Abstract Expressionist More Art

Happy world. Original tapestry RAVENTÓS Mª Assumpció – (San Sadurní d’Anoia, Barcelona 1930). Raventos trained at the elite Sant Jordi School of Fine Arts in Barcelona. Raventós expa...

Los Angeles artist Marc Raphael's abstract expressionism paintings are influenced by New York's abstract expressionist movement. After encountering Jackson Pollock’s work for the fir...

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A lone multi-colored tree stands proudly in the middle of the composition, hazy and dream-like with its undefined edges. A gentle reflection of these fall col...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

David Rankin, American (b. 1946) Rocky Hillside, (1990) Oil on paper Hand signed lower right, signed and titled verso. 30 x 22 1/2 inches David Rankin is a New York-based, British-b...

Sleep of the mind , 200x72 cm, oil on canvas

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A sunlit cafe courtyard framed by bougainvillea in full bloom comes alive with color and movement. Expressive brushwork and thick impasto in the foliage create ...

This is a beautiful oil painting by Alexis Portilla. Color, lines and shapes that resemble pictographs and vessels convey symbolism. Influenced by the emotion of artistic expression...

LEONARDO NIERMAN – UNTITLED TAPESTRY ⚜ Wool tapestry ⚜ Signed in the weaving lower right ⚜ Weaver: Gobelinos Riedl ⚜ Features original hanging loops ABSTRACT EXPRESSIONIST TAPESTRY ...

Los Angeles artist Marc Raphael's abstract expressionism paintings are influenced by New York's abstract expressionist movement. After encountering Jackson Pollock’s work for the fir...

Color screenprinton J. B. Green paper, 1970-71. Initialed by the artist and numbered 85/150 in pencil, lower right. Printed by Kelpra Studio, London. Published by Marlborough Graph...

Night wormwood , 70x60 cm, oil on canvas

Los Angeles artist Marc Raphael's abstract expressionism paintings are influenced by New York's abstract expressionist movement. After encountering Jackson Pollock’s work for the fir...

Artist Comments
Building up many layers of color in oil paint and cold wax medium, Valerie then used scrapers to reveal the tree trunks in an abstract landscape. Warm orange and yellow trees standing in front of a cool blue and green background. Heavy texture complements the expressionist palette. The piece is part of a series of three works. Although Valerie did not create them as triptych, the three hang well close together.

About the Artist
Valerie Berkely uses her finger tips as brushes to create her abstract paintings. For Valerie, the art is all about the process, the paint, her mood, and the moment. She admires the artist Wolf Kahn, who once said, “the picture is the conclusion of an experiment in which the hint of an image becomes actuality." Like Kahn, Valerie’s paintings combine pictorial landscapes with painterly abstraction. The vibrant primary colors capture the hues of the sun rising and setting, and the texture of her fingers across the surface divides sea, land, and sky. There is something very dreamy about these works, exemplified by their color, texture, and atmospheric quality. Valerie’s first “art epiphany” was seeing Seurat's La Grande Jatte at the Art Institute of Chicago. “Bowled me over! I actually fell down. And I knew I was to become a painter.”

Words that describe this painting: woods, forest, trees, nature, expressionism, nature, non-representational, oil painting, blue

Bare Trees...

"Moodâ€

Incredibly scarce art card hand signed by Clyfford Still. (The postcard is open edition, but it was uniquely hand signed by the artist) The legendary, famously reclusive painter Clyf...

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A bouquet of white hydrangeas rests in a deep blue vase. Thick palette-knife strokes give the flowers a sculptural presence, while soft green tones in the backg...

? Rhapsody ? This extra-large original is a symphony of colour and movement—layers of gestural acrylic brushstrokes that flow like music across the canvas. Just as a rhapsody ...

I want to fly , 80x90 cm, oil on canvas

A large scale oil painting - totally abstract, non representational. Largely pink, and blue, with pops of assorted colors peaking up from beneath. Thickly painted globs of paint are ...

