Items Similar to 'Large Abstract', San Francisco Bay Area, North Beach, Beat, Beatnik, Big Sur
Want more images or videos?
Request additional images or videos from the seller
1 of 12
Keith Sanzenbach'Large Abstract', San Francisco Bay Area, North Beach, Beat, Beatnik, Big Sur 1956
1956
About the Item
Signed lower right, 'K. Sanzenbach' for Keith Sanzenbach (American, 1931-1964) and dated 1956. Additionally signed, verso, and with the artist's Lagunitas, California address.
The influential Bay Area critic, Thomas Albright, in his monumental history, 'Art in the San Francisco Bay Area, 1945-1980', commented that Keith Sanzenbach "..made some of the era's most interesting paintings". Peter Plagens, in 'Sunshine Muse, Contemporary Art on the West Coast', deemed him to be "... the beats... only decent formal artist". Frida Forsgren, in her outstanding study of the period, 'Beat Lives, 13 San Francisco-based Artists of the Fifties', observes that Sanzenbach showed "...a strong artistic personality with a raw creative energy and a distinctly personal style". She deems him "..one of the most talented artists of the early 1960's California Beat scene."
Born in Minneapolis, Minnesota, Keith Sanzenbach studied at Syracuse University, graduating in 1954 with a Bachelors in Fine Arts. He first moved to Berkeley in 1955, then settled in San Francisco a year later to pursue a career as an artist. Sanzenbach showed his works in bars and local galleries and lived on a houseboat in Sausalito with fellow-artists Wallace Berman, Jack Carrigg and Arthur Richer. The beat poet, Allen Ginsberg, remembered living on Gough Street above the artist and his pretty wife, Nikki. Sanzenbach's earliest works are figurative, but he later developed an abstract, visionary style characterized by the juxtaposition of intense colors. In 1962, to avoid the "influx of wannabe beatniks" flooding North Beach, he removed to the wildness of Big Sur where, two years later, he was to die, unrecognized at the age of 33.
Reference:
Albright, Thomas, Art in the San Francisco Bay Area 1945 - 1980, Berkeley and Los Angeles, University of California Press, 1985, s. 103, 105; Merrill Green, Art as a muscular principle. 10 artists and San Francisco 1950-1065/roots and new directions/ mount Holyoak college 1975, pp. 82-84; Frida Forsgren, San Francisco Beat Art in Norway, Forlaget Press, Oslo, 2008, pp. 156-157; Peter Plagens, Sunshine Muse, Contemporary Art on the West Coast, Praeger, 1974; Frida Forsgren, Beat Lives, 13 San Francisco-based Artists of the Fifties, Portal Books, 2013, page 48-53; et al.
- Creator:Keith Sanzenbach (1931 - 1964, American)
- Creation Year:1956
- Dimensions:Height: 36 in (91.44 cm)Width: 48 in (121.92 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:minor losses, minor restoration; unframed; shows well.
- Gallery Location:Santa Cruz, CA
- Reference Number:1stDibs: LU34414009302
About the Seller
5.0
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1982
1stDibs seller since 2013
627 sales on 1stDibs
Typical response time: <1 hour
- ShippingRetrieving quote...Ships From: Santa Cruz, CA
- Return PolicyA return for this item may be initiated within 3 days of delivery.
