Illustration Board Abstract Paintings

"Red Mesa Canyon" Abstract Geometric Landscape 1960s Casein Emulsion Paints Color Field abstract Geometric Landscape by Hildegarde Hass (American/Germany, 1926-2002. Geometric Abstract painted on illustration board in Casein emulsion paints with a coating of paraffin wax to seal it. Image, 30"H x 24"W Frame, 33.25"H x 27.25"W x 1"D Hildegarde Haas was born in Frankfort, Germany in 1926. Her education included summer classes at the Colorado Springs Fine Art Center followed by two years at the University of Chicago. Receiving a scholarship to the Art Students League, she studied under Vaclav Vytlacil and Morris Kantor. Haas was a member of The Printmakers, an established group of New York graphic artists whose ranks included Ross Abrams, Seong Moy, William Rose, Peter Kahn, Ruben Reif, Jim Forsberg, Wolf Kahn, Dorothy Morton, and Aaron Kurzen. Her woodcuts were included in the exhibition Young American Printmakers at the Museum of Modern Art, New York in 1953. She exhibited nationally at juried exhibitions and her work frequently drew comments by critics highlighting these shows. Haas executed color woodblock prints for only six or seven years. She moved to Northern California in 1951 where she became affiliated with Bay Area art organizations, including the San Francisco Art and Oakland Art Associations and The Arts and Crafts Co-op in Berkeley. Haas continued to exhibit in national and local painting and print exhibitions. She was honored with individual shows at the Dallas Museum of Fine Arts and the Kaiser Aluminum...

Like Diamonds in the Sky - Acrylic Op Art Composition on Artist's Board, by M. Yavitz Vintage mid-century modern op art painting in which dramatic red hues play in the background, g...

Edith Isaac-Rose "Fields of Flowers c.1960 Gouache on illustration board 16"x20" unframed Unsigned

Edith Isaac-Rose "Hay in Front" c.1960 Pastel on paper 13"x10.25" unframed Signed lower right in pencil

Large bright vivid drawing done in oil crayon or oil pastel. Abstract floral drawing. David Kimball Anderson’s work is bold and graceful, respectful and spiritual. A practicing Buddhist and avid surfer as well as a sculptor, Anderson has given way to 4 decades of work that revere beauty in nature and beauty in industry within his signature aesthetic. For Anderson, steel girders, dry leaves, machine parts and distant train lights are equally as compelling as strawberry flowers, begonias, Asian antiquities and the night sky. Editing down to essential form while adding a touch of embellishment allows his work to embody both minimalist formal truth and decorative adornment. Anderson’s art practice is a beauty-driven way of knowing the world. In this sculpture David Kimball Anderson assembles an arrangement of Metal artifacts...

Artwork Size: 8 x 10 in About the Artist: Award-winning artist Jorge Yances reflects the Latin literary tradition of Magical realism with his ability to blend fantasy and reality in...

Artwork Size: 6.5 x 5 in About the Artist: Award-winning artist Jorge Yances reflects the Latin literary tradition of Magical realism with his ability to...

An original series of four gouache paintings by contemporary female artist Kyla Kegler. This work is comprised of four paintings which can be hung in several different arrangements ...

My 80's Hart "Token 6" 2019, gouache, acrylic, graphite, panel, blue, wood, polka dots

John Hultberg (1922-2005). Girl in Window, 1960. Gouache on illustration board measures 22 x 30 inches; 29.25 x 37.5 inches framed. Chestnut wood fra...

Abstract composition on paper, ilustration board image size 31.5x22 unframed. Parallel Visions Exhibition, Berlex Laboratories Corporate Headquarters, NJ 2000 and May 2001 Joanne received her art education at the Daemen College in Buffalo, New York where she received a B.S. in Art Education. She received a Permanent Certification in Art Education from the State University of New York at Buffalo and has taught in Middleport and Amherst, New York. Abstract Artist Joanne Miller Rafferty is one of America's most popular contemporary artists. Joanne's work has been featured in numerous publications including Interior Design Magazine, New Jersey Magazine, Designer Specific, Art Business News, and Income Opportunities. The HBO series 'The Sopranos' also featured Ms. Rafferty's paintings as has 'All My Children' (ABC '98), 'Friends' (NBC '99), 'Everybody Loves Raymond' (CBS '01) and a 'PBS Design Special' (01). A long list of shows throughout the United States and awards in many juried exhibitions have honored her many years as a professional artist. Her original works are held in over 1,000 public and private collections. Selected Exhibitions & Awards Artists Who Happen to be Women - National Association of Women Artists, J. Wayne Starke Galleries National Exhibition, Texas A & M University April to June 2004 A Circle of Friends-Women's Collective of 13 Artists, The Dancing Goat...

