1970s Abstract Paintings

5144 Vintage American abstract trees landscape

'Echoes of the Avant-Garde: Mid-Century Visions IV', oil on board (circa 1970s), initialed 'STM'. Step into a world where the spirit of early 20th-century modernism meets the bold ex...

Edwin Mieczkowski (American, 1929-2017) Broken Ice, 1976 Gouache and pencil on paper Signed, dated (Feb. 2, 1976) and titled lower right 27.5 x 37.75 inches 35 x 45 inches, framed Edwin Mieczkowski, born in Pittsburgh, was a leader of geometric and perceptual abstraction during the latter part of the 20th century. Mieczkowski's work first came to prominence in "The Responsive Eye" exhibition, the nation's first major exhibition of perceptual art, held at the Museum of Modern Art in New York in 1965. Mieczkowski was also featured in the 1964 article in Timemagazine that first used the term "Op Art" to describe paintings that manipulated visual cues in order to reorder and excite viewers' perceptual responses. With a complex aesthetic that over time has transcended mere tricks of optical art, Mieczkowski has spent nearly four decades producing geometrically paintings, drawings and sculptures, a genre of modern art that is known broadly as perceptual abstraction. His output of static and dynamic forms create a body of work, still largely intact, that uses visually disorienting, meticulously arranged lines, dazzling kaleidoscopic colors, and alluring juxtapositions of hue and tone, to playfully and seductively present new challenges for the viewer's eyes. The desired result is an optical effect of perpetual motion, harmonics and rhythm. . . . Along with Frank Hewitt and Ernst Benkert, Mieczkowski was a co-founder in 1959 of the Anonima* group that worked together in Cleveland and New York and declared itself free from the pressures of the art market and the pursuit of personal fame. Members of Anonima often left their works unsigned and vowed to shun the usual art market venues such as commercial galleries, biennials and competitions. Instead, they engaged in a rigorous, self-imposed program of painting exercises to explore the effects of geometry and color on visual perception. Although Mieczkowski's work hung side-by-side in the MOMA "Responsive Eye" exhibition with such colleagues as Josef Albers, Victor Vasarely, Richard Anuszkiewicz, Morris Louis, Kenneth Noland, Carlos Cruz-Diaz, Ad Reinhardt and Bridget Riley, all of whom went on to considerable fame and fortune, Mieczkowski chose to eschew commercial exhibition and career promotion. Instead, he spent 39 years teaching at the Cleveland Institute of Art and quietly executing a number of public art commissions while independently pursuing his own intuitive explorations in geometric abstraction. Mieczkowski pursued virtually no commercial sales of his work. Consequently, the body of work he left behind consists of hundreds of paintings, drawings and sculptures only recently viewed...

Artist: Carol Sideman– American (1925-2021) Title: Blue Sea #57 Year: circa 1975 Medium: Acrylic paint, gouache, chine colle on heavy watercolor paper Si...

Allan D'Arcangelo Constellation, 1971 Acrylic on paper, mounted to canvas Hand signed and dated 1971 lower front Frame included Measurements: Framed: 23.75 x 23.75 x 1.25 inches Artw...

Modern red, blue, green, and yellow mixed media abstract painting by the artist Bert Millar. The work features vertical stripes of various colors set against a light grey wash of col...

'Echoes of the Avant-Garde: Mid-Century Visions III', oil on board (circa 1970s). Step into a world where the spirit of early 20th-century modernism meets the bold experimentation o...

The name “Hetzel” has long been associated with Pennsylvania history. George Hetzel (1826-1899) was a French-born American painter who settled near Pitts...

"Soucoupes Volantes (Saucers)" is an abstract Post War gouache painting by Alexander Calder in 1965. The artwork is 42 1/4 x 29 5/8 inches and is 49 1/4 x 35 1/2 x 1 7/8 inches with ...

