Devon Brockopp-Hammer

"Not Black and White" - Abstract Composition in Oil on Canvas

2022

Blue Tarp, oil on canvas, 60 x 50 in. (unframed, gallery-wrapped canvas). Oonju Chun’s large abstract expressionist paintings delightfully employ the basic...

Parallel Construction, oil on canvas, 48 x 54 in. Oonju Chun’s large abstract expressionist paintings delightfully employ the basics of good, nonobjective ...

Why The Long Face is an artistic collaboration by painters Mark Wilson and Paola Zarate where they painted simultaneously, often finishing each other's brushstrokes. The piece challe...

“Resonance in Red” is an original large abstract expressionist painting by Finnish multidisciplinary artist Emmi Iida. Measuring 90 x 70 cm, the piece is a striking exploration of rh...

Waterline Fine Art, Austin, TX is pleased to present the following work: Kyle Morris Green Burst, 1958 Oil on canvas. Signed and dated lower right; signed, titled, dated verso. 48...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed and dated lower right; signed, titled, dated verso. 48 x 60 in. 49.75 x 61.75 in. (framed) Custom framed in a solid maple floater, with an heirloom white finish. Provenance Kootz Gallery, New York Collection of John G. and Kimiko Powers, New York/Aspen, CO Prentice-Hall Corporate Art Collection, New York Kyle Morris was born in Des Moines, IA in 1918. After serving in the U.S. Air Force during World War II, he completed M.F.A. programs at both Northwestern and Cranbrook Academy of Art before settling in New York and renting a studio on Mercer Street in downtown Manhattan during the 1950s. Transitioning away from the figurative painting of his formal training, he began to create the bold gestural works that would serve as his hallmark in the ever-growing fraternity of the New York School. Morris’ first major solo exhibition occurred at the Walker Art Center in Minneapolis in 1952. This show served as the catalyst for his recruitment onto the rosters of the prominent Stable and Kootz galleries in New York. In 1961, he was included in the Guggenheim’s landmark exhibition, American Abstract Expressionists and Imagists, which surveyed the abstract expressionist movement that would come to dominate contemporary American art...

Waterline Fine Art, Austin, TX is pleased to present the following work: Carl Holty Winter Lights, 1966 Oil on canvas. Signed lower right. 60 x 46 in. 62 x 48 in. (framed) Custom...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Estate stamped and numbered verso; initialed “SF22” verso. 48.25 x 34.25 in. 49.25 x 35 in. (framed) Custom framed in a solid maple floater. Provenance Estate of Samuel Feinstein McCormick Gallery, Chicago Samuel Lawrence...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed and dated lower right and verso, titled verso. 39.25 x 31.75 in. 40.25 x 32.75 in. (f...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed and dated lower left, inscribed label verso. 59.25 x 55.25 in. 61 x 57 in. (framed) Custom framed in a wooden double tray frame, hand-painted white. Provenance Galerie Lovers of Fine Art, Gstaad, Switzerland This work has been recorded under no. 1531 in the digital Catalogue Raisonné of the artist, prepared by Michel Reymondin, Montreux, Switzerland. Carl Walter Liner was born in the Swiss canton of Appenzell, near the border with Liechtenstein, in 1914. The son of famed artist Carl August Liner, the younger Liner enjoyed more critical and commercial renown for his landscapes. In 1938 at the age of 24, he undertook what would become the first of several residencies in Paris. This particular sojourn helped to establish the trajectory of his career, as Paris would provide the setting in which he became acquainted with early twentieth century masters Maurice de Vlaminck, Georges Braque, Ossip Zadkine, Gérard Schneider, and Erich Heckel. The stylistic and technical influence of his contemporaries is clearly evident in Liner’s work from this point forward. Unfortunately, the dawn of the 1940s would bring about a number of challenges for Liner. With the outbreak of war, Liner was mobilized for the Swiss Border Guard, and returned home to Switzerland in 1939. He remained on active duty until 1945, only to lose his father the following year. The death of the elder Liner left a profound impact on his son, who eventually made his way back to Paris in 1947 and embarked upon what would become a very successful series of nudes. By his own admission, 1948 was a pivotal year in Liner’s career, as a particularly spiritual trip to Algeria would foment the emotions led to the beginning of his practice with abstraction. Henceforth, Liner would vacillate between the figurative and abstract, creating parallel oeuvres. His abstraction from the 1950s and 60s mirrored...