Jennie Rafton

Carnival Abstract in Blue, Magenta, and Yellow - Oil and Collage on Paper

1991

Colorful and dynamic abstract expressionist figurative mixed media painting, a large-scale contemporary piece, featuring several collaged and textural elements that contrast from the...

Monday Grays - Original Figurative Oil on Paper Original oil on paper figurative painting by Michael William Eggleston (American, 20th Century). Hues of grays and pinks make up this...

Two figures in a brightly colored interior with abstracted elements by San Francisco artist Michael William Eggleston (American, 20th Century). From a collection of his works. Signe...

Fantastical two faced figure with elements of abstraction by San Francisco artist Michael William Eggleston (American, 20th century). Unsigned, from a collec...

Wonderful abstract expressionist painting titled "Spirit of the Buffalo" by Santa Cruz artist Addison Robichaud (American, 20th Century). Presented in a wooden frame. Signed "Robicha...

Abstract expressionist figurative nude by California artist Stephanie Heit (American, b. 1947). The paint in this piece has a metallic quality in some areas, possibly created with th...

Gorgeous oil and watercolor on paper by abstract expressionist artist Adine Stix. Beautiful shades of pink, purples, cobalt blue with s hint of orange cover the paper to create the h...

This piece represents a part of the artist's "Kinetic Knots" series which symbolizes shapes of the knots that are not planned. It is like the “Dao” grabbing the artist and the power ...

This piece represents a part of the artist's "Kinetic Knots" series which symbolizes shapes of the knots that are not planned. It is like the “Dao” grabbing the artist and the power ...

"Girl with Seagull Tattoo" uses caulking to create the texture of lace as the prominent physicality of the clothing is juxtaposed against a background of browns and pastels. The figu...

"Lawn Chair with White T-shirt" is part of the latest on-going series from Eleanor Aldrich. These "behind the lawn chair" vantage points provide Aldrich with the perfect subject matt...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...