Watercolor Abstract Paintings

This abstracted floral painting by Christine Averill-Green is made with oil paint and gouache on gallery-wrapped canvas. It features a light, pastel palette, with varying green and pink tones applied in light, almost washy layers. The painting is wired and ready to hang. "A play on the shapes in nature; how they change and flow," the artist says of this piece. "Ambiguous forms set against a symmetrical background. I am in awe of the tremendous energy that I see everywhere in the world. I tried to celebrate that in this painting." Averill-Green has been exhibiting her artwork in galleries and museums in Upstate New York for over 40 years. She received her B.A. in Art and an M.S. in Art Education. Artists such as Richard Diebenkorn, Euan Eglow, Antonio Lopez Garcia, and her teachers Catherine Kehoe...

Kerry Smith Van Halen - Diver Down Mixed Media on Crescent board Year: 2017 Size: 12x12in Signed, dated by hand COA provided Ref.: 924802-1624 *Black frame ...

"I have been painting seriously for somewhere around 35 years, but have only ever sold regionally - most recently, through my gallery on Magazine Street in New Orleans. Through 1stDi...

Work on canvas Beige wooden frame 92 x 71 x 2.5 cm

A one of a kind 8" x 10" Surreal Bleached and Toned Traditional Watercolor Cyanotype executed on Hahnemuhle Platinum Rag Paper by artist Annalise Neil. A certificate of authenticity ...

Painting titled "Window into Studio" and dated 2023 by Jeanne Cosimano. The painting is gouache on paper, frame is included. This work was recently included in a solo exhibition at Gallery 2112...

Arctic Light-Orange Sun Unsigned Gouache on Japanese fibrous paper Series: Tundra Paintings Exhibited: Karl Zerbe, Gouaches of the Artic Nordness Gallery, (Madison Avenue, NY) Feb 3 through Feb 23, 1958 Cat. No. 12 (label with work, see photo...

This piece represents a part of the artist's "Kinetic Knots" series which symbolizes shapes of the knots that are not planned. It is like the “Dao” grabbing the artist and the power ...

Painting of Abstract Red, Pink, Yellow & White Wild Flowers on an Orange Background by British Contemporary Artist, Angela Wakefield. From the 'Spring Burst' Interior Design Series. ...

Just discovered, a rare, surrealist painting by American artist Robert McIntosh(1916-2010) McIntosh was extremely prolific and exhibited thro...

For those not already acquainted: Stephen Gammell, in addition to being a very prolific studio artist, is also a great teller, appreciator, and illustrator of stories. For one so con...

Gouache on Japanese paper - Unframed This gouache paint on Japanese paper is a result of working with the accidental arrangements of found colored papers that are in piles all over ...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper. It features a muted palette and large, textured brush strokes. The painting itself is 13" x 22" and it measures 21.25" x 29.25" x 1" framed. It is signed by the artist in the lower right-hand corner of the painting, and is framed in a black frame with an acid-free mat. Wired and ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

This abstract painting by Christine Averill-Green is a beautiful combination of layers of green, blue, and purple. The long, organic stripes that make up this contemporary piece are reminiscent of vines, and the metallic paint used in the piece makes the piece reflect differently in changing light. It is wired and ready to hang. Averill-Green has been exhibiting her artwork in galleries and museums in Upstate New York for over 40 years. She received her B.A. in Art and an M.S. in Art Education. Artists such as Richard Diebenkorn, Euan Eglow, Antonio Lopez Garcia, and her teachers Catherine Kehoe...

Kerry Smith Nine Inch Nails - Pretty Hate Machine Mixed Media on Crescent board Year: 2019 Size: 12x12in Signed, dated by hand COA provided Ref.: 924802-1618 *Black frame with a mir...

Kerry Smith Pearl Jam - No Code Mixed media on Crescent board Year: 2017 Size: 21x22in Framed Signed, dated by hand COA provided Ref.: 92-0470 *Black frame with a mirror-gloss finis...

American school abstract painting. Watercolor on paper, circa 1960. Signed. Image size, 24"L x 18"H.

