Paul Westacott

Land's End - Abstract Colorfield Minimalist Orange Green Blue Painting

2021

Drawing inspiration from the vibrant California landscape, British artist Paul Westacott creates original abstract artworks that showcase a harmonious b...

Jodi Fuchs' mid-century modern inspired artworks showcase distinct fields of vibrant colors, often taking on organic and soft shapes. Her pieces emanate a sense of balance and harmon...

Jodi Fuchs' mid-century modern inspired artworks showcase distinct fields of vibrant colors, often taking on organic and soft shapes. Her pieces emanate a s...

Ricky Hunt’s mixed media minimalist wall art is influenced by his tumultuous past that led to a paradigm shift in creativity and life. He covers the wood panel with layers of acrylic...

It makes a bold statement. Field Green is one of a series of colour field paintings created by modernist Milly Ristvedt. Renowned as a master colourist, Ristvedt chose a bright palet...

Since 2008, Tina Bluefield has been drawn to the world of large-scale abstraction, exploring the relationship between color, form, and the natural landscapes that inspire her. She g...

A scaffold of dark violet gives structure to painterly hot orange and teal bands in this confident abstract canvas by David Sorensen. The curated strata of fresh colors points to an ocean horizon at sunrise. Through his painterly modern compositions, celebrated Canadian painter David Sorensen (1937-2011) sought to “give voice to the inner reality.” In the paintings from his last years, Sorensen offers solutions to the nature of abstraction – wresting nature and the horizon from pure form and brilliant colour. Born in Vancouver in 1937, Sorensen studied at UBC and the Vancouver School of Art under Arthur...

Signed & dated Verso. 1965 Paul Reed in 1970. He favored “staining” untreated canvas. Paul Reed, the last surviving member of the Washington Color School, who explored the complexities of color and form in vibrant bio-morphic and hard-edge abstract paintings, died on Sept. 26 at his home in Phoenix. He was 96. His death was confirmed by his daughter, Jean Reed Roberts. Mr. Reed acquired his public identity as an artist when he was included, along with Gene Davis, Kenneth Noland, Morris Louis, Thomas Downing and Howard Mehring, in “The Washington Color Painters,” a landmark traveling exhibition that began at the Washington Gallery of Modern Art in 1965. All of the other painters had been shown, the year before, in “Post-Painterly Abstraction,” a 31-artist exhibition at the Los Angeles County Museum of Art organized by the critic Clement Greenberg in an effort to write a new chapter in the historic march of abstract art. Like his fellow Washington artists, Mr. Reed rejected the hot, gestural approach of Abstract Expressionism and explored color and abstract forms in a cooler mode. Working with diluted acrylic paint, in discrete series that methodically explored formal issues, he created luminous fields of color by letting the paint bleed into, or stain, untreated canvas. “I have a saying: Pollock dripped, Frankenthaler poured,” he told The Washington Post in 2011, referring to the artist Helen Frankenthaler. “Morris Louis poured. Howard Mehring sprinkled. I blot.” In his first stained series, “Mandala,” color radiated from a circular central image. The nearly 100 paintings in his “Disk” series, which he called “a matrix for exploiting color,” consisted of a central circle and two triangles positioned at the corners of the canvas. Over the next decade he moved to hard-edge geometric zigzags and stripes in the vertical “Upstart” series, color grids and shaped canvases that allowed for more complex experiments in form and color relations. He also made welded steel sculptures and, in the “Quad” series of the 1980s, collaged photographs. “Reed was, in a sense, the ‘little master’ of that first batch of Washington colorists,” the critic Benjamin Forgey wrote in The Washington Post in 1997. “He was a latecomer — he didn’t turn seriously to painting until he was in his mid-30s — but he never considered becoming anything other than an abstract painter. And when he was ready to show, in his early 40s, he was a very good abstract painter indeed.” Mr. Reed gave himself a more modest assessment in an interview with NPR last year. “I’m sort of low man on the totem pole of that group of six,” he said. Paul Allen...