More From This SellerView All
- 'City Lights' San Francisco Beat Generation, Woman Artist, Bay Area AbstractionBy Joan SavoLocated in Santa Cruz, CASigned lower right, 'Savo' for Joan Savo (American, 1918-1992) and dated 1960. Additionally signed, verso, on old label and titled, 'City Lights'. Accompanied by a letter from the ar...Category
1960s Abstract Expressionist Abstract Paintings
MaterialsOil, Masonite
- 'Abstract in Ultramarine and Pearl', Large 1970's American Action Abstract OilLocated in Santa Cruz, CASigned lower right, 'Jasper Jackson' (American, 20th century) and painted circa 1975. Titled, verso, 'Opus 8'. A substantial and period, American mid-c...Category
1970s Abstract Abstract Paintings
MaterialsCanvas, Oil, Gouache
- 'Sunset over Velden, Holland', French Expressionist Landscape, BenezitBy Henri PlasLocated in Santa Cruz, CASigned lower left "H. Plas" (French, born 1933) and dated 1971; inscribed verso "Champs de Velden" (Fields of Velden). A substantial Expressionist oil landscape showing a lyrical view of russet and gold fields bathed in evening sunlight outside the Dutch village...Category
1970s Abstract Expressionist Landscape Paintings
MaterialsCanvas, Oil
- 'Abstract in Coral and Ivory', New York School, Whitney Museum, WPA, Action OilBy Victor ThallLocated in Santa Cruz, CASigned lower right, 'Thall V' for Victor Thall (American, 1902-1983) and painted circa 1950. A mid-century, abstract oil comprising a centrally placed and expansive star-shaped form accompanied by jagged, linear elements and superimposed on a background of ivory and midnight-blue; a dynamic and elegant New York School work showcasing the artist's characteristic, energetic and painterly brushwork. Born in New York in 1902, Victor Thall first attended the Art Students League in New York City where he studied under Arthur B. Davies, George Bellows, John Sloan and Robert Henri. He furthered his studies at the Pennsylvania Academy of Fine Arts before leaving for Paris, in 1924, to attend the Ecole des Beaux Arts and the Academie Julien. He remained in France for six formative years before returning to the United States in the early 1930's. Back in New York, he became friendly with Willem de Kooning and Arshile Gorky and was both influenced and inspired by the ferment of ideas that developed around the New York School during the late 1940's and early 1950's. Thall was also an active participant in the WPA New Deal Art Project of New York City between 1935 and 1939 and returned to the Art Students League as a teacher from 1947-9. He exhibited widely and with success including at the Whitney Museum Annuals of 1949 and 1950 and the Leicester Gallery, London, in 1961. Victor Thall's paintings are held in numerous private and public collections including the permanent collections of the Brooklyn Museum and the Newark Museum and the artist is listed in all relevant reference works including Who Was Who in American Art. Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 3, p. 3273; Falk, Peter Hastings , ed. The Annual and Biennial Exhibition Record of the Whitney Museum of Art 1918-1989. (New York): Sound View Press, 1991; Levick, L.E., "A Guide to the Art Galleries," New York Journal American, May 23, 1964. Review of one-man show at Southampton Gallery; 1950 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1950; Coates, Robert M., "The Art Galleries: Paul Klee, The Whitney Annual, and John Marin, The New Yorker, December 31, 1949, pp. 42-43; 1949 Annual Exhibition of Contemporary American Painting. New York: Whitney; Museum of American Art, 1949; Lansford, Alonzo, "Thall at Binet," The Art Digest' December 15, 1947, ill; Upton, Melville, "George Binet Gallery," Sun, December 13, 1947; Devree, Howard, "Victor Thall at the Binet Gallery," New York Times, December 10, 1947; "Victor Thall at Binet Gallery," Art News, December 1947, p. 59; Oil Paintings by Victor Thall, New York: George Binet Gallery, 1947; et al. Select Exhibitions: 1968 DePoliolo Gallery, Palm Springs 1965 Studio Gallery, Naples, Florida 1964 L’lnstitute Francais d’Haiti 1964 Summit Gallery, New York City 1964 Southampton Gallery, New York City 1963 Guildhall Gallery, Chicago 1961 Leicester Gallery, London 1950 Whitney Museum , New York City 1949 Whitney Museum, New York City 1947 Binet Gallery, New York City 1946 Chinese...Category
1950s Abstract Expressionist Abstract Paintings
MaterialsPaper, Oil, Cardboard