Gouache and pencil, 1963 Illustration project for the book Panorama Général Certificate of authenticity LCD6764

Kerry Smith Iron & Wine - The Shepherds Dog Mixed Media on Conservation Glass Year: 2017 Size: 21x20in Signed, dated by hand COA provided Ref.: 92-1661 *Black frame with a mirror-gl...

In Tamara Vermunt's paintings, black and white symbolize light and darkness, not just as color concepts but as forces that create form and movement. Using gouache and pastel on black...

In “Games,” Ihor Volkov-Tkachynskyi delves into the ethereal world of childhood memories, reimagining archival photographs of his mother from a children’s theater. The scene, once ro...

Ihor Volkov-Tkachynskyi reinterprets the legacy of El Greco, deconstructing his classical imagery to create a dynamic, contemporary vision. In this work, he breaks apart traditional ...

Abstract White Daisy Flowers on Turquoise Background by British Contemporary Artist, Angela Wakefield. This original is from the 'Spring Burst' In...

Black & Gold Glyphs II by Cheryl R. Riley Metallic abstract geometric symbols Gouache and metallic ink on 140# cold press watercolor paper Feminist Art and Contemporary Feminist / G...

Ode to Roundel abstract acrylic painting. Embellished with added texture and machine sewn gold thread patterns throughout the gouache. Signed "Morgan" and titled "Ode to Roundel" low...

Gouache on paper - Unframed In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets intuition. ...

Jacqueline Jandrell is an emerging artist who is South African by birth. she immigrated to the UK with her family after the loss of her father and grandfather. Becoming an immigrant affects everyone in different ways, and while young, this change of culture, country, and separation helped shape Jandrell as an artist. As she does not identify as British or as South African, this "lack" of cultural identity tends to manifest in her paintings. Her paintings are abstract, visceral and intuitive, as she is drawn to the flexibility and ambiguity of abstraction. Painting is a form of honesty for Jandrell, as it allows her to relax and feel centered, almost becoming a style of meditation. "Monsoon"- Watercolor on...

Kerry Smith Etta James - At Last Mixed Media on Conservation Glass Year: 2018 Size: 12x12in Signed, dated by hand COA provided Ref.: 923423 *Black frame with a mirror-gloss finish a...

American school abstract painting. Watercolor on paper, circa 1960. Signed. Image size, 24"L x 18"H.

This original abstract watercolor painting by Nealy Hauschildt features a dark blue palette and washy layers of paint. "In this deep blue piece," the ...

original neo-expressionist acrylic painting contemporary work by the mallorquin artist Toni CALDENTEY CALDENTEY, Toni - (Portocolom, Mallorca - Spain) The active notion of rhythm a...

