Board Abstract Paintings

URBAN LANDSCAPE Size: 38.5 x 53.5 cm (including frame) Oil on board A brilliantly executed semi- abstract landscape composition, painted in oil onto board by contemporary British artist Ian Mood. The artist works in broad, expressive strokes, filling in the urban scene with a cacophony of colour. We see areas of the canvas as well as the artist’s outlines, giving it a very raw quality, emphasising the uncompromising nature of the urban landscape. This oil on board is housed in a complementary light blue frame with an inner white window that pairs wonderfully with the painting. Both painting and frame are in excellent condition. About the artist: Ian Mood is a contemporary artist with an international reputation, having shown work with Saatchi London, Brooklyn Art Library, Battersea Art Fair & Manchester Art Fair – as well as being represented by numerous established galleries in the UK and US. He recently held his first solo show in New York. In 2019, he collaborated as artist in residence with The National Theatre (Madness of George III with Mark Gatiss) and The Royal Exchange Manchester (Mother Courage with Julie Hesmondhalgh). Ian is a member of Manchester Academy of Fine Arts, Society Of Staffordshire Artists and the Artist Association of Nantucket (USA) where he regularly lectures as part of their summer arts programme. He was awarded the Artists Association of Nantucket Frank Swift Chase...

Pieter de Haard (Rotterdam 1914-2000)

Signed and dated 1958 lower right. 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...

Running the Light (Abstract painting) Gouache on matte board. Unframed. This work is part of an early series made in 1998 where Gordon explored with free flowing interacting with c...

Running the Light (Abstract painting) Gouache on matte board. Unframed. This work is part of an early series made in 1998 where Gordon explored with free flowing interacting with c...

Joanne Ungar's unique process involves layering pigmented wax over cardboard forms to create a geometric composition of color. Ungar's process begins by the artist flattening three-...

Douze lignes (Abstract painting) Pigmented cement on foam panel. Unframed. Auville works with construction cement. Applying techniques used in the construction and ship building in...

Stars & Sticks (Abstract Paintings) Cement and corroded steel on foam panels. Unframed. Auville works with construction cement. Applying techniques used in the construction and shi...

Stem #227 (Abstract painting) Acrylic on poster board - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto composi...

Untitled 1 (2001) (Abstract Painting) Adhesive tape, acrylic, lacquer, cardboard, on MDF. Unframed. This work is part of a series of similar works consisting of four layers of dif...

Mixed media and graffiti on an original lined antique canvas by Antonio Polinori that had undergone restoration in the early 19th century. The work comes with a data sheet dated 1820. In Antonio Buonfiglio...

4 carrés (Abstract Painting) Pigmented cement on foam panels. Structural and hanging frame on the back. Auville works with construction cement. Applying techniques used in the cons...

The painting is being offered with a work and authenticity certificate

Douze lignes (Abstract painting) Pigmented cement on foam panel. Unframed. Auville works with construction cement. Applying techniques used in the construction and ship building in...

Pigmented cement on foam panel. Unframed. Auville works with construction cement. Applying techniques used in the construction and ship building industries, he spreads the cement ov...

Mixed Media Painting. About the artist: John Grande is a New York-based artist who reflects upon modern and contemporary culture with his constructed paintings, sculptures and mu...

Acrylic on poster board - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositions, on supports that are the...

Acrylic on poster board - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositions, on supports that are the...

What would the last tree do? Would it come through a window, a door? There are several of the works that I have generated that express the deep concern I hold for our home planet. Th...

Abstract. Philosophical. Colorful. This piece flew together. The brushstrokes nearly flew from my hand to the Board. The colors demanded to play. But a name just did not show up. I...

Beeswax, resin and pigment on archival paper mounted on archival board matted - Unframed. This work is from a series of works on paper exhibited in the solo show: “The Temperature o...

Adhesive tape, acrylic, lacquer, cardboard, on MDF. Unframed. This work is part of a series of similar works consisting of four layers of different material. Adhesive tape, fixed o...

Oil painting over pigmented cement on 2 foam panels with wood rail. Structural and hanging frame on the back. Auville works with construction cement. Applying techniques used in the...

Artist's Statement: "A tribute to Donald Sultan, who influenced me long ago (along with Sam Gummelt, Michael Whitehead and others) to incorporate industrial and 'homely' materials i...

"After Aristotle" by Susan Squires is an evocative oil and encaustic painting that invites viewers into a contemplative space, blending ancient philosoph...

