Lilly Muth

Love Adventures - Contemporary geometric colorful abstract - Oil Painting

2024

Things to Come is an original oil painting, where colorful circles are inter-lapping on top of a grey color plane, surrounded by beige and black squares. Lilly Muth conveys emotiona...

Lilly Muth's geometric abstractions are colourful works full figures that of space such as the distance, shape, size, and relative position of figures. Her use of colour is bold yet ...

Lilly Muth's geometric abstractions are colourful works full figures that of space such as the distance, shape, size, and relative position of figures. Her use of colour is bold yet ...

Dream Big is an original oil painting, where colorful circles are inter-lapping on top of a grey color plane, surrounded by a black and grey landscape plain. The middle is a bright neon yellow square. Turning this into a very contemporary piece. Lilly Muth...

Lilly Muth's geometric abstractions are colourful works full figures that of space such as the distance, shape, size, and relative position of figures. Her use of colour is bold yet ...

Lilly Muth's geometric abstractions are colourful works full figures that of space such as the distance, shape, size, and relative position of figures. Her use of colour is bold yet ...

Colin Lawson says "I work primarily with oil on canvas. Attention to detail, precision, and accuracy in the application of pigment is my main concern when constructing the surface of...

Colin Lawson says "I work primarily with oil on canvas. Attention to detail, precision, and accuracy in the application of pigment is my main concern when constructing the surface of...

Signed & dated Verso. 1965 Paul Reed in 1970. He favored “staining” untreated canvas. Paul Reed, the last surviving member of the Washington Color School, who explored the complexities of color and form in vibrant bio-morphic and hard-edge abstract paintings, died on Sept. 26 at his home in Phoenix. He was 96. His death was confirmed by his daughter, Jean Reed Roberts. Mr. Reed acquired his public identity as an artist when he was included, along with Gene Davis, Kenneth Noland, Morris Louis, Thomas Downing and Howard Mehring, in “The Washington Color Painters,” a landmark traveling exhibition that began at the Washington Gallery of Modern Art in 1965. All of the other painters had been shown, the year before, in “Post-Painterly Abstraction,” a 31-artist exhibition at the Los Angeles County Museum of Art organized by the critic Clement Greenberg in an effort to write a new chapter in the historic march of abstract art. Like his fellow Washington artists, Mr. Reed rejected the hot, gestural approach of Abstract Expressionism and explored color and abstract forms in a cooler mode. Working with diluted acrylic paint, in discrete series that methodically explored formal issues, he created luminous fields of color by letting the paint bleed into, or stain, untreated canvas. “I have a saying: Pollock dripped, Frankenthaler poured,” he told The Washington Post in 2011, referring to the artist Helen Frankenthaler. “Morris Louis poured. Howard Mehring sprinkled. I blot.” In his first stained series, “Mandala,” color radiated from a circular central image. The nearly 100 paintings in his “Disk” series, which he called “a matrix for exploiting color,” consisted of a central circle and two triangles positioned at the corners of the canvas. Over the next decade he moved to hard-edge geometric zigzags and stripes in the vertical “Upstart” series, color grids and shaped canvases that allowed for more complex experiments in form and color relations. He also made welded steel sculptures and, in the “Quad” series of the 1980s, collaged photographs. “Reed was, in a sense, the ‘little master’ of that first batch of Washington colorists,” the critic Benjamin Forgey wrote in The Washington Post in 1997. “He was a latecomer — he didn’t turn seriously to painting until he was in his mid-30s — but he never considered becoming anything other than an abstract painter. And when he was ready to show, in his early 40s, he was a very good abstract painter indeed.” Mr. Reed gave himself a more modest assessment in an interview with NPR last year. “I’m sort of low man on the totem pole of that group of six,” he said. Paul Allen...

Martin Canin's Dichotos is a large 60 x 50 geometric abstract oil painting, dating 1967. Martin Canin’s work can be linked to two 1960s movements: Color field and Op Art. Like many a...

Luciana Levinton Palais, 2016 Oil on canvas 62 x 57 in (156.97h x 144.78w cm)

Luciana Levinton Palais VI, 2016 Oil on canvas 59 x 50 in (149.1h x 125.98w cm)