Jae Hahn is a Korean-born artist living in Los Angeles. Known for abstraction and minimalism. She graduated with a Bachelors of Arts degree majoring in painting at UCLA in 1977. She spent her first 20 formative years in Korea, and the following 30 years in Los Angeles. Hahn’s search to find her own identity and cultural heritage resulted in studying Oriental philosophy, but more specifically, Taoism and Zen Buddhism. She later focused on figure painting, consolidating what she learned from all schools of masters. The first was about structure from cubism. Next were the dynamic color studies of Matisse, and third, the freedom of spontaneous gestural strokes found in Abstract Expressionism. During the late 1990’s, Hahn experienced her own Renaissance. Her paintings took on a new life, with more activity and interlocking positive and negative space, and varying textures (“folding”) and irregular shapes. This resulted in the Unfoldings series, which encompasses Hahn’s artistic attributes of color and form, surface layered depth of field, sculpture, geometry and structure. Jae's paintings are painted in varied tones of a single colour, and usually appear in the form of diptych, triptych or polyptych. The contents are patterns formed by lines such as a triangle, a diagonal, a cross or simply a horizontal line. Simplicity is indeed a quality that the artist intends to convey through her art. Following in the tradition of Donald Judd, John McCracken, Agnes Martin, Dan Flavin and Robert Morris, Her work tends towards a luminous minimalist style. She has showed at Kelley Roy gallery alongside John Henry, Dolly Moreno and Sebastian Spreng. She has also shown at Seth Jason Beitler Gallery in Miami. Selected Individual Exhibitions Millenia Fine Arts, Orlando, FL Lois Neiter Fine Arts, Sherman Oaks, CA Gallery Seohwa, Seoul, Korea Rule Modern and Contemporary Gallery, Denver, CO Lois Neiter Fine Arts, Malibu Beach, CA Grey McGear Modern, Santa Monica, CA T. Curtsnoc Fine Arts, Miami, FL Rule Modern and Contemporary Gallery, Denver, CO University of Wyoming Art Museum, Laramie, Wyoming T. Curtsnoc Fine Arts, Miami, FL Boritzer/Gray/Hamano Gallery, Santa Monica, CA The Seoul Club Exhibition, Seoul, Korea Claremont Graduate School - West Gallery, Claremont, CA Byucksan Museum, Seoul, Korea Boritzer/Gray Gallery, Santa Monica, CA Indeco Gallery, Seoul, Korea Brand Library Art Galleries, Glendale, CA Selected Group Exhibitions "Zen Summer”, Thomas Lavin, West Hollywood, CA The Fall Show, Susan Street Fine Art, Solano Beach, CA "Faces and Figures", Lois Neiter Fine Arts, Malibu, CA Jae Hahn, Kathleen Keifer, Caroyl La Barge, Maggie Lowe Tennessen Los Angeles County Museum of Art, Las Angeles, CA "Surface, Color, Light", Lois Neiter Fine Arts, Sherman Oaks, CA Miami Art Fair, T. Curtsnoc Fine Arts, Miami, FL London Art Fair 2002, Mark Jason Gallery, London, England "Abstractly", Rio Hondo College, Whittier, CA "Spring", LewAllen Contemporary, Santa Fe, NM "Contemporary Art Without A Mouse", LewAllen Contemporary, Santa Fe, NM "California Asian Women In Art", Fresh Paint Art, Culver City, CA "Summer Exhibition", Gallery Seohwa, Seoul, Korea "Update 2000", Fresh Paint Art, Culver City, CA Pasadena Historical Architecture Showcase, Pasadena, CA "Korean Contemporary Art," University of Wyoming Art Museum, Laramie, Wyoming Five Persons' Show, Cline LewAllen Contemporary, Santa Fe, NM "Korean Contemporary Art," Edwin Ulrich Art Museum, Wichita, Kan "Fall Exhibit" Lois Neiter Fine Arts, Sherman Oaks, CA "Paradise Lost-Abstraction after Modernism" Grey McGear Modern, Santa Monica, CA "Summer Exhibit" J.J. Brookings Gallery, San Francisco, CA "Korean Contemporary Art" The Cerrillos Cultural Center, Cerrillos, NM. "Essence in Purity" The Luckman Fine Arts Gallery, California State University, Los Angeles, CA. "Collector's Choice" Center for the Arts, Vero Beach, FL "Of Paint and Metal", Ken Elias Gallery, West Palm Beach, FL "Boom," T. Curtsnoc Fine Arts, Miami, FL "New Beginnings Old Friends," Fresh Paint Fine Arts, Culver City, CA Triton Contemporary Art Fair, San Francisco, CA Cerrillos Cultural Center, Cerrillos, NM "Inauguration Opening Exhibition", View gallery, New York, NY "Abstraction and Essence", Susan Street Fine Art Gallery, Solana Beach "Simply Small", Susan Street Fine Art Gallery, Solona Beach, CA "Idea House" Project, Pacific Design Center, Los Angeles, CA Works on Paper L.A. 1995 Art Fair, Santa Monica, CA USART, Ft. Mason, San Francisco, CA The 9th International Contemporary Art Fair, Los Angeles, CA "Big Littles", Boritzer/Gray/Hamano Gallery, Los Angeles, CA Jae H. Hahn and Julia N. Chu, Pierce College Art Gallery, Woodland Hills, CA The 7th International Contemporary Art Fair, Los Angeles, CA Neo-Modernism by Five American Artists, Markant Gallery, Langelo, Holland Summer Group Show, Janus Gallery...

