Board Abstract Paintings

Dang Bao-Hua is a Chinese artist born in 1977 who lives & works in Beijing, China. He was graduated from the National Academy of Arts in China. For many years of artistic painting pr...

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...

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...

"Taos Pueblo (Blue Window)" is an original acrylic on board signed by Kyle Zubatsky. This art piece has many squares and triangles in many colors, building a grid. Canvas: 28.5 x 28...

Title: "Tea Pot" Artist: Pep Suari Medium: Acrylic on wood board Size: 13.5" x 14.5" Framed

Jim’s of Lambertville is proud to offer this artwork by: 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...

The painting is being offered with a work and authenticity certificate.

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...

A tall vertical work on board, this Rothko- esque work is painted in yellows and browns with a red accent. It has a very emotive quality or a dream like effect. It is framed in a s...

"Apoc Angels Before And After War" is an African abstract portrait painting by the talented Togolese artist Daté kodjo AMOUZOU. Through his art, he has a v...

Cutwork is made of 2 ply museum board layered with acrylic ink silkscreen color blend. Though seemingly perfect and symmetrical at first glance, the original images are cut with no guide, defined by the authentic energy of the free hand cutting. The reverse-relief effect is achieved by first cutting what will become the top layer of paper, with each subsequent sheet layered and cut individually. About her process, Gregory-Gruen says, “It is visceral. A meditation. Imperfection is perfection.” CUT WORK” is an evolving examination of emotion experienced through the inspired meeting of blade and paper. Beginning with the featureless plane of a blank paper...

One of the most confounding paintings in this exhibition is “The Painting, As Seen by the Wall”. Mastromatteo depicts a bare canvas, framed in reverse, turned-around. He presents the...

"White Picket Fence (Aspirational Memoir)" is inspired by Toni Morison's The Bluest Eye. The focal point is a bright green square, encased with a picket- fence made of white tape. Inside the square is an old page torn from a “Dick and Jane...

An intriguing and complex composition composed of guns, rifles, ammo and a bullseye. Work is housed in a rustic Heydenryk frame.

Entitled “Garage,” this work by Chicago artist Patrick Fitzgerald is one of a series of “track paintings” that materialize the imagined tracks navigated by his miniature soap-box car...

"Matrix II" Abstract Oil Painting 18" x 24" in (1987) by Zaccaria Zeini Medium: oil on celotex Signed and dated Comes in old original frame Zacc...

This series of new work is Elizabeth Gregory Gruen’s exploration of the human psyche during this challenging era where humanity has been thrust into reckoning with its soul. The se...

This series of new work is Elizabeth Gregory Gruen’s exploration of the human psyche during this challenging era where humanity has been thrust...

“CUT WORK” is an evolving examination of emotion experienced through the inspired meeting of blade and paper. Beginning with the featureless plane of a blank paper canvas and a surge...

“CUT WORK” is an evolving examination of emotion experienced through the inspired meeting of blade and paper. Beginning with the featureless plane of a blank paper canvas and a surge...

“CUT WORK” is an evolving examination of emotion experienced through the inspired meeting of blade and paper. Beginning with the featureless plane of a blank paper canvas and a surge...

“CUT WORK” is an evolving examination of emotion experienced through the inspired meeting of blade and paper. Beginning with the featureless plane of a blank paper canvas and a surge...

Born in Manuel, Cuba in 1973, Juan Lazaro Gutierrez Mamblas is a painter who focuses his vision on the bicycle. His abstract works with forms floating on a virtually monochrome groun...

“CUT WORK” is an evolving examination of emotion experienced through the inspired meeting of blade and paper. Beginning with the featureless plane of a blank paper canvas and a surge...

“CUT WORK” is an evolving examination of emotion experienced through the inspired meeting of blade and paper. Beginning with the featureless plane of a blank paper canvas and a surge...

“CUT WORK” is an evolving examination of emotion experienced through the inspired meeting of blade and paper. Beginning with the featureless plane of a blank paper canvas and a surge...