5-3048 Oversized red floral painting on canvas applied to board Set in a vintage wood frame Neapolitan artist P. Russo

Expressive black and white abstract, with scribbled linear patterns in the style of Jean-Michel Basquiat, by by Bay Area artist Michael Pauker (American, b.1957). circa 1977. Oil on canvas. Titled "Baldwin" and dated "Summer 77" on verso. Here he revisits a piece he did early in his carrier of the same title "Baldwin" in 1967. Unframed. Image size: 16"H x 12"W. “I’m driven by curiosity...where it comes from I can’t tell you; it’s just there. And early 20th-century modernist art is the thing that I keep returning to.” - Michael Pauker Bay Area artist and art educator Michael Pauker was born in New York in 1957 and knew he wanted to be an artist from the age of 15. He earned a Bachelor’s in Fine Arts at SUNY Purchase in his native state of New York. In 1989 he went on to earn an M.F.A at Mills College in Oakland and was awarded the City of Oakland Artist Fellowship in Painting. He has been a Bay Area resident since 1988. His work has been exhibited widely across the U.S., as well as in Japan and Costa Rica, and is included in the collection of the Fine Arts Museums of San Francisco. Exhibitions include: 2007 Contemporary Art Museum, San Jose, Costa Rica 2007 “The Ebay Art Project,” Works/San Jose, San Jose, CA 2003 “Found Imagery: The Art of Collage,” Fresno Art Museum,Fresno, CA 2003 “Cut, Copy, Paste,” De Saisset Museum, Santa Clara, CA 2003 “20th Annual Exhibition,” Berkeley Art Center, Berkeley, CA 2002 “40 by 40,” Adam Baumgold Gallery, N.Y., NY 2002 “Works on Paper,” Bryant St. Gallery, Palo Alto, CA 2002 Dolby...

Vintage American modernist abstract expressionist painting. Oil on canvas. Framed.

Désert (artist inventory no. 121) is a unique medium size contemporary modern abstract geometric painting on canvas by French artist Charles Bézie. The painting is an early career wo...

Original oil and acrylic painting on canvas titled “Sandscape 2” by the well known American artist, Syd Solomon. Signed Syd Solomon lower left. Signed and dated Syd Solomon 1972 and inscribed as titled on the reverse. 22 × 30 inches. Overall very good to excellent condition. No notable issues detected during inspection. No signs of restoration under UV inspection. The painting is in its original wood with silver reveal floating frame. Overall framed measurements are 24.25 by 32.25 inches. Provenance: A private collector. Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd. There, Solomon met and befriended many of the artists of the New York School, including Jackson Pollock, Franz Kline, Willem de Kooning, James Brooks, Alfonso Ossorio, and Conrad Marca-Relli. By 1959, and for the next thirty-five years, the Solomons split the year between Sarasota (in the winter and spring) and the Hamptons (in the summer and fall). In 1959, Solomon began showing regularly in New York City at the Saidenberg Gallery with collector Joseph Hirshhorn buying three paintings from Solomon’s first show. At the same time, his works entered the collections of the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Wadsworth Athenaeum in Hartford, Connecticut, among others. Solomon also began showing at Signa Gallery in East Hampton and at the James David Gallery in Miami run by the renowned art dealer, Dorothy Blau. In 1961, the Guggenheim Museum’s H. H. Arnason bestowed to him the Silvermine Award at the 13th New England Annual. Additionally, Thomas Hess of ARTnews magazine chose Solomon as one of the ten outstanding painters of the year. At the suggestion of Alfred H. Barr, Jr., the Museum of Modern Art’s Director, the John and Mable Ringling Museum in Sarasota began its contemporary collection by purchasing Solomon’s painting, Silent World, 1961. Solomon became influential in the Hamptons and in Florida during the 1960s. In late 1964, he created the Institute of Fine Art at the New College in Sarasota. He is credited with bringing many nationally known artists to Florida to teach, including Larry Rivers, Philip Guston, James Brooks, and Conrad Marca-Relli. Later Jimmy Ernst, John Chamberlain, James Rosenquist, and Robert Rauschenberg settled near Solomon in Florida. In East Hampton, the Solomon home was the epicenter of artists and writers who spent time in the Hamptons, including Alfred Leslie, Jim Dine, Ibram Lassaw, Saul Bellow, Barney Rosset, Arthur Kopit, and Harold Rosenberg. In 1970, Solomon, along with architect Gene Leedy, one of the founders of the Sarasota School of Architecture, built an award-winning precast concrete and glass house and studio on the Gulf of Mexico near Midnight Pass in Sarasota. Because of its siting, it functioned much like Monet’s home in Giverny, France. Open to the sky, sea, and shore with inside and outside studios, Solomon was able to fully solicit all the environmental forces that influenced his work. His friend, the art critic Harold Rosenberg, said Solomon’s best work was produced in the period he lived on the beach. During 1974 and 1975, a retrospective exhibition of Solomon’s work was held at the New York Cultural Center and traveled to the John and Mable Ringling Museum in Sarasota. Writer Kurt Vonnegut, Jr. conducted an important interview with Solomon for the exhibition catalogue. The artist was close to many writers, including Harold Rosenberg, Joy Williams, John D. McDonald, Budd Schulberg, Elia Kazan, Betty Friedan...