Kerry Smith Patti Smith - Horses Mixed Media on Crescent board Year: 2022 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1646 *Black frame with a mirror-gloss finish ...

Rebecca Newport Jade Contemporary Abstract Painting Acrylic and Watercolour on canvas Canvas Size H 30cm x W 30cm x D 1.8cm Sold unframed. Please note ...

These new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces. Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA. Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...

VOID is a multilayered composition created with paper, painted tyvek and silkscreen cut-outs. The panel was initially created as part of the “Kudzu Season” series, exhibited in the C...

Interior design paintings. Suprematist composition red shoulder and blue stocking - line drawing figure. The diptych were done with ink and waterco...

Painting of Abstract Red, Pink, Orange & Blue Wild Flowers on a Yellow Background by British Landscape Artist, Angela Wakefield. From the 'Spring Burst' Interior Design Series. Frame...

Incredible Outsider Artist Barry Johnson presents a new series of canvas paintings from his creatures series. Wild Colors! Utterly unique compositions....

This piece represents a part of the artist's "Kinetic Knots" series which symbolizes shapes of the knots that are not planned. It is like the “Dao” grabbing the artist and the power ...

This piece represents a part of the artist's "Kinetic Knots" series which symbolizes shapes of the knots that are not planned. It is like the “Dao” grabbing the artist and the power ...

Expressive and colorful vintage abstract earth watercolor by Duane Albert Armstrong (American, b. 1938). Presented in a dark grey mat with wooden frame. Singed "D. Armstrong" and dat...

Small talk geometry (Abstract painting) Mixed media acrylic, oil pastels, gouache on cotton - unframed This artwork will be shipped rolled in a dent-resistant tube. This method is ...

Mary Jo O’Gara is based in Winnetka, Illinois, where she keeps her own studio and teaches painting at the North Shore Art League. An alumna of Marquette...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. This one is influenced by California Abstract Expressionist artist Sam Francis. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

Kerry Smith Black Flag - Who’s Got The 10 1/2? Mixed Media on Crescent board Year: 2020 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1638 *Black frame with a mirror...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper and features a cool, muted palette and light texture. The painting itself is 13" x 22" and measures 21.25" x 29.25" x 1" framed. It is signed by the artist in the lower left-hand corner of the painting and is framed in a black frame with an acid-free mat. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

Kerry Smith B.B. King - The Thrill Is Gone Mixed Media on Crescent board Year: 2022 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1637 *Black frame with a mirror-glo...

Oil, gouache and color crayons on paper. Signed i, v. Wicht, lower right recto. Provenance: private collection, Chicago, IL.

“Azalea Light” - Oil, Acrylic, and Ink on Canvas, 36 x 72 inches “Azalea Light” radiates with a lush vibrancy, where soft magenta blooms and golden hues blend effortlessly with tran...

I grapple with the unpredictable world, and make sense out of chaos. I start with a loose idea and let the materials guide the work, using diverse media and unconventional materials...

Geometric and serene in its complexity - abstract contemporary painting created with impeccable attention to detail by deconstructing original watercolors into dime sized rectangle c...

Kerry Smith Ray Charles in Person Mixed Media on Crescent board Year: 2016 Size: 21x20in Signed, dated by hand COA provided Ref.: 91-0191 *Black frame with a mirror-gloss finish ava...

Kerry Smith The Doors - L.A. Woman Mixed Media on Crescent board Year: 2021 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1642 *Black frame with a mirror-gloss finis...

Kerry Smith The Dead Boys - Young, Loud And Snotty Mixed Media on Crescent board Year: 2021 Size: 12x12in Signed, dated by hand COA provided Ref.: 924802-1627 *Black frame with a mi...

An original watercolor painting by American artist Wes Olmsted depicting an abstract landscape view.

Blue Shapes is an original artwork realized by Giorgio Lo Fermo (b. 1947) in 2020. Mixed media in tempera and watercolor on paper Hand-signed and dated by the artist on the lower r...

Gloria Dudfield Neon Comet Abstract Expressionism 1960s Oil Pastel and Gouache on Paper 36"x25.5" unframed $1600 *Custom framing available for additional charge. Please expect framin...