Martin Canin

Untitled - Historic Burgundy Red, and Purple Color Field Oil Painting

1970s

Martin Canin's Pont Marie is an historic, large, 51 x 77-inch red color-field oil painting, dated 1973. Martin Canin’s work can be linked to two 1960s movements: Color field and Op A...

Martin Canin's Yellow Flight is a large, 58 x 76.5-inch geometric-abstract oil painting, dated 1972. Martin Canin’s work can be linked to two 1960s movements: Color field and Op Art....

This untitled painting by Martin Canin's is an historic, large, 60 x 34-inch color-field oil painting, dating ca.1980. Martin Canin’s work can be linked to two 1960s movements: Color...

Martin Canin's Ozone is an historic, large, 51 x 63-inch geometric-abstraction oil painting, dated 1972. Martin Canin’s work can be linked to two 1960s movements: Color field and Op ...

This work by Martin Canin is a 30.25 x 60.25 inch horizontal color-field oil painting from 1974. Color is freed from objective context and becomes the subject in itself. A deep velv...

Martin Canin's San Anton Rock is an historic, large, 58 x 76-inch geometric-abstract oil painting, dated 1972. Martin Canin’s work can be linked to two 1960s movements: Color field a...

Oil on canvas. Signed, titled, and dated verso. 40.25 x 34 in. 41.5 x 35.5 in. (framed) Custom framed in a solid maple floater, with a matte white finish. Provenance The Betty Par...

Oil on canvas. Signed, titled, dated verso. 40 x 44 in. 41.5 x 45.5 in. (framed) Custom framed in a natural cherry floater. Provenance Knoedler Contemporary, New York Ludwig Sand...

Blue colorfield painting on canvas on beveled stretchers

Uwe Kowski examines his interactions with his environment in paintings that turn imagery and symbols from everyday life into vibrant abstract compositions. Probing the medium’s poten...

Russinof uses large brushes to create highly energized gestures that intimate various patterns and forms in architecture such as frames, cornices and baroque ceiling vaults. The paint-ings are process-based in the sense that one is aware of drips and the accretion of layers, and also flirt with their role as objects by virtue of the gesture’s relation to the painting edge. Color serves to create a window onto natural space and light, even as the forms themselves acknowledge their own framing. She often thinks in these works of Renaissance portraits where the sitter’s forearm rests on the very edge of the frame, inviting intimacy, with a tiny landscape...

Russinof uses large brushes to create highly energized gestures that intimate various patterns and forms in architecture such as frames, cornices and baroque ceiling vaults. The paint-ings are process-based in the sense that one is aware of drips and the accretion of layers, and also flirt with their role as objects by virtue of the gesture’s relation to the painting edge. Color serves to create a window onto natural space and light, even as the forms themselves acknowledge their own framing. She often thinks in these works of Renaissance portraits where the sitter’s forearm rests on the very edge of the frame, inviting intimacy, with a tiny landscape...