Julian Stanczak

Red is a Red, OpArt red geometric acrylic painting

1969

Julian Stanczak (American, 1928-2017) Twist and the Rain, 1975 acrylic on canvas signed verso 30 x 24 inches Julian Stanczak (American, b. November 5, 1928) was an American painter...

Richard Anuszkiewicz (American, 1930-2020) Temple of Evening Reds, 1983 Acrylic on canvas Signed verso 36 x 36 inches 36.75 x 36.75 inches, framed Richard Anuszkiewicz was born in E...

Edwin Mieczkowski (American, 1929-2017) Broken Ice, 1976 Gouache and pencil on paper Signed, dated (Feb. 2, 1976) and titled lower right 27.5 x 37.75 inches 35 x 45 inches, framed Edwin Mieczkowski, born in Pittsburgh, was a leader of geometric and perceptual abstraction during the latter part of the 20th century. Mieczkowski's work first came to prominence in "The Responsive Eye" exhibition, the nation's first major exhibition of perceptual art, held at the Museum of Modern Art in New York in 1965. Mieczkowski was also featured in the 1964 article in Timemagazine that first used the term "Op Art" to describe paintings that manipulated visual cues in order to reorder and excite viewers' perceptual responses. With a complex aesthetic that over time has transcended mere tricks of optical art, Mieczkowski has spent nearly four decades producing geometrically paintings, drawings and sculptures, a genre of modern art that is known broadly as perceptual abstraction. His output of static and dynamic forms create a body of work, still largely intact, that uses visually disorienting, meticulously arranged lines, dazzling kaleidoscopic colors, and alluring juxtapositions of hue and tone, to playfully and seductively present new challenges for the viewer's eyes. The desired result is an optical effect of perpetual motion, harmonics and rhythm. . . . Along with Frank Hewitt and Ernst Benkert, Mieczkowski was a co-founder in 1959 of the Anonima* group that worked together in Cleveland and New York and declared itself free from the pressures of the art market and the pursuit of personal fame. Members of Anonima often left their works unsigned and vowed to shun the usual art market venues such as commercial galleries, biennials and competitions. Instead, they engaged in a rigorous, self-imposed program of painting exercises to explore the effects of geometry and color on visual perception. Although Mieczkowski's work hung side-by-side in the MOMA "Responsive Eye" exhibition with such colleagues as Josef Albers, Victor Vasarely, Richard Anuszkiewicz, Morris Louis, Kenneth Noland, Carlos Cruz-Diaz, Ad Reinhardt and Bridget Riley, all of whom went on to considerable fame and fortune, Mieczkowski chose to eschew commercial exhibition and career promotion. Instead, he spent 39 years teaching at the Cleveland Institute of Art and quietly executing a number of public art commissions while independently pursuing his own intuitive explorations in geometric abstraction. Mieczkowski pursued virtually no commercial sales of his work. Consequently, the body of work he left behind consists of hundreds of paintings, drawings and sculptures only recently viewed...

Chimeras, 1974 Acrylic and pastel on textured paper Mid-century figural abstract blue acrylic painting Clarence Holbrook Carter achieved a level of national artistic success that w...

Artist: Arthur Boden, American XXth Title: Untitled (Hexagon) Year: 1975 Medium: Acrylic on Canvas, signed verso Size: 54 x 51.5 (104.14 cm x 152.4 cm)

The series "Frost and Decimals" explores the marriage of color Fields with exacting geometry. Built upon a multilayered convergence of aerosol painting and hard-edge techniques on wo...

The series "Mångatas" explores the marriage of chance-derived gestures with exacting grid geometry. Built upon a multilayered convergence of aerosol painting and hard-edge technique...

The series "Mångatas" explores the marriage of chance-derived gestures with exacting grid geometry. Built upon a multilayered convergence of aerosol painting and hard-edge technique...