Anita Loomis

"The Couple", abstract, minimalist, gold leaf, watercolor

2011

“Impact” by Sarah Alexander is a 22 x 30 x 2 inch watercolor and acrylic painting on panel depicting a zoomed-in view of a sweet gum seed pod in bright cobalt, turquoise blue and fie...

"Current" By Sarah Alexander is a 36 x 24 x 1.5 inch swirling abstract watercolor on canvas in a palette of turquoise, white, and soft browns. Part of Alexa...

"Ebb and Flow" by Sarah Alexander, is a flowing abstract watercolor on canvas in cool calm blues and turquoises measuring 30 x 24 x 1.5 inches from Alexander's "Off the Studio Floor"...

Sarah Alexander's 22 x 30 inch Watercolor on Aquabord painting "By the Seat of Her Pants" is a joyous and playful spiral of color. Rich orange, reds and blues coil around in a whirlwind of motion depicting the joys and emotions of a busy and full life. The painting is done on a clay panel made especially for watercolor, and sealed with a polymer varnish. The painting sits on a 2.5 inch wood cradle for a contemporary look and does not require framing. The painting is signed in the lower right hand corner. Sarah Alexander is a contemporary mixed media artist with an emphasis on watercolor and drawing using unconventional surfaces and techniques. Her work is in private collections and has been shown extensively throughout New England, and abroad. Her work has been published by North Light...

Sarah Alexander's 30 x 40 inch Watercolor on gallery wrapped canvas painting "Spin" is rich in earthy rusts, sepias, and browns spiraling across the canvas. This painting is a whirlw...

In "Undertow" by Sarah Alexander, vibrant turquoises and blues meander throughout this 30 x 40 x 1.5 inch abstract botanical watercolor on canvas. T...

Arlene Shechet Summer Set 8, 2005 Watercolor monoprint on dieu donné hand made paper 21 × 27 1/2 inches Signed and dated in graphite on the front Exquisite watercolor monoprint on di...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

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...

The art of Philip Wittmann is founded on signals. For him, signs serve as a bridge between abstraction, reality and writing, too. When he was 26 years old, he began painting as a hobbyist using 'pure' abstraction. However, he believed his work lacked a solid foundation upon which to grow. ​He discovered a book on the origins of the Chinese alphabet, which origins are essentially signs, in 2008 while taking a calligraphy class. The 26 letters of our Latin alphabet are less pictorial than the Chinese characters as we know them now. He discovered that pictorial representation is more prevalent when examining the origins of alphabets—all alphabets, in fact—because there is frequently a similarity between the sign's true meaning and what it is meant to represent. For instance, the symbol for a turtle in the original Chinese script resembles a turtle. Wittmann loves signs as they leave room for interpretation. For instance, if one writes “the sky is blue”, one will make for themself a mental representation of a blue sky, even if each one-off us will probably have some nuance in our own mental representation of that blue sky. On the other hand, a sign can...

The art of Philip Wittmann is founded on signals. For him, signs serve as a bridge between abstraction, reality and writing, too. When he was 26 years ...

The art of Philip Wittmann is founded on signals. For him, signs serve as a bridge between abstraction, reality and writing, too. When he was 26 years old, he began painting as a hobbyist using 'pure' abstraction. However, he believed his work lacked a solid foundation upon which to grow. ​He discovered a book on the origins of the Chinese alphabet, which origins are essentially signs, in 2008 while taking a calligraphy class. The 26 letters of our Latin alphabet are less pictorial than the Chinese characters as we know them now. He discovered that pictorial representation is more prevalent when examining the origins of alphabets—all alphabets, in fact—because there is frequently a similarity between the sign's true meaning and what it is meant to represent. For instance, the symbol for a turtle in the original Chinese script resembles a turtle. Wittmann loves signs as they leave room for interpretation. For instance, if one writes “the sky is blue”, one will make for themself a mental representation of a blue sky, even if each one-off us will probably have some nuance in our own mental representation of that blue sky. On the other hand, a sign can...