Adrianne Wortzel

"Staircases Falling Out, " Adrianne Wortzel, Blue and Gold Abstract Op Art

1987

Abstract Non Objective Work on Paper Guggenheim Woman Artist 1940s Drawing w/c HILLA REBAY (1890 - 1967, GERMAN/AMERICAN) Abstract watercolor and graphite on paper 14 x 16 1/2 inche...

Abstract Non Objective Work on Paper Guggenheim Woman Artist 1940s Drawing w/c HILLA REBAY (1890 - 1967, GERMAN/AMERICAN) Abstract Watercolor on paper, c. 1945. 8x9 inches. Provenance: Estate of Hilla Rebay; Gary Snyder Fine Art, NY. In March of 1996, Snyder Fine Art opened its exhibition, Museum of Non-Objective Painting: American Abstract Art. Gary Snyder acquired a large body of works from the Hilla Rebay Estate, many of the works on paper spent decades archivaly stored in flat files with fresh colors and immaculate paper. BIO A woman credited largely for the existence of the Solomon R. Guggenheim Museum in New York City, Hilla Rebay also was an accomplished artist in modernist styles that included collage and biogmorphic-linear oil paintings. She is remembered primarily for being the key person in first exposing the American public to avant-garde art and creating revolutionary museum environments for that art. To remind the public that Rebay was an artist in her own right, curators at the Guggenheim Museum held a retrospective of her work in the spring and summer of 2005. Hilla Rebay (pronounced reh-bye) was born to minor nobility in Strasbourg, Alsace and had the full name of Baroness Hildegard Anna Augusta Elisabeth Rebay von Ehrenwiesen. Her father, a career army officer from Bavaria, and her mother encouraged her obvious childhood art talent. She studied locally and then enrolled in 1909 at the Academie Julian in Paris. There she was much influenced by avant-garde movements especially theosophist artists and writers led by Wassily Kandinsky "who helped formulate her lifelong belief in the power of intuition in art-making and other areas of life" (Glueck). In 1910, she spent time in Munich where she was further exposed to modern art, and she returned to Paris in 1913, having exhibited work in Cologne and Munich. In Paris she studied at the Academie Julian. By 1914, she was exhibiting with the Secession Group in Munich, the Salon des Independants in Paris, and the November Gruppe in Berlin--all rebelling against prevalent realism and traditional teaching methods. In Berlin, she associated with many modernist artists including Vasily Kandinsky, Paul Klee, and Marc Chagall. In 1917, she med Rudolph Bauer...

ABSTRACT American Woman Abstract Non-objective Mid 20th Century Modern Drawing Irene Rice Pereira (1902-1971) Abstract 8 1/2 x 5 1/2 inches Watercolor, gouache, and ink on black pap...

"NY Street Signs" Mid-20th Century WPA 1938 Modernist Abstract Realism Pop Art Stuart Davis (American, 1892-1964) "Street Signs" Modernist gouache and traces of pencil on paper in t...

Abstract Cityscape Mid 20th Century Modern Cubist Work on Paper Drawing Ariel 11 x 4 1/2 inches. Framed by Heydenryk. Provenance: Gary Snyder Fine Art B...

MODERNIST DRAWING New Hope Mid-Century WPA Abstract Non-Objective Jazz Modern. Signed with a "Ramstonev" stamp lower right. RAMSTONEV Cooperative Art Project (1937-1939). In the late 1930s, Charles Ramsey became close friends with Charles Evans and Louis Stone. He persuaded them to join him teaching his New Hope summer classes in non-objective painting. Soon, a history-making collaboration began. In 1937, meeting in Evans' studio at the rear of Cryer's Hardware store on Main Street in New Hope, a decision was made to establish the Co-Operative Painting Project. They were intrigued by the cooperative ad-lib process by which jazz musicians created their music. Believing this to be the quintessential American contribution to music, they theorized that a similar result might be obtainable with art, a "visual jam session." This particlarly fascinated Ramsey, who was a jazz buff and had a large collection of jazz records. The objective was to jointly collaborate in the creation of a painting as well as applying collective criticism during its creation. By creating forward movement by general consent, they believed they could produce a higher level of beauty. By consensus it was decided that subject matter would be non-objective. Up to eight people would participate and stop when the painting "felt" finished by common agreement. These co-operative works were done in several different mediums- the majority in pastel, but some in watercolor, gouache, graphite or cut paper collage. On occasion, the group would create a series, as opposed to a single work, created in steps by three or four artists. One of the occasional participants was famed New Hope poet, Stanley Kunitz. These series could range in number from four to sixteen paintings in each. The first of a series would be very basic and the last a fully finished work. In the scope of importance among the New Hope Modernist...

Adrianne Wortzel (American, b. 1941) Staircases Falling Out, 1987 Acrylic on paper 22 x 30 inches Signed and titled on the reverse Provenance: Webb & Parsons, New Canaan, Connecticu...

Artist: David Roth, American (1942 - ) Title: Untitled VI Year: 1974 Medium: Acrylic Painting on Arches Paper, signed and dated Image Size: 15.5 x 45.5 inches Size: 22.5 in. x 53.5 i...

Highly precise op-art composition by an unknown artist. A grid of colored squares has been created with various colors, divided by occasional diagonal lines that give the feel of ove...

Yaacov Agam, Israeli (b. 1928) Hand signed and dated This is a great example of bold, graphic, mod design. Along with Reuven Rubin and Menashe Kadishman he is among Israel's best kn...

This colored pencil drawing was created by American artist David Roth. Roth's images are proportioned according to a strict mathematical formula - the pictures are composed according...

'Untitled' by John Kalymnios, 1999. Pantone ink on paper, 78.5 x 51.25 in. (framed). This geometric op art drawing features bands of concentric circles with the full spectrum colors ...