Murray Hantman (1904-1999). Double-sided color study Composition #1183, c. 1960s. Oil on illustration board, 6 x 7 inches. Unframed. Unsigned. Accession number lower right TL.86.1183. Provenance: estate of Murray Hantman. Biography: Shaped by his life experiences and a commitment to the practice of making art, the work of Murray Hantman represents a career of personal exploration and aesthetic refinement that took him from New York, to Los Angeles, back to New York and eventually to the serene, yet dramatic, coast of Maine where he worked as part of the artists’ colony on Monhegan Island. Born in Pennsylvania in 1904, Hantman’s family moved many times to follow his father’s business opportunities, eventually settling in New York. A childhood of economic instability and dislocation formed Hantman’s early years, making him independent and self-reliant from a very early age. Hantman’s father owned movie theatres and photography studios and, recognizing his son’s artistic ability, employed him to print and hand-color photographs as a child. When he was eleven and living in Michigan, a public school teacher arranged for Hantman to receive a scholarship to the Detroit Museum of Art School where after a year he was awarded another scholarship to study at the Detroit School of Design. He studied in Detroit for a year until his family abruptly moved to Alabama, interrupting his artistic and academic studies until the family moved to New York at the end of the first World War. As a young man, Hantman supported himself by working many different jobs in New York and New Jersey. Steady work with his brother at the Hartford and New Haven Railroad office in New York City finally allowed Hantman to pursue his artistic studies in a formal way. In 1928, he enrolled in the Art Students League and became part of a social circle of artists and activists. While at the Art Students League, Hantman worked with faculty members Boardman Robinson and Thomas Hart Benton on two mural projects. During the years around the Great Depression, Hantman worked in Los Angeles with a group of artists known as the Bloc of Painters. Recruited through an advertisement to attend a course on fresco painting, the Bloc group was headed by Mexican muralist David Alfaro Siqueiros who had recently been exiled from Mexico for political activism. Through his work with Siqueiros, Hantman became motivated by social and political issues and their creative expression. In 1934, Hantman returned to New York and found the community of artists there equally engaged in social justice issues. While enrolling at the newly-formed Artists’ Union to advocate for the labor rights of creative workers, Hantman met sculptor Jo Levy who would become his wife. Like many artists at the time, Hantman found work through the Federal Art Project as a member of the Easel Painting Division which strove to create “works of art for the public which have a definite social value to the community”. (1) Along with the work he exhibited as a member of the WPA group, Hantman’s personal work from this period was in the style of Social Realism he learned from Siqueiros. Hantman and his wife, Jo Levy, believed in creating art for the public good. Their Artists’ Union friends and colleagues from the Federal Art Project formed the nucleus of their social circle and would become the community of artists who worked together during summers on Monhegan Island off the coast of Maine. In 1945, Hantman had his first solo painting show at Marquie Gallery in New York, and visits Monhegan Island for the first time. The following summer, he and Levy spend the summer in Maine, and would continue to do so for the next thirty years. The landscapes and seascapes of Maine would become a central subject in his work after 1946. The dramatic coastline of Monhegan Island had been inspiration for other New York artists before Hantman, including George Bellows and Rockwell Kent. As Hantman matured as an artist he began to reject academic narrative in his work, moving towards a more expressionistic and abstract style. During this shift into abstraction, nature remained central to his work and the seascape and Maine light provided continual inspiration. In the late 1940s, Hantman begins to reduce the landscape into elemental forms of color and shape. As he pursues this mode of painting his work moves further into abstraction, juxtaposing large blocks of saturated color to convey the drama of sea and sky. Always a student and teacher, Hantman distilled the ideologies of Abstract Expressionism and synthesized its concepts into his own work. Throughout the 1950s, he experimented with Action Painting, color, form and expression. By the late 1950s, Hantman’s mature style had developed into abstract works of pure color masses in simple geometric forms. His mastery of color and form continued into his late work, always reflecting the beauty of the natural world around him. Dedicated to the idea of exploration in his art, Hantman made hundreds of small color and form studies that hint at the large-scale works that would follow in the late 1960s and beyond. Hantman’s work from the ‘70s and ‘80s shows even more intensity of color and distillation of composition. The landscape of the Maine coast remained his muse throughout, the stark lines suggesting the flat plane of sea and horizon line beyond. Hantman and Jo Levy lived in New York and summered on Monhegan Island until 1975, followed by summers in Owls Head and New Harbor...