Abstract expressionist Ann Shogren depicts vivid landscapes and paints tapestries of colors that have simultaneously calming and rejuvenating effects on her audiences. Having lived i...

GENTLE CURRENTS 24x24, framed size 25 1/4” x 25 1/4”. Encaustic on cradled board. Description: It’s a dreamlike place, the wind is gently playing with the reeds, a place to find comfort and peace. Here your soul is soothed by it’s tranquility and you are at ease. Sylvia Torres, was born in California one will find the ocean, sky and mountains reflected in her work. She also spent several years in Texas, where she attended the University of Houston, studied commercial art and became the Art Director at several advertising agencies. Eventually the lure of California drew her back to California. Ms. Torres has been an instructor of art workshops at Idyllwild Arts, Carnegie Art Museum, Studio Channel Islands Art Center,, Collage Artists Of America, the Ventura County Art Museum, University of California/Riverside, She has exhibited in solo and group shows including: Palm Springs Art Museum, Santa Paula Art Museum, Ventura Music Festival Invitational, Channel Islands Sanctuary, San Luis Obispo Art Museum, Santa Paula Art Museum, Marion Meyer Contemporary Art, Laguna Beach, CA, East/West One, Invitational, inThousand Oaks, CA, Ventura Government Center Invitational, Ventura, CA. Sylvia was interviewed live and her history video recorded by Donna Granata, founder of Focus On The Masters. Sylvia’s video history is permanently documented in their archives. Torres’ work has been acquired by private and corporate collectors: Focus On The Masters, Carnegie Art Museum permanent collection, Handel Evans past President of CSU Channel Islands, University, Infinity Bank, Ventura, CA, and others. Torres’ paintings appear on the sets of popular television shows: Big Little Big Lies, Criminal Minds, Chicago Med, Grey’s Anatomy...

For many years Susan Squires goal has been to create encaustic paintings as meaningful, evocative experiences for herself and for the viewer. She wa...

Original painting on board. Hand signed and dated on front by the artist. Artwork size 30 x 20 inches. Frame size approx 33 x 23 inches. Artwork is in excellent condition. Certifi...

The painting is being offered with a work and authenticity certificate

This hand painted piece by Lucchetta is part of the op art series where he is able to catch movement with his unique technique. Lucchetta is challenging himself. His precise stable hand can be sometime mistaken to a work of a machine, a printer. But if you look close enough you are able to see that it is a work of a line master!! This piece comes framed in a white wooden frame. The measurements of the work with the frame is 11/11". Op art masters from the 20's century that are inspiration to Lucchetta's pieces are Victor Vasarely, Brigit Riley...

The painting is being offered with a work and authenticity certificate

Anna Pennati's research toward the essential meanings of everything in life, is looking to get emotional images that are abstract in form, but represents real "things". So the spect...