Frank Stella Ceiling: Princess of Wales Theatre, 1996 Limited Edition Silkscreened Porcelain Plate in presentation box 12 inches diameter Edition 262/2000 Rarely found stateside - es...

Marine. Original tapestry RAVENTÓS Mª Assumpció – (San Sadurní d’Anoia, Barcelona 1930). Raventos trained at the elite Sant Jordi School of Fine Arts in Barcelona. Raventós expanded...

Midday in Lombardy, 100x170 cm, acrylic on canvas

H. Lawrence Hoffman (American, 1911-1977) Inhale Exhale, 1969 Monoprint Sight: 19 x 15 in. Framed: 27 1/2 x 23 1/4 x 3/4 in. Signed and dated lower right, title inscribed verso H. Lawrence Hoffman (23 October 1911 – 20 January 1977) was a commercial book jacket designer, illustrator,calligrapher and painter who worked in New York City. He illustrated book covers for over 25 publishing companies, including Alfred A Knopf, Pocket Books, Popular Library, Macmillan, Simon & Schuster, The Viking Press, and Random House. Over the course of his career, he illustrated over 600 book jacket covers. Hoffman graduated from the Rhode Island School of Design (RISD) in 1934 and then completed two years of post graduate study in Commercial Art from RISD. He moved to New York City with the $200 he was awarded for winning a competition to design a coin for the 1936 300 year Rhode Island Tercentennial. He began his career as an Art Director at the A.M. Sneider Advertising Company (1938–1941) and at Immerman Art Studios (1941–?). After leaving Immerman, he worked as a free-lance artist and book illustrator for the remainder of his career. He also taught illustration and lettering at The Cooper Union (1960-1967) and was a Professor of Art at C.W. Post University (1967–1976). Hoffman began his career doing drawings for the pulp magazine, "Thrilling Mystery Magazine...

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Fallen tree trunks line the side of Rapid Creek in South Dakota, where a flycatcher waits quietly for its dinner. The evening sun casts long shadows across the ...

Clara Berta’s acrylic and mixed-media paintings blend texture and color to create harmony, mystery, and depth on the painted surface. Her paintings transform spaces into Zen environm...

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A thick green marshland shines from the bright reflections of the evening light in this expressionist landscape by artist George Peebles. Grasses fade away in...

Frank Stella's Moby-Dick: Words and Shapes (Hand signed and inscribed), 2000 Elegant, beautifully illustrated hardback monograph with dust jacket Hand signed, dated and inscribed by Frank Stella 10 1/4 × 8 3/4 × 1 1/4 inches Ink Inscription reads: for Ed & Rochelle Frank Stella '02 Book info: Published by The University of Michigan Press, 2000 Hardcover; 326 pages Publisher's Synopsis: One of the world's leading painters and printmakers, the artist Frank Stella spent over a decade creating a huge series of works linked with Herman Melville's classic novel Moby-Dick. The completed series consists of more than 135 pieces: large metal reliefs...

Night flowers , 100x60 cm, oil on canvas

Woven wool tapestry Burnt Sienna, after Robert Motherwell is a tapestry in colors, woven with the artist's initials, from the proposed edition of 20. Published by Charles Slatkin, N...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters 1999 Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

At sunset , 40x50 cm, oil on canvas

Edition of 20 pieces

A vibrant interplay of textures and colors evokes a moment of quiet emergence — where warmth rises through layers of memory and light begins to form shape. Golden ochres blend into...

A ghostly bull takes shape in a mist of white and grey, its outline dissolving into abstraction — strength fading into memory. The creature seems to breathe through absence, its fo...

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Artist George Peebles depicts a fiery haze of a sunset across a wet marshland. Tall and wavy leaf-covered silhouettes of trees appear in the distance while gr...

Magic is a distraction, a face wandering in the shadows, waiting like a jellyfish, only dreaming of what remains after the sweet apocalypse. :: Painting :: Abstract Expressionis...

