1980s Abstract Paintings

Acrylic on canvas

Acrylic on canvas

Clifford Singer worked with arcs and straight lines, collinear intersections during the 1980s.

The painting is being offered with a work and authenticity certificate

original and certificated by gallery

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

Claudio Verna pastel on paper signed and dated 1980 registered and certified by the Claudio Verna Archive.  This artwork, never before on the market, comes from a private collection ...

Tom Holland (American, b. 1936) Hopps fiberglass and aluminum with epoxy paint Mixed Media Wall Sculpture 1982, hand signed and dated Dimensions: 65.5 X 78 X 10 inches Tom Hollan...

original and certificated by gallery

original and certificated by gallery

The painting is being offered with a work and authenticity certificate

original and certificated by gallery

The painting is being offered with a work and authenticity certificate

Abstract Expressionist Painting. Acrylic on Canvas. Collection from revered artist of NYC and The Hamptons. About the Artist: Part of the New York School Abstract Expressionist...

This work by Aurélie Nemours is unique. Provenance: Galerie Schlégl, Zürich, where this work was exhibited in 2001.

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

The painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

Papunya Tula Artists Pty. Ltd., Alice Springs The Holmes Court Collection, Perth Austral Gallery, Saint Louis, MO; acquired in 1996; Richard Kelton Collection, Santa Monica; Exhibite...

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

original and certificated by gallery

Philippe Hiquily (1925 – 2013) is a French artist and designer known for biomorphic furniture and sculptures. He was able to combine modernist design, insect physiognomy, and human s...

the painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

Original painting on canvas. Hand signed and titled on verso by the artist. Canvas is stretched. Artwork is in excellent condition. Certificate of Authenticity included. All reas...

For four decades, G. (Gloucester) Caliman Coxe was considered the dean of African-American artists in Louisville, Kentucky, an art scene in the 1950s and '60s that included Sam Gilliam, Bob Thompson, and Kenneth Victor Young...