George Dannatt (1915-2009) Icon 1970 Oil on paper 12.7 x 17.7 cm Vertical orientation George Dannatt’s long career as a painter and sculptor ended with the artist’s death in 200...

A serene moorland scene with rich hues, misty hills, and a reflective waterway by 20th Century British Artist. Impasto, abstract landscape. Art measures 32 x 12 inches Frame measures 39 x 19 inches This landscape painting depicts a serene, atmospheric scene of a moorland with a reflective body of water winding through vibrant fields. The composition features a soft, diffused light illuminating the middle ground, where golden and green hues contrast with the rich purples and deep earthy tones of the surrounding vegetation. The distant mountains are enveloped in misty blues and grays, adding depth and a sense of vastness to the piece. The artist’s expressive, textured brushstrokes create movement, enhancing the raw beauty of the natural setting. Framed in a neutral, elegant frame, the painting exudes tranquility and captures the essence of the rugged landscape. Born in Birmingham in 1948, Rex Preston...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

A member of the original abstract expressionists, Robert Natkin's "Untitled" (1978) is a stunning acrylic painting, showcasing pastel colors in a minimalist, color field style. This ...

Antique American modernist abstract oil painting. Oil on canvas. Framed. Signed. Measuring 17 by 21 inches overall and 16 by 20 painting alone. In excellent original condition. Hands...

Beautiful abstract Minimalist painting by unknown artist. Dated 1977. Oil on canvas measures 36 x 60 inches. Signed and dated lower right.

“Untitled #34” was created by Sam Gilliam, one of the great innovators in postwar American painting. It is dated and signed on the lower front. The thick handmade paper is rich with folds and texture and the colors lively. In addition to Acrylic paint on the surface there appears to be imbedded color in the handmade paper which has additional embossed accents. Unframed the piece measures 16 x 14. Provenance of Yaw Gallery, Birmingham, Michigan is on the verso along with the note that the Paper Surfaces in contact with this artwork are acid free. In the mid-1960s he emerged from the Washington D.C. scene with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. One profound manner was the sculpture aspect of the painting giving it a free flowing expression of pure color. In the latter half of the 1950s, Washington D.C. saw a flourishing of abstract art that emphasized the form-making capabilities of pure color. Known as The Washington Color School, the loosely affiliated group of abstract painters knew each other through various teaching experiences. The moniker has an uncertain origin but likely originated with the title of a 1965 exhibition at the Washington Gallery of Modern Art, "Washington Color Painters," curated by Gerald Nordland. The show exhibited the works of Kenneth Noland, Paul Reed, Morris Louis, Howard Mehring, Thomas Downing, and Gene Davis. Additionally, Leon Berkowitz...

