Louise Blyton

Long Rolling Days (Abstract painting)

2020

Long Rolling Days (Abstract painting) Acrylic on linen - Unframed. Australian abstract artist Louise Blyton employs precise, Reductivist methods to cre...

Long Rolling Days (Abstract painting) Acrylic on linen - Unframed. Australian abstract artist Louise Blyton employs precise, Reductivist methods to create lucid, harmonious, multidimensional artworks that embody the marriage of color, texture, and form. Her finished works—shaped, minimal canvases...

Acrylic on linen - Unframed. Australian abstract artist Louise Blyton employs precise, Reductivist methods to create lucid, harmonious, multidimensional artworks that embody the mar...

Better Times, Past and Future (Abstract painting) Acrylic on linen - Unframed. Australian abstract artist Louise Blyton employs precise, Reductivist me...

Vintage American modernist abstract oil painting by Jane Lapey. Oil on canvas. Exhibition label verso. Framed. Image size, 28L x 22H.

First Wave presents a sophisticated minimalist color palette with engaging abstract shapes and waves interwoven in a balanced composition. The scene appears animated and reveals magi...

An abstract expressionist painting by Duayne Hatchett . Oil on canvas, circa 1990. Signed verso. Framed. Image size, 60"H x 56"L. Duayne Hatchett was a visual artist whose work included prints, paintings, sculpture, and found objects. He was born on May 12, 1925 in Shawnee, Oklahoma. He enlisted in the Air Force where he trained to become a fighter pilot. After leaving the militrary he studied design at the University of Oklahoma. His highly technical military training combined a mathematical intelligence with a love for physics and a daring embrace of new experience, all of which would soon be the tools for his evolution through art. Two major influences interacted on his early development at OU. Emelio Omero, a colleague and close friend of Diego Rivera, introduced him to the revolutionary art ideas of Mexico City, while teaching him a wide range of printing techniques that would culminate in a Masters Degree in Painting in 1952. During this time he met Bruce Goff, a renowned Wright disciple, who was teaching architecture at OU and befriended Hatchett, introducing him to the most avant-garde architecture of that time. He spent his summers while at OU designing for a small sign shop, which introduced him to new materials used for building neon, plastic, and metal signs. The use of new materials and a keen sense for design would soon become invaluable building blocks for future sculpture. During this time he met and married Mary Ellen Jeffries. They would spend their lives together and raise three children, David (me), my brother Dana, and my sister Jeffri. As children, they were immersed in art from childhood and benefited greatly from this loving art and domestic environment. Hatchett was always interested in the techniques of construction, often watching different tradesmen working, understanding how materials are put together to create the manmade environment that surrounded him. While teaching printmaking at Oklahoma City University from 1951 through ‘54, he began to build sculpture employing some of the materials and techniques that he saw workers using. He was beginning to draw the attention of architects and he became interested in their work-trade processes, moving from blue prints to construction. He accepted an invitation from Alexander Hogue...