“CUT WORK” is an evolving examination of emotion experienced through the inspired meeting of blade and paper. Beginning with the featureless plane of a blank paper canvas and a surge...

Jim’s of Lambertville is proud to offer this artwork by: Best known as a painter of abstract still life and founder of the New York Studio School, Mercedes Matter was also a disting...

“CUT WORK” is an evolving examination of emotion experienced through the inspired meeting of blade and paper. Beginning with the featureless plane of a blank paper canvas and a surge...

Born in Manuel, Cuba in 1973, Juan Lazaro Gutierrez Mamblas is a painter who focuses his vision on the bicycle. His abstract works with forms floating on a virtually monochrome groun...

"Rainbow Eater" Painting 23.5" x 29.5" inch by Emanuele Tozzoli Mixed media on board ABOUT THE ARTIST Born in Italy in 1989, Emanuele discovered painting in the very first years ...

12" x 16" Unframed Original - Oil on Linen Hand Signed by Darren Thompson 2014

Sublimations = extreme synthesis which includes the "all" and therefore the return to the primordial "one". In them, the spectator finds the lost path to his or her own universal ori...

Published as cover on the monographic catalogue dedicate to Lucio Perna's artworks. The painting "Fragilità invisibii" by Lucio Perna features a vibrant and dynamic composition chara...

Published as cover on the monographic catalogue dedicate to Lucio Perna's artworks. The painting "Bidonville" by Lucio Perna features a vibrant and dynamic composition characterized ...

Published as cover on the monographic catalogue dedicate to Lucio Perna's artworks. Lucio Perna's surrogate cities and slums also carry with them the concept of "boundaries," which ...

Transcending Canvases with Bespoke Frames The function of a picture frame is to encase a painting, providing it both protection against damage and a decorative touch to enhance its ...

Transcending Canvases with Bespoke Frames The function of a picture frame is to encase a painting, providing it both protection against damage and a decorative touch to enhance its ...

Transcending Canvases with Bespoke Frames The function of a picture frame is to encase a painting, providing it both protection against damage and a decorative touch to enhance its ...

Transcending Canvases with Bespoke Frames The function of a picture frame is to encase a painting, providing it both protection against damage and a decorative touch to enhance its ...

Transcending Canvases with Bespoke Frames The function of a picture frame is to encase a painting, providing it both protection against damage and a decorative touch to enhance its ...

Transcending Canvases with Bespoke Frames The function of a picture frame is to encase a painting, providing it both protection against damage and a decorative touch to enhance its ...

Transcending Canvases with Bespoke Frames The function of a picture frame is to encase a painting, providing it both protection against damage and a decorative touch to enhance its ...

Original - Mixed Media & Encaustic on Board

Original Encaustic Oil on Panel Hand Signed by Greg Angus

Original - Mixed Media & Encaustic on Board

Original Encaustic Oil on Panel Hand Signed by Greg Angus

Original Encaustic Oil on Panel Hand Signed by Greg Angus

Original Encaustic Oil on Panel Hand Signed by Greg Angus

Original Encaustic Oil on Panel Hand Signed by Greg Angus

Original Encaustic Oil on Panel Hand Signed by Greg Angus

Original Encaustic Oil on Panel Hand Signed by Greg Angus

Original Encaustic Oil on Panel Hand Signed by Greg Angus

Original - Mixed Media & Encaustic on Board

Original - Mixed Media & Encaustic on Board

Original - Mixed Media & Encaustic on Board

Original - Mixed Media & Encaustic on Board

Original - Mixed Media & Encaustic on Board

”Nautical and maritime themes have often resurfaced in my work mainly because of associations with my childhood, being brought up on the River Hamble within a stones throw from the busy international shipping port of Southampton. The Solent and Cowes as seen from Warsash were formative landscape memories and the regular passage of tankers, passenger ships...

John Bonick examines natural uncertainty and entanglement. Drawing from his knowledge on quantum reality, Bonick explores the idea that elementary particles do not have pure states, ...