George Dannatt (1915-2009) Yellow Enclosed 1970 Mixed media on paper 25.4 x 17.7 cm Vertical orientation George Dannatt’s long career as a painter and sculptor ended with the ar...

Patch of Cyan, Vintage Electric Blue Geometric Abstract by Eleanor Perry A bold modernist abstract painting by San Francisco, California artist Eleanor Perry (American, 20th Centu...

Cityscape with skyscrapers. Stylized and almost abstract representation of a city with skyscrapers, some of which have the shape of a sail. Oil on canvas. In a 1970´s aluminium / wood period frame. Signed lower right: Raimondo. Landscape appears at first glance as a series of abstract, geometric, very bright objects. Very good condition. Painting comes from a collection in Turin, Italy which had numerous signed works...

Indulge in a journey to the vibrant and nostalgic era of the 1970s with our vintage original oil painting—a mesmerizing modernist beach interior scene, capturing the essence of sandy...

Antique American abstract expressionist painting. OIl on canvas. Framed. Signed.

Josep Guinovart (1927 –2007) was a Spanish Catalan painter most famous for his informalist or abstract expressionist work. In 1941, he began to work as a decorator. Three years later, he started his studies at the Escuela de Artes y Oficios de la Llotja (Art School of La Llotja) where he stayed until 1946. He first exhibited his work in 1948 in Galerías Syla in Barcelona. In 1951, he produced his first engravings entitled 'Homage to Federico García Lorca'. Two years later, he was awarded a grant from the French Institute to study in Paris for nine months. Here he discovered the cubist works of Henri Matisse and Pablo Picasso and travelled to Belgium, Holland and Germany. On his return to Barcelona and after a period working as an illustrator and set designer, around 1957 he began moving towards abstract art. His work is highly unconventional and usually on a large scale, using a wide range of materials, three-dimensional objects and organic substances such as eggshell, earth and straw. In 1962, he illustrated a book of poetry entitled Posies by Joan Salvat-Papasseit for the Ariel Editorial. He won many accolades for his work throughout the 1970s and 80s, including Spain's National Award for Plastic Arts in 1982. In 1994, a museum foundation dedicated to his art was inaugurated in Agramunt, his mother's birthplace to which he always felt a special attachment. In 2006 he designed the winery Mas Blanch i Jové in La Pobla de Cérvoles (Lleida) and created The Artists' Vineyard, a project intended to mix sculptures and other art works from different artists in the middle of a vineyard. The Artists' Vineyard was inaugurated after his death in 2010 with the unveiling of his sculpture The Countryside Organ: a music instrument, 6 meters height, for the wind to sing the vines. This winery also displays the 10.5 meters work In Vino Veritas...

Emily Mason So Slight a Film (from the Lehman Brothers art collection), 1978 Oil on paper Abstract Expressionist painting Signed and dated 'Emily Mason '78' bottom right in pencil Fr...

Antique American modernist signed abstract oil painting. Oil on canvas. Signed. Framed. Image size, 36L x 36H.

Artist: James Suzuki, Japanese/American (1932 - ) Title: Instability Year: circa 1975 Medium: Acrylic on Canvas, signed verso Size: 57 x 59 in. (144.78 x 149.86 cm)

Antique American modernist abstract oil painting. Oil on canvas. Framed.

Lyman Kipp Unique painting on paper done with paint roller, 1970 Ink roller painting on paper Signed and dated in ink by Lyman Kipp on the lower right Frame included: elegantly frame...

Warrior and his Horse Greco-Roman Theme Original oil and Clay on Canvas Rendition of an ancient warrior and his horse by a unknown but prolific painter (Africa/USA 20th C.). Possibl...

