Jean Feinberg

P4.15 (Abstract Painting)

2015

Gouache, pencil and collage on Japanese paper. Unframed. This gouache paint with collage on Japanese paper is a result of working with the accidental arrangements of found colored ...

P4.15 (Abstract Painting) Gouache, pencil and collage on Japanese paper. Unframed. This gouache paint with collage on Japanese paper is a result of working with the accidental arr...

Gouache on Japanese paper - Unframed This gouache paint on Japanese paper is a result of working with the accidental arrangements of found colored papers that are in piles all over ...

Blur (Abstract painting) Gouache on Japanese paper - Unframed This gouache paint on Japanese paper is a result of working with the accidental arrangements of found colored papers t...

Gouache on Japanese paper - Unframed This gouache paint on Japanese paper is a result of working with the accidental arrangements of found colored papers that are in piles all over ...

Blur (Abstract painting) Gouache on Japanese paper - Unframed This gouache paint on Japanese paper is a result of working with the accidental arrangements of found colored papers t...

Charmion von Wiegand Intersecting Magic Square, ca. 1963 Gouache on paperboard Signed and titled on the back of the artwork. The signature shown on the frame back is a photo of the actual signature on the artwork itself. Frame Included: elegantly floated and framed in hand made white wood museum frame with UV plexiglass This work is signed and titled on the back of the artwork itself. The signature shown on the back of the frame is a photo of the actual signature, since the actual pencil signature and title is on the artwork itself, which can't be seen within the frame Measurements: Frame: 21 x 17 x 1.5 inches Artwork: 18 x 14.25 inches The Estate of the celebrated artist Charmion Von Wiegand has been represented exclusively by Michael Rosenfeld...

Chryssa Repetition Signed lower right; titled on the reverse Gouache, watercolor, charcoal, and graphite on paper 15 x 11 inches Born and educated in Athens, Greece, Vardea Chryssa, known professionally as Chryssa, became a U.S. citizen and earned a reputation for her sculptured assemblages utilizing light from neon, and plexiglas combined with mixed media pieces. One of her pieces, Untitled Light Sculpture (1980) is 22 feet long and is installed in the atrium of a building at 33 Monroe Street in Chicago. It was programmed electronically to create changing patterns of reflected light through 900 feet of neon tubing. Chryssa's sculptures with precision and definite form were a reaction against the prevalent Abstract Expressionism of the 1950s with its emphasis purely upon the artist's intent. In her work, the focus is on materials and the way they are shaped for specific use by craftsmen. She got her early education in Athens, and first studied to be a social worker. She was then sent by the Greek Ministry of Social Welfare to the Dodecanese Islands and later to the Ionian Sea island of Zante, whose population had suffered great loss from earthquakes. Disillusioned that monies were being provided to restore monasteries but not to help other earthquake victims, Chryssa changed her life's direction to become a painter. In Athens, she studied art with Anghelos Prokopion. Then she went to Paris, France, and studied briefly at the Academie Grande Chaumiere and associated with surrealists Andre Breton, Edgard Varese, and Max Ernst. In 1954, she moved to San Francisco, California for a year of study at the California School of Fine Arts, and there she first saw the work of Jackson Pollock, which had a freeing affect on her and inspired her to experiment with pure form. But later she reacted against action painting with her assemblage sculptures of controlled precision. In 1955, Chryssa settled in New York City, and became the first artist to incorporate neon light tubing and commercial signs into sculpture. It is asserted that her "mature work grew out of the Greek experience, before and after World War II, wedded to the raucous letters, signs, symbols, and lights of Time Square, New York City" (Heller 125). In fact, she was so taken with the lights of Times Square that she unsuccessfully tried to get a job as a sign maker but was prevented by labor union rules. However, one of the members gave her sign-making lessons in his shop. She first made Pop images such as depictions of automobile tires and cigarettes and in sculptures, utilized letters of the alphabet, ideas that predated similar images by Jasper Johns and Andy Warhol. Her first major work of interwoven light and letters was Times Square Sky of 1962, but she was dissatisfied because she thought the piece was too crowded. To create a sense of breathing, she inserted neon light, and for the first time, this material became an art medium. From that time, she was prolific and created many variations based on the letters W and A. For her, a primary motivating factor was remaining cool or mentally collected amidst the onslaught of bombarding information and to process it through her creations in new ways so that nothing was repeated. She set up her own work place...

it is currently unframed and will be sold thus. Similar in style to the 80s work of Elizabeth Murray. A bright, colorful expressive piece signed (labels are not included as it is un...

Made in 2023 by Amanda Andersen, this geometric abstract painting on paper is one in a series of nine minimal artworks with a visual simplicity in...

Made in 2023 by Amanda Andersen, this geometric abstract painting on paper is one in a series of nine minimal artworks with a visual simplicity in...

Made in 2023 by Amanda Andersen, this geometric abstract painting on paper is one in a series of nine minimal artworks with a visual simplicity in...