Helen Cartmell

Refusal of the Brass Ring

1989

Signed lower right and a double sided painting.

Signed lower left. “Abstract and Fractured Biomorphic and Geometric Forms” which was painted in the mid to late 1950’s is a nod to Picasso’s famous painting Guernica, which Hart may have seen when it was given to the Museum of Modern Art in New York in 1958. Several elements in the painting clearly reference Guernica: the black geometric and cut-out shapes, the biomorphic shapes, the abstracted horse’s head and body, with a district reference to the bull’s tail, along with the black and white pallet choice and various details throughout-all hallmarks of Picasso’s Guernica. The abstracted reality Hart presents in these references go beyond a simple nod and reflect a personal interpretation reflected in the splintered abstraction and her bespoke interpretation. Agnes Hart’s first began her career as a social realist artist in the 1930’s. She was also WPA artist. Her longtime friend Milton Avery encouraged her, and she exhibited in the same gallery in the late 1940’s, the RoKo Gallery. Her instinctive and personalized modernist periods often reflected a similar path of her compatriot artists during the first half of the 20th century. Her early works were influenced by her teachers Josef Presser, Paul Burlin and Lucile Blanch, and Reginald Neal, and reflected historical modern trends-at times showing the influence of Avery and other modernist. Like Elaine DeKooning, Lee Kraser, Michael Corrine West...

Abstract painting :: Painting :: Abstract :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed: Yes :: Signature Loca...

Urszula Wilk – artist statment: I have always been interested in the idea of infiniteness of a painting and its opposite – that is the physical finiteness of the painting. This phys...