Rare and large early American modernist oil painting by Nicholas Davis (Born 1937). Oil on canvas. Framed. Important provenance. Measuring 52 by 32 inches. Artist bio: Nicholas Davis (Amer. B. 1937) Nicholas Davis was born in New York City in 1937. He studied at the Arts Students League, and in Mexico City. He was included in the 1969 Exhibition of 100 Afro-American Artists at the Philadelphia Civic Center Museum. That exhibition included the works of Henry Ossawa Turner, Romare Bearden, Hale Woodruff, Edward Bannister...

### Technical Sheet: Title: Rouge de Fond Artist: Javier Vilató (1921–2000) Technique: Oil on canvas Canvas dimensions: 25.6 x 21.3 inches Framed dimensions: 26.8 x 22.4 inc...

Artist: Ian Hornak (1944-2002) Title: Hannah’s Mirror, Rembrandt’s Three Trees Transformed Into The Expulsion From Eden Year: 1978 Medium: Acryli...

Contemporary acrylic abstract using eye catching hues of orange, red, green and blue, circa 1970. Original artwork on paper displayed on a white mat with a gold border. Archival p...

5082 Modernist misty seascape painting in shades of blue. Rapped canvas painted on edge no need for frame

Young Woman By The Sea Cost Artist signed lower right, canvas 35hx39w Nicola Simbari was born in Italy and grow up in Rome. He studied at the Accademia di Belle Arti di Roma, and in ...

In this abstract landscape, artist Geneva Cross conveys the mood of a dreamlike summer evening that might be remembered by any of us in its universality. Blending the basic elements ...

Ben Wilson Rock Candy Mountain, ca. 1970 Oil on masonite board (Hand Signed, titled and dated) Hand signed, titled and dated by Ben Wilson on the back Frame Included: held in artist'...

3750e Pink Palettes Abstract, a vintage oil on canvas signed by Kevin Bray displayed in a gilt wood new frame.Image size19.5 H 23.75 W

Antique American modernist abstract signed oil painting by Anne Sharp. Oil on canvas. Signed.

Modern abstract landscape painting by Houston, TX artist Margaret Nobler. The work features a boat floating near an oceanside dock with the sun setting...

Vintage American modernist portrait of iconic artist Peter Max. Signed. Framed. Original oil on canvas.

Victor Vasarely (1908-1997) Axo This piece is hand signed and numbered circa 1972-1977 I have seen it described as enamel on steel and enamel on aluminium. it is a serigraph on meta...