Louise Bourgeois Homely Girl, A Life, Volumes I and II (Literary books with 10 original etchings) Hand signed by both artist Louise Bourgeois and Pulitzer winning playwright Arthur M...

Midday in Lombardy, 100x170 cm, acrylic on canvas

Being basically a self-taught painter I am not encumbered by rules that have held back many and am free to follow my inspirations. My paintings develop by experimenting with shape,...

Artist Comments
A lush glade of trees nestles a charming pink house in artist Janet Dyer's expressionist piece. She draws inspiration from scenes of...

Offset lithograph fold-out invitation card, 2014 Hand Signed and Dated by Frank Stella Published by Peter Freeman Gallery, 140 Grand Street, New York, NY The exhibition ran from Janu...

Abstract, acrylic painting with gestural brushstrokes, evocative marks and personal calligraphy. Metallics and glitter are incorporated to create reflective surfaces. Historically an...

oil on canvas Cleve Gray is a painter admired for his large-scale, vividly colorful, and lyrically gestural abstract compositions. He achieved his greatest critical recognition in ...

Asger Jorn (1914-1973) Ege Axminster, Denmark. Danish Tapestry Rug Art-Line Etiquette de l'éditeur Ege Axminster (Danemark) titrée au revers. Les Emigrants 132 x 98 inches, Pure ...

A premonition of spring , 75x100 cm, oil on canvas

Los Angeles artist Marc Raphael's abstract expressionism paintings are influenced by New York's abstract expressionist movement. After encountering Jackson Pollock’s work for the fir...

A fine large geometric abstract grid oil painting by English artist Ann Thornycroft (b. 1944). Thronycroft was born in England, studied at the Chelsea School of Art, London, received...

Two pines , 60x25 cm, oil on canvas

- Title - Accountability - Medium: water-miscible oil paint and acrylic on canvas - Support: stretched canvas, ready to hang, painted sides. - Size: 36" x 40" x 1.5" - Two coats ...

**** The shipping is free for the rolled canvas. If you would like it ready to hang, please contact me with your zip code for a shipping quote. **** - Title: Pink Study in Contra...

Krista Reuter's contemporary paper sculpture artworks unfold like a quiet study in light, shadow, texture, and dimensional abstraction. Hand-cut and layered with meticulous precision...

Puppets are dancing the universe, waiting for something to happen, :: Painting :: Abstract Expressionism :: This piece comes with an official certificate of authenticity signed by ...

Summertime, 170x100 cm, acrylic on canvas

Artist Comments
Artist Naoko Tadotsu displays ethereal expressionism with an image of a blazing tree. The sun sets behind it, giving its silhouette a dark translucent glow. The light reflecting from the river's surface filters through the leaves and twinkles like glass shards. The fiery orange hues against the blue and green accents give the composition warmth and brilliance.

About the Artist
Brilliant prismatic trees radiate in artist Naoko Tadotsu’s expressionist compositions. “I am always in awe of nature, color, and light,” says Naoko. These three facets establish her vibrant works in fluid strokes of vivid hues. Roots of her influence trace back to growing up in Osaka, where these elements were abundant. Naoko migrated to New York where she was immersed and fell in love with the world of art. What was once unexpressed inspiration inevitably translated onto the canvas. Her work often crosses into abstraction, capturing her feelings towards nature and painting it as its own entity. “The trees, like people, show different faces,” adds Naoko. In the same way, her pieces elicit different perspectives from every viewer. All Naoko needs is a portable easel...

Night wormwood , 70x60 cm, oil on canvas

Artist Comments
Artist James Hartman draws inspiration from the experience of seeing sunlit colors and details appearing through the strong vertical tree pattern. He expresses the painting sections to appear like stained glass. James highlights small areas where collaged 100-year-old paper show through the surface, he does this in a non-disruptive way. James applies heat to fuse the oils into a mixture of beeswax and damar crystals to seal the work.

