Michael Pauker

Fall-Winter 1977 Textured Abstract

1977

Large Scale Mid-Century Earth-tone Horizontal Abstract by Joseph Vasica Very large scale (70"H x 160"W) (5.8'H x 13.3'L) mid-century abstract with soft edge, grey and burnt sienna...

Three Mysteries by California abstract expressionist artist Kristin Cohen (American, b.1963). Titled "Three Mysteries", signed "Kristin Cohen" and dated "2000" on verso. Image, 30"H ...

Wonderful abstract expressionist painting of guitarist painted by Norman Rubington (American, 1921 - 1991) while in Rome, 1952. Signed lower left and on verso. Dated "11 - 52, Roma" ...

"Green Punctuation" Large Scale Abstract Expressionist Composition Bright and saturated abstract composition by California artist Linda Symonds (American, 20th Century). Against a field of green and blue, there are accents of red and maroon. There are repeated circular shapes in maroon and blue...

Color Field - Abstract Green and Yellow by Patricia Gren Hayes Acrylic on Canvas Color Field abstract composition by Bay Area artist Patricia Gren Hayes (American, b. 1932). Wide br...

The Dance of water oil on canvas 1968 Abstract expressionist painting of three fish circling the water as the focal point. Hues of dark blue fade to light with hints of yellows and reds. Signed "Mary T...

Untitled 01 [Remains of the Remains 01], 2018 oil on canvas 78 47/64 H x 59 1/16 W in 200 H x 150 W cm The large-sized paintings, signed by Zsolt Berszán...

Diving for Pearls, 1986 Oil on canvas 88 x 76 in. (223.5 x 193 cm) Signed, dated, and titled, verso

James Joyce's Smile, 1984 Oil on canvas 66 x 87 in. (167.6 x 221 cm) Signed, dated, and titled, verso

In "Shattered Atlas: The Modern Burden," the artist Masri presents a 40" x 30" mixed media canvas that epitomizes 'Shattered Cubism,' a style that fragments reality into geometric fo...

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...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Red Composition by TOSHIMITSU ÏMAI (1928-2002) Oil on canvas 80.2 x 55.3 (31 ⅝ x 21 ¾ inches) Signed, TOSHIMITSU IMAÏ, dated, 1963 Paris and inscribed in Japanese on the reverse Provenance Private collection, USA Born in Kyoto, Japan in 1928 Imai was part of the 20th century Japanese avant-garde. He began his formal education at the Tokyo State Art Academy where he took up painting. His early works are characterised by colourful abstractions, reminiscent of Favuism. In 1951 Imai was awarded the Kansai-Shinseisaku Prize and in 1952 the prize for the best new artist at the 15th Shinseisaku Salon. Imai relocated to Paris in 1953, the same and subsequent year he exhibited at the Salon de L’Art Sacré. Meanwhile, he attended the Académie de la Grande Chaumière and the Sorbonne to read medieval history and philosophy. In 1955, Imai completely abandoned representational art in favour of abstraction. After meeting the art critic Michel Tapié via the artist Sam Francis, Imai was the first Japanese artist to join the Art Informel movement. In 1956 Imai was called upon by the Japanese artist Taro Okamoto to curate an exhibition entitled The World: Today’s Art in Tokyo. Artists such as Jean Dubuffet, Jean Fautrier, Lucio Fontana, and Karel Appel gained important exposure in Japan. It was also in 1957, when Imai arranged for Tapié and the artists Georges Mathieu and Sam Francis to travel to Japan, that a connection between Art Informel and Gutai occurred. The Ashiya-based Gutai Art Association formed in 1954 was proclaimed a kindred spirit by Tapié which he subsequently promoted internationally. Founding members included Yoshihara Jiro, Kanayma Akira, Murakami Saburo, Shiraga Kazuo and Shozo Shimamoto...