This meticulously planned, designed, and executed work depicts an ultra-wide angle view of a rock quarry/mine. The viewer looks down at close-up-stylized rock formations and then out at a horizon line with rust-colored mine trestles. Atherton hints at perspective with a broken white line that is wider in the foreground and tapers to a hairline as it recedes to the background. The work was done in 1951 at the height of America's most important art movement: Abstract Expressionism. John Atherton absorbs its influences but retains elements of representation. Atherton was an in-demand commercial artist who worked for most blue-chip clients. It is possible that this was an editorial assignment for Fortune Magazine. At the same time, Atherton was also a fine artist and the work could be an expression of pure creative pursuits. The work looks better in person and one can look at it for hours and not get bored. Look carefully and you may discover a deeper meaning in this painting of precisely arranged rocks. Signed lower right. Brooklyn Museum of Art, New York, sold to benefit the acquisitions program ____________________ From Wikipedia, the free encyclopedia John Carlton Atherton (January 7, 1900 - September 16, 1952) was an American painter and magazine illustrator, writer and designer. His works form part of numerous collections, including the Museum of Modern Art,[1] Whitney Museum of American Art and the Smithsonian American Art Museum.[2][3][4] Early Years He was the son of James Chester Atherton (1868-1928) and Carrie B. Martin (1871-1909). He was born in Brainerd, Minnesota.[5] His father was Canadian born. His parents relocated from Minnesota to Washington State, with his maternal grandparents whilst he was still an infant. He attended high school in Spokane, Washington. Career During his early years he never displayed an aptitude for art; rather, his first love being nature and the activities he relished there, mainly fishing and hunting. He enlisted in 1917, serving briefly in the U.S. Navy for a year during World War I. At the end of the war, determined to get an education he worked various part-time jobs, as a sign painter and playing a banjo in a dance band to pay his enrolment fee at the College of the Pacific and The California School of Fine Arts (now the San Francisco Art Institute). Once there, he also worked in the surrounding studios developing his oil painting techniques. A first prize award of $500 at the annual exhibition of the Bohemian Club in 1929, financed his one way trip to New York City, which helped to launch his career as an artist.[6] Atherton had aspired to be a fine artist, however his first paid jobs were for commercial art firms designing advertisements for corporations such as General Motors, Shell Oil, Container Corporation of America, and Dole. However, by 1936, encouraged primarily by friends, such as Alexander Brook, an acclaimed New York realist painter, he returned to the fine arts. Atherton continued to accept numerous commissions for magazine illustrations; such as Fortune magazine, and over the years he would paint more than forty covers for The Saturday Evening Post starting with his December 1942 design, “Patient Dog.” This picture is reminiscent of his friend Norman Rockwell ‘Americana style’ and captures a poignant moment of nostalgia, where a loyal dog looks toward a wall of hunting equipment and a framed picture of his owner in military uniform. Selected One person Exhibitions Atherton accomplished his first one-man show in Manhattan in 1936. His Painting, “The Black Horse” won the $3000 fourth prize from among a pool of 14,000 entries. This painting forms part of the Metropolitan Museum of Art collection in New York.[7] Atherton achieved recognition in New York City and elsewhere during the 1930s. Having exhibited at the Julien Levy Gallery in New York,[8] his paintings began to be collected by museums; including the Museum of Modern Art[9] and the Metropolitan Museum of Art. His reputation increased with his art deco stone lithograph poster for the 1939 New York World's Fair. In 1941, his design won first place in the Museum of Modern Arts “National Defense Poster Competition”. Selected Public Collections Fleming Museum of Art, Burlington, Vermont Albright-Knox Art Gallery,[10] Buffalo, NY Art Institute of Chicago,[11] Chicago Wadsworth Atheneum,[12] Hartford, CT Brooklyn Museum of Art, New York Metropolitan Museum of Art, New York The Museum of Modern Art,[13] New York Whitney Museum of American Art,[14] New York Pennsylvania Academy of the Fine Arts,[15] Philadelphia De Young Museum,[16] San Francisco Smithsonian American Art Museum,[17] Washington DC Butler Institute of American Art[18] Youngstown, OH The Famous Artists School Founded in 1948 in Westport, Connecticut, U.S.A. The idea was conceived by members of the New York Society of Illustrators (SOI), but due to the Society's legal status, could not be operated by it. SOI member Albert Dorne led the initiative to set up a separate entity, and recruited the support of Norman Rockwell, who was also an SOI member. For the founding faculty, Dorne recruited Atherton, as well as accomplished artists such as Austin Briggs, Stevan Dohanos, Robert Fawcett, Peter Helck, Fred Ludekens, Al Parker, Norman Rockwell, Ben Stahl, Harold von Schmidt and Jon Whitcomb.[19] He collaborated with Jon Whitcomb with the book “How I Make a Picture: Lesson 1-9, Parts 1”.[20][21] Society of Illustrators Atherton as an active member from his arrival in New York. The society have owned many of his works. Ex-collection includes: Rocking Horse (ca. 1949) [22] Atherton, as his peers had many of his works framed by Henry Heydenryk Jr.[23] Personal On November 2, 1926, he married Polly “Maxine” Breese (1903-1997).[24][25] They had one daughter, Mary Atherton, born in 1932. Atherton's often chose industrial landscapes, however found himself spending considerable time in Westport, Connecticut, with an active artistic community, and it became home for him, and his family. He then moved to Arlington, Vermont.[26] Norman Rockwell enlisted Atherton in what was to be the only collaborative painting in his career.[27] He was part of a group of artists including a Norman Rockwell, Mead Schaeffer and George Hughes who established residences in Arlington.[28] Atherton and Mead Schaeffer were avid fly fishermen and they carefully chose the location for the group,[29] conveniently located near the legendary Battenkill River. In his free time, Atherton continued to enjoy fly-fishing.[30] He brought his artistic talent into the field of fishing,[31] when he wrote and illustrated the fishing classic, “The Fly and The Fish”.[32] He died in New Brunswick, Canada in 1952,[33] at the age of 52 in a drowning accident while fly-fishing.[34] Legacy The Western Connecticut State University holds an extensive archive on this artist.[35] His wife, Maxine also published a memoir “The Fly Fisher and the River” [36] She married Watson Wyckoff in 1960. Ancestry He is a direct descendant of James Atherton,[37][38] one of the First Settlers of New England; who arrived in Dorchester, Massachusetts in the 1630s. His direct ancestor, Benjamin Atherton was from Colonial Massachusetts...

