Adrienn Krahl

Graphic romantic– Part 1 (Abstract painting)

2021

Graphic romantic– Part 2 (Abstract painting) Acrylic, charcoal and pastel on raw canvas - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s pa...

Graphic romantic– Part 2 (Abstract painting) Acrylic, charcoal and pastel on raw canvas - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a profound se...

Graphic romantic– Part 2 (Abstract painting) Acrylic, charcoal and pastel on raw canvas - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a profound se...

This artwork will be shipped rolled in a dent-resistant tube. This method is especially safe for large works, and provides lower shipping costs as well. Rolled works can be easily st...

The view across St Ives harbour.
 Colin Taylor’s expressive paintings are created with oil, acrylic, pastel and charcoal on linen. Wooden Tray Frame Oil Acrylic Paint,Linen, pastel...

We are pleased to announce that we are now representing the captivating work of the artist David K. Austin. The paintings of David K. Austin are a wonderful balance of emotion and de...

Artist's statement: "Separate from the tar paintings I have been doing, I am creating a series of work in which I am channeling some of the things I have always loved about Cy Twombly along with qualities of a painting I saw in a local collection by a Cuban painter that I really admired and have thought about a lot since. Of course both share a graffiti quality; Twombly was the first to work with a sort of automatic drawing, beginning in the 1950s, and what he did opened up this new language for countless painters. You still see traces of it in so much contemporary art. Antoni Tapies has been a big influence on me as well, and you can see some of him in this work as well. I limited the color palette in this one as a sort of exercise in discipline, since it is easy to let color get away from you in a painting like this one. There are areas of three-dimensional paint that help flatten the picture plane and restrict the eye from reading depth into the painting; they function in the same way as Barnett Newman's 'zips' and Susan Rothenberg's lines across some of her horse images...

(Comes framed in a deep-profile maple or black floater frame, ready to hang.) Artist's Statement: "This painting harkens back to my 'Gridish' series but with more negative space, a broader array of media and more complexity to the oval forms. I have tried to create tension between these iconic forms through the divergence of dissonant and unusual materials, colors and textures. These ovals keep reappearing in my work; they seem almost like groups of silent but sentient beings to me." “Lyman’s work evolves restlessly, with the common elements generally being deft and unusual color choices that balance assonance and dissonance, and vestiges of the hand and facture purposely left in the paintings. The negative space is often so meticulously worked that it’s almost as if the objects – usually simple shapes – are there as much to complement the background as vice versa. Despite the often bold colors there is an elegance about his paintings that prevents them from being either loud or decorative. " Artbeit Zeitschrift “His paintings are a refreshing departure from the current abstract art world’s seemingly endless parade of fields of color with scribbles providing form, a style that is easily mimicked and has become a sort of “safe,” accessible go-to. There are confident decisions in these paintings appearing as commitments of strongly delineated forms and unexpected collisions of color that give the work a visceral, confident and playful soul, increasingly missing from contemporary expressionist abstraction. They are the paintings of a real painter rather than a decorative artist.” ArtSeen, 2018 (from a collector): "Love your work. We collect colorists like Wolf Kahn and Jennifer Bartlett, whom I commissioned a piece from that is in the entrance of Mayo Clinic. We are old fans...