the following decades, he built a roster that included such artists as Wolf Kahn, Leon Kroll, Wifredo Lam, and the great Chilean surrealist Roberto Matta. Meanwhile, Carone quietly continued his own work as a painter, urged on by Matta on his many visits to the area. His works range from pure abstract expressionist painting to figurative expressionism to an almost Surrealist calligraphic abstraction. Carone lived with and posed for Hans Hoffman, and was friends with Roberto Matta, Conrad Marca-Relli, Paul Jenkins, Franz Kline and Wolf Kahn. His paintings, according to Palm Beach Post art critic Gary Schwan, “reveal a spontaneity that recalls the automatic writing of the surrealists. The figures radiate motion, tension and sexual heat in contained spatial constructions.” This painting depicts nude figures reminiscent of the nudes in the famous Pablo Picasso painting Demoiselle D'avignon. His later paintings, perhaps closer to Jackson Pollock or Cy Twombly than Matta’s animated stick figures and skeletal machines, step toward the path of patterned abstraction without venturing onto it. Like Pollock, whose lyrical loops carried the private rhythms of an artist enamored of dance, and Twombly, whose staccato, sketchy lines reflect a different temperament, Carone’s inspirations flow directly from a subconscious informed by a lifetime of association with some of the century’s most important artists and their works. Not only is Carone identified with the pioneer generation of Abstract Expressionists, but also critics have seen affinities with Surrealism in his work, as well as development parallel to those of the CoBrA group.” Earlier paintings by Carone, an accomplished musician and violinist, often suggest ensembles of musical instruments, particularly those with strings. Like the drip paintings of Pollock, these works, with their powerful sense of movement and lyrical compositions, sometimes seem like musical passages captured on canvas or paper. SELECT ONE PERSON SHOWS Boca Raton Museum of Art, Boca Raton, FL Palazzo Panni Museum, Arco di Trento, Italy Fox-Martin Gallery, Housatonic, MA Lurie Galleries, Boca Raton, FL ArtSpace/Virginia Miller Galleries, Coral Gables (Miami), Florida Georgetown College, Georgetown, Kentucky Schramm Galleries, Fort Lauderdale, Florida Granville Galleries, Coral Gables, Florida Coral Ridge Yacht Club, Fort Lauderdale, Florida Museum of Art, Fort Lauderdale, Florida The Gallery, Fort Lauderdale, Florida Gallery 99, Bay Harbour Island, Florida Mercer University, Macon, Georgia P.N.Y.K. Gallery, Kent, Connecticut Simons Rock College of Bard, Great Barrington, Massachusetts Freites-Revilla Gallery, Boca Raton, Florida GROUP SHOWS Museum of Art, Fort Lauderdale, Florida Society of the Four Arts, Palm Beach, Florida Schramm Galleries, Fort Lauderdale, Florida Roko Gallery, New York, New York Loft Gallery, Coral Gables Florida Lowe Art Museum, Coral Gables, Florida Brandeis Art Festival, Palm Beach, Florida Drawing Exhibition, Museum of Art, Fort Lauderdale, Florida Ute Stebich Gallery, Lenox, Massachusetts Florida Pavilion, New York World's Fair, 1965 The Lantern Gallery, Ann Arbor, Michigan The Little Gallery, Philadelphia, Pennsylvania Tampa Bay Art...

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...

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...