Abstract Paintings

Jimi Gleason introduces two exuberantly gestural, lustrous silver nitrate paintings edged with electric bands of color.

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like silver deposit...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

Here for your consideration is a great example of the artwork of the well known American artist, Syd Solomon. Signed top left. Titled and dated verso 1978. The painting is oil and acrylic paint on mounted synthetic canvas. Condition is excellent. Overall framed measurements are 44.75 by 24.5 inches. Provenance: A Sarasota, Florida collector. SYD SOLOMON BIOGRAPHY American 1917-2004 Written by Dr. Lisa Peters/Berry Campbell Gallery “Here, in simple English, is what Syd Solomon does: He meditates. He connects his hand and paintbrush to the deeper, quieter, more mysterious parts of his mind- and he paints pictures of what he sees and feels down there.” --Kurt Vonnegut Jr. from Palm Sunday, 1981 Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd...

Original, oil paint and acrylic paint on canvas by the well known American artist, Syd Solomon. Signed bottom middle by the artist. Titled and dated verso 1983. Condition is excellent. Original gallery floating frame. Overall framed measurements are 38 by 42 inches. Provenance: A Sarasota, Florida collector. SYD SOLOMON BIOGRAPHY Written by Dr. Lisa Peters/Berry Campbell Gallery “Here, in simple English, is what Syd Solomon does: He meditates. He connects his hand and paintbrush to the deeper, quieter, more mysterious parts of his mind- and he paints pictures of what he sees and feels down there.” --Kurt Vonnegut Jr. from Palm Sunday, 1981 Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd...

Here for your consideration is a very well executed early abstract painting by the well known American artist, Syd Solomon. Oil paint on birch ply panel. Signed middle bottom. Signed, titled and dated 1966 verso. The painting was done in East Hampton, New York where Syd Solomon spent his summers. Condition is excellent. Overall framed measurements are 26 by 31.5 inches. Provenance: A Sarasota, Florida collector. Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd...

Silver nitrate deposit and acrylic on canvas.

Jimi Gleason introduces two exuberantly gestural, lustrous silver nitrate paintings edged with electric bands of color.

The alchemists in their ‘Magnum Opus’ sought to cipher a ‘Philosopher’s Stone,’ a mythical substance which would not only convert common metals into precious ones, but was the key to...

Jimi Gleason introduces two exuberantly gestural, lustrous silver nitrate paintings edged with electric bands of color.

Jimi Gleason introduces two exuberantly gestural, lustrous silver nitrate paintings edged with electric bands of color.

Jimi Gleason introduces two exuberantly gestural, lustrous silver nitrate paintings edged with electric bands of color.

Jimi Gleason introduces two exuberantly gestural, lustrous silver nitrate paintings edged with electric bands of color.

silver deposit and acrylic on canvas

silver deposit and acrylic on canvas

silver deposit and acrylic on canvas

acrylic on canvas

Like water, Gleason’s surfaces are quietly in motion, their iridescent paints subtly shifting hues as light plays across them. In each of the canvases, sharp diagonals bifurcate the ...

acrylic on canvas The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. The silver deposit paintings began in 20...

Much like the artists who pioneered the California Light and Space Movement, Gleason is interested in exploring the metaphysical possibilities of art. His silver deposit surfaces act...

Much like the artists who pioneered the California Light and Space Movement, Gleason is interested in exploring the metaphysical possibilities of art. His silver deposit surfaces act...

The Absorbed pieces are achieved using Gleason’s signature technique of deploying a thin coat of silver nitrate deposit over acrylic on canvas. Diverging from their ultra-gloss pred...

Original oil paint and acrylic paint on canvas by the well known American artist, Syd Solomon. Signed bottom middle. Titled and dated verso, 1977/1978. The location for the painting is Midnight Pass near where the artist once lived in Sarasota, Florida. Condition is excellent. The painting is housed in its original gallery frame with silver edge. Overall framed measurements are 51 by 38 inches. Provenance: A Sarasota, Florida collector. American, 1917-2004 SYD SOLOMON BIOGRAPHY: Written by Dr. Lisa Peters/Berry Campbell Gallery “Here, in simple English, is what Syd Solomon does: He meditates. He connects his hand and paintbrush to the deeper, quieter, more mysterious parts of his mind- and he paints pictures of what he sees and feels down there.” --Kurt Vonnegut Jr. from Palm Sunday, 1981 Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd...

Jimi Gleason's paintings are enigmatic. They emphasize seductive surfaces, which reveal no trace of traditional paint application. These mysterious surfaces are highly reactive to li...