Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 8

Clarence Holbrook Carter
In and Out, mid-century figural abstract vibrant yellow geometric painting

1963

$14,500
£11,203.77
€12,952.61
CA$20,489.55
A$22,980.39
CHF 12,034.48
MX$279,234.16
NOK 152,817.68
SEK 144,881.92
DKK 96,684.45

About the Item

Clarence Holbrook Carter (American, 1904-2000) In and Out, 1963 Acrylic on paper Signed and dated lower right 22 x 30 inches Figural abstract vibrant yellow geometric painting. Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers, scores of awards and solo exhibits, and streams of praise flowing from pens of the top art critics. Over the course of his 60+ year career Carter evolved from an exceptionally fine American Scene painter capable of evoking deep reservoirs of mood, into an abstractionist with a strongly surrealist bent.
  • Creator:
    Clarence Holbrook Carter (1904-2000, American)
  • Creation Year:
    1963
  • Dimensions:
    Height: 22 in (55.88 cm)Width: 30 in (76.2 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Beachwood, OH
  • Reference Number:
    1stDibs: LU176829679362

More From This Seller

View All
By the Dawn's Early Light, mid-century abstract black, red, yellow oil painting
By Charles Green Shaw
Located in Beachwood, OH
Charles Green Shaw (American, 1892-1974) By the Dawn's Early Light, 1955 Oil on masonite Signed lower left, dated and titled verso 35.5 x 23.75 inches 38 x 26.25 inches, framed Provenance: The estate of the artist to Charles H. Carpenter Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...
Category

1950s Abstract Abstract Paintings

Materials

Oil

King Tut No. 2, Mid-Century Ovoid Geometrical Abstract Gouache on Paper
By Clarence Holbrook Carter
Located in Beachwood, OH
Clarence Holbrook Carter (American, 1904-2000) King Tut No. 2, 1968 Gouache on paper Signed and dated upper right 11.25 x 8.25 inches 25.5 x 20.5 inches A surrealist mid-century fig...
Category

1960s American Modern Abstract Paintings

Materials

Gouache

The Way Out, figural abstract vibrant orange geometric acrylic painting
By Clarence Holbrook Carter
Located in Beachwood, OH
Clarence Holbrook Carter (American, 1904-2000) The Way Out, 1992 Acrylic on paper Signed and dated upper right 24 x 30 inches Figural abstract vibrant orange geometric painting. C...
Category

1990s Abstract Abstract Paintings

Materials

Acrylic

Abstract expressionist, white and yellow mid-century modern geometric painting
By Richard Andres
Located in Beachwood, OH
Richard Andres (American, 1927-2013) White & Yellow, c. 1953 oil on canvas signed lower right, signed and titled verso 30 x 20 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...
Category

1950s Abstract Expressionist Abstract Paintings

Materials

Oil

Torso No. 5, Mid-Century Figural Abstract Acrylic Painting
By Clarence Holbrook Carter
Located in Beachwood, OH
Clarence Holbrook Carter (American, 1904-2000) Torso No. 5, 1967 Acrylic on paper Signed and dated upper right 25 x 20 inches A mid-century figural abstract painting. Clarence Hol...
Category

1960s American Modern Abstract Paintings

Materials

Acrylic

Terror of History No. 1, Mid-Century Abstract Acrylic & Sand, Blue and Yellow
By Clarence Holbrook Carter
Located in Beachwood, OH
Clarence Holbrook Carter (American, 1904-2000) Terror of History No. 1, 1962 Acrylic and sand on scintilla Signed and dated upper left 23 x 30 inches Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...
Category

1960s American Modern Figurative Paintings

Materials

Acrylic

You May Also Like

Pengfei Yan Contemporary Original Oil On Canvas "Geometry - Yellow"
Located in New York, NY
Title: Geometry - Yellow Medium: Oil on canvas Size: 27 x 15 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This p...
Category

21st Century and Contemporary Abstract Paintings

Materials

Canvas, Oil

Yellow Composition - Oil on Canvas by Leo Guida - 1970s
By Leo Guida
Located in Roma, IT
Yellow Composition is a contemporary artwork realized by Leo Guida in 1970s. Mixed colored oil on canvas Leo Guida (1992 - 2017). S ensitive to current issues, artistic movements ...
Category

1970s Abstract Abstract Paintings

Materials

Oil

A Yellow-Toned, Abstract Geometric Painting by ID Artist Eugene Dana
Located in Chicago, IL
A 1980 yellow-toned, Abstract Geometric painting by Institute of Design artist Eugene Dana. Artwork size: 27" x 41". Framed size: 28". x42". Provenance: Estate of the artist. E...
Category

1980s Abstract Geometric Abstract Paintings

Materials

Acrylic, Board

Pair of Geometric Abstracts, Yellow Dot on Black and Grey, Philadelphia Artist
By Morris Lewis Blackman
Located in Doylestown, PA
"Yellow Dot on Black" and "Yellow Dot on Grey" are two 22.5 x 14.4 inches each, oil on board, geometric abstracts by Philadelphia artist Morris Lewis Blackman. The paintings are est...
Category

1970s Abstract Abstract Paintings

Materials

Oil, Board

Star M2, yellow geometric abstract flashe on linen on board painting
By Mary Judge
Located in New York, NY
Mary Judge is known for her complex and reductive painting in tempera acrylic. Judge's artistic development has been deeply effected by her formative experience and her frequent travels to Italy, to a summer home, where she built a deep relationship with contemporary Italian art and local artisans of the Umbria region. She worked for several years with the Grazia factory in Deruta, painting for the design market while maintaining her fine art studio practice, until the atmosphere of the factory infiltrated her art and lead to a break with traditional painting and to what she considers her mature work. Judge's work is process driven and could be considered “post minimal”. While the work is formally organized, the works are sensual, and suggest hidden geometries...
Category

2010s Post-Minimalist Abstract Paintings

Materials

Linen, Vinyl, Board

Oil on wood painting of an abstract geometric composition in brown and yellow
Located in Oostende, BE
Abstract composition by Hans Vandeweghe Oil on panel
Category

2010s Abstract Geometric Abstract Paintings

Materials

Panel