- 'Abstract in Lilac and Blue', Whitney Museum, New York School, WPABy Victor ThallLocated in Santa Cruz, CASigned lower left, 'Thall V' for Victor Thall (American, 1902-1983) and painted circa 1950. A mid-century, American abstract oil comprising complex, contiguous and superimposed, linear and ovoid forms painted with an energetic and painterly brush in primary and secondary colors in both pure and pastel tints. Born in New York in 1902, Victor Thall first attended the Art Students League in New York City where he studied under Arthur B. Davies, George Bellows, John Sloan and Robert Henri. He furthered his studies at the Pennsylvania Academy of Fine Arts before leaving for Paris, in 1924, to attend the Ecole des Beaux Arts and the Academie Julien. He remained in France for six formative years before returning to the United States in the early 1930's. Back in New York, he became friendly with Willem de Kooning and Arshile Gorky and was both influenced and inspired by the ferment of ideas that developed around the New York School during the late 1940's and early 1950's. Thall was also an active participant in the WPA New Deal Art Project of New York City between 1935 and 1939 and returned to the Art Students League as a teacher from 1947-9. He exhibited widely and with success including at the Whitney Museum Annuals of 1949 and 1950 and the Leicester Gallery, London, in 1961. Victor Thall's paintings are held in numerous private and public collections including the permanent collections of the Brooklyn Museum and the Newark Museum and the artist is listed in all relevant reference works including Who Was Who in American Art. Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 3, p. 3273; Falk, Peter Hastings , ed. The Annual and Biennial Exhibition Record of the Whitney Museum of Art 1918-1989. (New York): Sound View Press, 1991; Levick, L.E., "A Guide to the Art Galleries," New York Journal American, May 23, 1964. Review of one-man show at Southampton Gallery; 1950 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1950; Coates, Robert M., "The Art Galleries: Paul Klee, The Whitney Annual, and John Marin, The New Yorker, December 31, 1949, pp. 42-43; 1949 Annual Exhibition of Contemporary American Painting. New York: Whitney; Museum of American Art, 1949; Lansford, Alonzo, "Thall at Binet," The Art Digest' December 15, 1947, ill; Upton, Melville, "George Binet Gallery," Sun, December 13, 1947; Devree, Howard, "Victor Thall at the Binet Gallery," New York Times, December 10, 1947; "Victor Thall at Binet Gallery," Art News, December 1947, p. 59; Oil Paintings by Victor Thall, New York: George Binet Gallery, 1947; et al. Select Exhibitions: 1968 DePoliolo Gallery, Palm Springs 1965 Studio Gallery, Naples, Florida 1964 L’lnstitute Francais d’Haiti 1964 Summit Gallery, New York City 1964 Southampton Gallery, New York City 1963 Guildhall Gallery, Chicago 1961 Leicester Gallery, London 1950 Whitney Museum , New York City 1949 Whitney Museum, New York City 1947 Binet Gallery, New York City 1946 Chinese...Category
1950s Abstract Expressionist Abstract Paintings
MaterialsCardboard, Paper, Oil
- 'Action Abstract, Sage and Pineapple'Located in Santa Cruz, CASigned lower right, 'M.S. Bremer' for Marlene Bremer (German-American, 1937-2018); additionally titled, verso, 'Spring Series 96 No. 3', signed and pain...Category
1990s Abstract Expressionist Abstract Paintings
MaterialsWood Panel, Oil
You May Also Like
- ByzantiumBy Ben WilsonLocated in New York, NYBen Wilson Byzantium, 1975 Oil on Masonite painting Hand signed reverse, Titled, "Byzantium", dated 1975 by the artist and also with estate stamp - in addition to Ben Wilson's hand s...Category
1970s Abstract Expressionist Abstract Paintings
MaterialsMasonite, Oil
- Shimmering Pond in the Woods Abstract 1960By Rose HerzogLocated in Soquel, CAHighly textured abstract composition by Rose Herzog (American, mid-20th Century). This piece includes the use of tissue paper, fibers, and other materials to create raised, textured ...Category
1960s Abstract Expressionist Abstract Paintings
MaterialsCotton, Masonite, Mixed Media, Oil, Tissue Paper
- Alexandra Rutsch Brock, Seeing Breathing, 2020, gouache, thread, 8 x 15 inBy Alexandra Rutsch BrockLocated in Darien, CTThese new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces. Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA. Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...Category
2010s Abstract Expressionist Abstract Paintings
MaterialsThread, Gouache, Archival Paper
- Alexandra Rutsch Brock, Currents, 2020, gouache, thread, 8 x 8 inBy Alexandra Rutsch BrockLocated in Darien, CTThese new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces. Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA. Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...Category
2010s Abstract Expressionist Abstract Paintings
MaterialsThread, Gouache, Archival Paper
- Alexandra Rutsch Brock, Sonne, 2020, gouache, thread, 15 x 8 inBy Alexandra Rutsch BrockLocated in Darien, CTThese new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces. Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA. Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...Category
2010s Abstract Expressionist Abstract Paintings
MaterialsThread, Gouache, Archival Paper
- Alexandra Rutsch Brock, Eden, 2020, gouache, thread, 8 x 15 inBy Alexandra Rutsch BrockLocated in Darien, CTThese new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces. Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA. Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...Category
2010s Abstract Expressionist Abstract Paintings
MaterialsThread, Gouache, Archival Paper