Thelma Appel Nightfall, 1973 Acrylic and Oil on Canvas. Hand Signed. Framed. Hand signed and titled on the back Unique Frame included Museum Provenance. This work was originally sold in 1973 by the prestigious Jill Kornblee Gallery to a corporate collection, and, in 2019, it was featured in the Thelma Appel 50 year career survey at the Brattleboro Museum in Vermont – so the provenance is superb. It is reproduced in the exhibition catalogue. The collector who acquires this beautiful painting will be furnished with several copies of the limited edition museum catalogue Measurements: Framed 38.5 x 89.5 inches Artwork 36.5 x 87.5 inches Thelma Appel Biography: A co-founder of the Bennington College Summer Painting Workshop, Thelma Appel is a representational and abstract painter who has been practicing art for more than six and a half decades. In the 1980s, Thelma Appel was represented by the renowned Jill Kornblee Gallery and, after Ms. Kornblee retired, Appel joined the legendary Fischbach Gallery, (the gallery of record for Alex Katz for many decades,) also on West 57th Street, before they shuttered. After leaving Manhattan, she retreated from the art world for several decades; however, in recent years, her work is being rediscovered by a generation of new collectors. A beloved and popular teacher, at 87 years of age, Thelma could still be found teaching “The Art of Painting” at Artsplace in Cheshire, CT. and at the Osher Life Long Learning Institute (OLLI) At the University of Connecticut, near her home during the 2024-5 Fall/Winter Semester. In 2019, she was subject of a 50-year career survey (October, 2019 -February 2020) at the Brattleboro Museum in Vermont, entitled Thelma Appel: Abstract/Observed curated by Mara Williams. She has also exhibited at the Mattatuck Museum in Connecticut, which acquired one of her fabric collages for their permanent collection, the Bennington Museum in Vermont and the Police Museum in Lower Manhattan. Thelma Appel was born in Tel Aviv, Israel, but following her parents’ divorce, her father remained in Israel, but her mother emigrated to London to pursue a career as a journalist. However, she soon became ill, and Thelma was sent alone to be educated in a Protestant missionary schools in Darjeeling, India, a geographical displacement that would impact her life and her work. Thelma returned to London, England, to study art at the legendary St. Martin's School of Art (later Central St. Martins) and Hornsey College of Art, under such renowned teachers as Joe Tilson and Eduardo Paolozzi, before emigrating to the United States in the 1960s. Her work has been exhibited in numerous venues, including the Bennington Museum, the Berkshire Museum in North Adams, Mass., the Children's Museum of the Arts in New York City, the Mattatuck Museum, the Brattleboro Museum, the Milwaukee Art Museum, the Robert Hull Fleming Museum at the University of Vermont and the University of Pennsylvania Fine Arts Gallery. In 1974 she was awarded a YADDO Fellowship, and in 1975, Thelma Appel, along with the painter Carol Haerer, co-founded the Bennington College Summer Painting Workshop, where many distinguished painters of the day, both abstract and representational, conducted master classes. Among them were Neil Welliver, John Button, Alice Neel, Larry Poons, Friedel Dzubas, Stanley Boxer, Elizabeth Murray and Doug Ohlson – a program that continued until 1980. (One of Thelma’s students was the renowned art dealer Matthew Marks.) She has also taught drawing at Parsons School of Design, painting at Southern Vermont College and at the University of Connecticut. Appel’s work has been presented at Art on Paper, Texas Contemporary, Market Art & Design in Bridgehampton and Art New York art fair, which selected Appel’s Times Square series of paintings for their invitational public Project Space sponsored by Absolut Vodka. She was one of the winning artists of the juried exhibition “Pets of the Pandemic” juried by art historian and critic David Cohen, publisher and editor of artcritical, who cited it for special commendation as a “masterful portrait”. In recent years, Thelma’s work has been exhibited in both one-person and group shows at Alpha 137 Gallery in New York, Sager Reeves (now Sager Braudis) Gallery in Missouri, the Chashama Foundation in New York City, as well as the Five Points Gallery and Center for the Visual Arts in Torrington Connecticut, the David M. Hunt Gallery in Falls Village, CT and Wisdom House in Litchfield Ct...

Desert. 1974, oil on canvas, 95,5x116 cm Painting in orange colors Provenance Maxwell gallery

Neutral Abstract, Muted Colours, Signed Oil Painting By French artist 'Jean Briant', 20th Century Signed by the artist on the lower right hand corner ...

Vintage cubist abstract oil painting. Oil on canvas. Signed. Framed. Measuring 27 by 34 inches overall and 24 by 30 painting alone. In excellent original condition. Handsomely fram...