Oil on canvas Vakhtang Khelashvili is a Georgian artist born in 1993 who lives and works in Tbilisi, Georgia. His artistic name is Ikotgy, he is futuristically minded and motivated ...

Oil on cardboard Vakhtang Khelashvili is a Georgian artist born in 1993 who lives and works in Tbilisi, Georgia. His artistic name is Ikotgy, he is futuristically minded and motivat...

Oil on cardboard Vakhtang Khelashvili is a Georgian artist born in 1993 who lives and works in Tbilisi, Georgia. His artistic name is Ikotgy, he is futuristically minded and motivat...

Robert Marc (French, 1943-1993) Untitled (9690) collage 36 x 55 cm (14⅛ x 21⅝ in.) signed ‘ROBERT MARC’ (lower centre) Price: £9,000 GBP Provenance: Estate of the Artist Forum Gall...

Oil on canvas Vakhtang Khelashvili is a Georgian artist born in 1993 who lives and works in Tbilisi, Georgia. His artistic name is Ikotgy, he is futuristically minded and motivated ...

Oil on cardboard Vakhtang Khelashvili is a Georgian artist born in 1993 who lives and works in Tbilisi, Georgia. His artistic name is Ikotgy, he is futuristically minded and motivat...

A geometric abstract monotype on Japanese handmade paper mounted on board by Post War artist Kenneth Noland. Provenance: Experimental Workshop; Private Collection.

the painting is being offered with a work and authenticity certificate

Red Horizon, Board Painting by Lisa Stefanelli, 2011 Additional information: Medium: Enamel and Automotive Paint on Board Dimensions: 26 × 96 in About artist: Lisa Stefanelli (Amer...

“Traveling Together” is a colorful, abstract, surrealist painting by Armenian artist, Vatche Geuvdjelian painted in 2012. Artist’s Statement “𝘛𝘩�...

This poured wax painting by Joanne Ungar, is composed with the geometric forms of recycled packaging, layered and infused with pigmented wax. The blue and violet purple in this pigm...

Estuary, Collage on Board Painting by Keith Purser b 1944, 2006 Additional information: Oil, sand and collage on board Dimensions: 10 5/8 x 29 7/8 in 27 x 76 cm (KP500)

Acrylic & mixed media on cardboard Liubov Juravliova is a French painter born in Chisinau, Moldova in 1963 who lives and works in Argenteuil, near Paris, France She has been listed ...

For many years Susan Squires goal has been to create encaustic paintings as meaningful, evocative experiences for herself and for the viewer. She wa...

Nerhbass’ paintings focus on style as a sublime element of tension within beauty. Thematically they evoke modern dilemmas of what it means to see and be seen in a manner that is simu...

This hand painted piece by Lucchetta is part of the op art series where he is able to catch movement with his unique technique. Lucchetta is challenging himself. His precise stable h...

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

"Geometric Abstract #2" is a 30 x 48 inches oil on board work by Philadelphia artist Morris Lewis Blackman. The painting is signed and dated "MLB...

"Geometric Abstract #1" is a 60 x 40 inches oil on board work by Philadelphia artist Morris Lewis Blackman. The painting is estate stamped on ver...

"This Way" is an acrylic on museum board signed on verso by Reginald K. Gee. This abstract landscape is a mixture of green, orange, and blue. Near the right is a blue house overgrown...

"Expressionist Abstract #5" is a 50 x 60 inches oil on board work by Philadelphia artist Morris Lewis Blackman. The painting is signed in the artist's monogram "MLB" and dated 1964-6...

Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...

the painting is being offered with a work and authenticity certificate

Rain, Oil on Board Painting by Keith Purser B. 1944 Additional information: Medium: Oil on board Dimensions: 27 x 100 cm 10 5/8 x 39 3/8 in Signed with initials and dated Keith Pur...