About the Artist
When James Hartman was in art school, he became fascinated with the Society of Six, a group of artists who painted en plein air (outdoors) and exhibited together in the San Francisco Bay Area during the early 20th Century. James's paintings of the Northern California landscape pay tribute to some of the great Bay Area artists of the past. His expressive scenes feel alive through his vibrant use of color and his painterly brushwork. James’s paintings have an immediate visual impact from a distance, yet up close, dissolve into a series of confident marks and strokes. There is a simultaneous complexity and steadiness in his flattened, color-blocked planes. Knowledge and observation are essential elements of James’s working practice. To this end, he spends a large proportion of his time painting on location. His body of work captures the fresh and sunlit essence of the coastal California hills.

Words that describe this painting: expressionism, encaustic, beeswax, collage, antique ephemera...

**** The shipping is free for the rolled canvas. If you would like it ready to hang, please contact me with your zip code for a shipping quote. **** This happy inspirational abst...

John Walker British (b. 1939) Salsipuedes Forms (1991) Monoprint relief print with dry pigment, monotype Hand signed lower right Provenance: Garner Tullis Workshop A monotype is literally one of a kind; it is not a method of multiplication. The artist makes an image with a liquid medium on wood, metal or glass, and paper is laid over the moist image and bonded under pressure the paper is then removed bringing with it the transposed monotype. John Walker (born 1939) is an English painter and printmaker. He has been called "one of the standout abstract painters of the last 50 years." Walker studied in Birmingham at the Moseley School of Art, and later the Birmingham School of Art and Académie de la Grande Chaumière in Paris. Some of his early work was inspired by abstract expressionist art and post-painterly abstraction, and often combined apparently three-dimensional, sculptural shapes with "flatter" elements. These pieces are usually rendered in acrylic paint. In the early 1970s, Walker made a series of large Blackboard Pieces using chalk first exhibited at the opening of Ikon Gallery, in Birmingham Shopping Centre, Birmingham in 1972 and the Juggernaut works which also use dry pigment. From the late 1970s, his work marked allusions to earlier painters, such as Francisco Goya, Edouard Manet and Henri Matisse, either through the quoting of a pictorial motif, or the use of a particular technique. Also during this time, he began to use oil paint more in his work. His paintings of the 1970s are also notable for what has come to be termed canvas collage, the application of glued-on, separately painted patches of canvas to the main canvas. Beginning in the 1970s John Walker was one of the most influential and imitated painters working in the UK; he exhibited alongside Andy Warhol and Roy Lichtenstein, represented his country at the 1972 Venice Biennale, had extensive survey shows at both the Tate and Hayward galleries and was nominated for the Turner Prize in 1985. After spending some time in Australia, Walker got a position at the Victoria College of the Arts in Melbourne. He produced the Oceania series around this time which incorporates elements of native Oceanic art. Walker is currently the head of the graduate painting program at Boston University. Walker won the 1976 John Moores Painting Prize and was nominated for the Turner Prize in 1985. In September 2010, Walker and five other British artists including Howard Hodgkin, John Hoyland, Ian Stephenson, Patrick Caulfield and R.B. Kitaj were included in an exhibition entitled The Independent Eye: Contemporary British Art From the Collection of Samuel and Gabrielle Lurie, at the Yale Center for British Art. His art was influenced by Boston Expressionism. Along with Aaron Fink, Gerry Bergstein, Jon Imber, Michael Mazur, Katherine Porter, Jane Smaldone, John Walker, and Philip Guston. Through Garner Tullis at Experimental Press he met Sean Scully, Friedel Dzubas, Helen Frankenthaler, Sam Francis, William Wiley, and others. Select Group Exhibitions (partial list) 1965 John Moores Liverpool Exhibition. Walker Art Center, Liverpool. 1966 Recent Aspects of British Art. Australia and New Zealand (traveled). 1967 4 Artists. Betty Parsons Gallery, New York. John Walker, Michael Kidner, Bruce Tippett, Michael Tyzack...

Night music , 65x49cm, acrylic on paper