Original oil paint and acrylic paint on wooden panel by the well known American artist, Syd Solomon. Signed lower left. Signed, titled and dated 1971 verso . Condition is very good. No restorations. Original frame. Overall framed measurements are 17 by 14 inches. Partial Saidenberg Gallery, New York City label verso. Provenance: A Long Island, New York collector. American, 1917-2004 SYD SOLOMON BIOGRAPHY: Written by Dr. Lisa Peters/Berry Campbell Gallery Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd. There, Solomon met and befriended many of the artists of the New York School, including Jackson Pollock, Franz Kline, Willem de Kooning, James Brooks, Alfonso Ossorio, and Conrad Marca-Relli. By 1959, and for the next thirty-five years, the Solomons split the year between Sarasota (in the winter and spring) and the Hamptons (in the summer and fall). In 1959, Solomon began showing regularly in New York City at the Saidenberg Gallery with collector Joseph Hirshhorn buying three paintings from Solomon’s first show. At the same time, his works entered the collections of the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Wadsworth Athenaeum in Hartford, Connecticut, among others. Solomon also began showing at Signa Gallery in East Hampton and at the James David Gallery in Miami run by the renowned art dealer, Dorothy Blau. In 1961, the Guggenheim Museum’s H. H. Arnason bestowed to him the Silvermine Award at the 13th New England Annual. Additionally, Thomas Hess of ARTnews magazine chose Solomon as one of the ten outstanding painters of the year. At the suggestion of Alfred H. Barr, Jr., the Museum of Modern Art’s Director, the John and Mable Ringling Museum in Sarasota began its contemporary collection by purchasing Solomon’s painting, Silent World, 1961. Solomon became influential in the Hamptons and in Florida during the 1960s. In late 1964, he created the Institute of Fine Art at the New College in Sarasota. He is credited with bringing many nationally known artists to Florida to teach, including Larry Rivers, Philip Guston, James Brooks, and Conrad Marca-Relli. Later Jimmy Ernst, John Chamberlain, James Rosenquist, and Robert Rauschenberg settled near Solomon in Florida. In East Hampton, the Solomon home was the epicenter of artists and writers who spent time in the Hamptons, including Alfred Leslie, Jim Dine, Ibram Lassaw, Saul Bellow, Barney Rosset, Arthur Kopit, and Harold Rosenberg. In 1970, Solomon, along with architect Gene Leedy, one of the founders of the Sarasota School of Architecture, built an award-winning precast concrete and glass house and studio on the Gulf of Mexico near Midnight Pass in Sarasota. Because of its siting, it functioned much like Monet’s home in Giverny, France. Open to the sky, sea, and shore with inside and outside studios, Solomon was able to fully solicit all the environmental forces that influenced his work. His friend, the art critic Harold Rosenberg, said Solomon’s best work was produced in the period he lived on the beach. During 1974 and 1975, a retrospective exhibition of Solomon’s work was held at the New York Cultural Center and traveled to the John and Mable Ringling Museum in Sarasota. Writer Kurt Vonnegut, Jr. conducted an important interview with Solomon for the exhibition catalogue. The artist was close to many writers, including Harold Rosenberg, Joy Williams, John D. McDonald, Budd Schulberg, Elia Kazan, Betty Friedan...

Artist: Todd Boppel, American (1934 - 2000) Title: Kennan Year: 1977 Medium: Acrylic on Paper, signed and dated verso Size: 22 x 30 in. (55.88 x 76.2 cm)

"Let Me In, Let Me Out" - Abstract Mixed Media Composition Boldly colored abstract figurative composition by California artist Elizabeth Arrington Leaf (American, B-1955). Three lar...

"Personage" Heavy Impasto Expressionist Portrait of Lady with a Hat Abstract expressionist portrait of a woman wearing a hat by California artist Harald "Harry" Dry Schmidt (America...

Antique American abstract expressionist painting. OIl on canvas. Framed. Finely painted with wonderful color palette.

Antique American modernist abstract oil painting. Oil on canvas. Measuring 46 by 46 inches overall. In excellent original condition. Excellent condition, ready to hang and enjoy.

This striking American Cubist still life by Genara Del, circa 1970, is a masterful exploration of form, color, and abstraction, capturing the essence of modern art with both simplici...

"Picos" is an abstract painting created in 1971 by Modernist artist, Stanley Bate. The piece features an earthy, muted palette, giving it a serene feeling with deep grey, muted brown...

George Dannatt (1915-2009) Shoreline No 3 - Three Greys & Pink 1975 Oil on paper Image: 11.5 x 17.5 cm Frame: 32.4 x 36.2 cm Provenance: The George and Ann Dannatt Estate, T...

Ron Stonier (1933-2001) was a dedicated Vancouver artist celebrated for his exploration of abstract painting, influenced by his mentors Gordon Smith and Jack Shadbolt, as well as by ...