Agnes Hart

Naples and Violets

c. 1960

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...

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 ...

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 ...

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 ...

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 ...

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...

A striking contemporary two-toned colorfield abstract by Bay Area artist Michael Pauker (American, b. 1957). A large neutral textured section in cream sits atop a wavy abstraction in...

Fragments Of Poetry And Silence No. 39 (Abstract Painting) Oil on canvas - Unframed Informed by a variety of different cultures, Ostovany feels a connection to multiple separate an...

Conference of the birds no 28 (Abstract Painting) Oil on panel. Natural and mystical processes inspire Ostovany. Informed by a variety of different cultures, Ostovany feels a conne...

Conference of the birds no 28 (Abstract Painting) Oil on panel. Natural and mystical processes inspire Ostovany. Informed by a variety of different cultures, Ostovany feels a conne...

Here is where we meet (for John Berger) (Abstract Painting) Oil on canvas. Informed by a variety of different cultures, Ostovany feels a connection to mu...

Russinof uses large brushes to create highly energized gestures that intimate various patterns and forms in architecture such as frames, cornices and baroque ceiling vaults. The paint-ings are process-based in the sense that one is aware of drips and the accretion of layers, and also flirt with their role as objects by virtue of the gesture’s relation to the painting edge. Color serves to create a window onto natural space and light, even as the forms themselves acknowledge their own framing. She often thinks in these works of Renaissance portraits where the sitter’s forearm rests on the very edge of the frame, inviting intimacy, with a tiny landscape...