Jürgen Möbius (*1939 Großenhain), Tectonic Tension. Oil on hardboard, 47.5 x 60 cm, 49 x 61.5 cm (frame), signed lower right "Möbius" and dated "[19]81". - Upper left corner with a small chip, light scratches and a little rubbed in places. Provisional gallery frame with traces of use. - Archetypes of Painting - About the artwork The form structure in front of the eye is overlapped by the frame. Thus, the frame does not open up a space in which something is presented, but rather shows the seemingly arbitrary section of a comprehensive context that cannot be framed as such. We see forms that stand in a structure of tension with each other, whereby the individual black and brown forms, which continue almost endlessly beyond the frame, already show a tension in themselves, since they are not only forms, but also surfaces - form surfaces, while the light blue surface ground is at the same time forms that appear as surface forms. The formed surfaces and surface forms are nested within each other and form a structure that encompasses all elements. The angular arrangement of the black and brown shaped surfaces gives the structure a tectonic character. The tension is thus heightened to the point of paradox, since the black shape at the front is overlapped by the brown shape at the bottom in the center of the picture, which would be impossible in real space. It is precisely through this "paradox" that Möbius demonstrates that the paradoxical is reality within painting. It is, so to speak, the most original possibility of painting, which distinguishes it from the other arts. In combination with the tectonic formations, Jürgen Möbius creates an archaic primordial painting, which, however, should not be confused with the autonomous color and form cosmos of Suprematism à la Kasimir Malevich. Instead of homogeneous, perfectly colored forms, here the colors are deliberately applied unevenly, and the light blue is mixed with the brown in a manner determined by the brushstroke. At the edges of the surface forms, the uneven application of paint allows the wood of the unprimed hardboard to show through. In this way, Möbius illustrates that we are dealing with a painting that has been created by an act of painting - an act, however, that takes hold of the original principles of painting and thus realizes painting as such. About the artist From 1959 to 1965 Jürgen Möbius studied painting at the University Institute for Art and Work Education in Mainz. He also studied philosophy and art history at the University of Mainz. Afterwards he worked as a freelance artist in Mainz. At first, Möbius created material reliefs and installations, then, around 1974, he turned increasingly to conceptual art and added cinematic means. During this phase he wrote the manifesto-like essay "Principles of Supranatural Landscape" (1979). From 1981 on, Möbius concentrated on painting and searched for artistic ways to "treat intellectual and sensual perception equally in the fusion of representational and abstract pictorial elements" (Wolfgang Zemter). He found inspiration on his study trips to Thailand and Sri Lanka. "The pure painting of Jürgen Möbius flows through us as a timeless expression of memory and energy, ploughing our perception and bringing us the happiness of seeing authentic, immovable form. - Philippe Büttner Selection of solo exhibitions 1969 Galerie Würzner, Düsseldorf / Galerie Gurlitt, Mainz 1972 Städtische Galerie, Mainz 1973 Galerie Schloss Ringenberg Rathaus, Kleve 1974 Röderhausmuseum, Wuppertal 1976 Galerie Glasing, Osnabrück / Städtische Galerie, Herne 1977, 1997, 2004 Märkisches Museum, Witten 1979 Studio M, Bamberg / Staatstheater, Darmstadt 1980 Galerie Stolànovà, Wiesbaden / Mittelrheinmuseum, Koblenz 1982 Galerie Dornhöfer, Mainz 1984 Galerie Neumühle, Schlangenbad 1985 Landesmuseum, Mainz / Kunstverein, Ludwigshafen / Nassauischer Kunstverein, Wiesbaden 1986 Museum, Bochum / Galerie der Stadt Iserlohn 1987, 1990 Galerie Klaus Kiefer, Essen 1987, 2000 Galerie Ulrike Buschlinger, Wiesbaden 1988 Kunsthalle Darmstadt 1988, 1992, 1996, 1999 Galerie Leonhard, Basel 1992, 2002 Galerie Zulauf, Freisheim 1994 Galerie Remy, Vallendar 1995 Sendezentrum des Zweiten Deutschen Fernsehens, Mainz 2001 Collegium oecumenicum, Bamberg / MVB Forum für Kultur und Wirtschaft, Mainz 2006 Adam Gallery, London Selection of group exhibitions 1969 ‘International Graphic Arts’, Galerie Dalléas Bordeaux, Paris 1975 ‘Deutscher Künstler-Bund’, Dortmund 1979 ‘Man and man’s Images’, Märkisches Museum Witten 1980 ‘Love-Dokuments of our Time’, Art Hall Darmstadt and Art Association Hannover 1982 ‘Work - Progress – Position’, Nassau Art Association Wiesbaden 1983 ‘Principle Hope – Utopic Aspects in Art and Culture of the 20th Century’, Museum Bochum 1986 ‘Selfportraits’, Gallery Klaus Kiefer Essen 1987 ‘The Dying and Death’, Gallery Klaus Kiefer Essen 1989 ‘Where are You, Revolution – Freedom, Liberty, Egality, Fraternity to-day’, Museum Bochum 1990 ‘Flight – a Problem within the Memory of Man’, Kunsthalle Darmstadt ‘Art and War 1939 – 89’, House of Cultures Berlin 1991 ‘Material and Form’, Pillnitz Castle Dresden and Pfalz Gallery Kaiserslautern 1995 20 Years Exhibitions, Chrämerhuus Langenthal, Schweiz 1998 ‘Works on Paper’, Klaus Kiefer Gallery Essen 2000 ‘Acquisitions 1900 – 2000’, Mittelrhein-Museum Koblenz 2001 ‘Strange Pictures’, Klaus Kiefer Gallery Essen 2002 ‘10 Years Buschlinger Gallery’, Buschlinger Gallery Wiesbaden 2004 ‘Eternal Space – Pictures and Sculptures’, Dome of Bamberg 2005 Art Fair Chicago, Adam Gallery, London Selected Bibliography Mittelrheinisches Landesmuseum (Hrsg.): Jürgen Möbius - Neue Bilder, Mainz 1985. Kunstverein Darmstadt (Hrsg.): Jürgen Möbius. Bilder 1985 - 1988. Kunsthalle Darmstadt, 26. Juni - 14. August 1988. Red. Dorit Marhenke, Lyrik Marcus Schiltenwolf, Düsseldorf 1988. Gabriele Prusko (Hrsg.): Jürgen Möbius. Mit Texten von Philippe Büttner und Ralph Mieritz, Basel 1992. Wolfgang Zemter (Hrsg.): Jürgen Möbius - Aktuelle Arbeiten. Märkisches Museum der Stadt Witten, Bönen 1999. Wolfgang Zemter (Hrsg.): Jürgen Möbius. Flieger in meinem Zimmer und Beruhigte Zone, Bönen 2004. Dama Gallery...

Jürgen Möbius (*1939 Großenhain), Black form surfaces on red painterly ground. Oil on hardboard, 50 x 60 cm, 51 x 61 cm (frame), signed "Möbius" and dated "[19]81". - Small paint chip in upper right corner, otherwise good condition. Gallery frame with slight signs of wear. - The Double Origin of Painting - About the artwork In the painting black, optically dominant forms can be seen, which in their arrangement at right angles to each other have a proto-architectural character. They are, so to speak, always already given original forms. At the same time, however, the forms are surfaces of color, and thus genuine painting. In order to make the painterly character of the painting clearly visible, Jürgen Möbius has applied red-toned strokes that have preserved the brushstroke. These are traces of an act of painting. The diagonal layers of red strokes merge into the upper white area, which oscillates between brushwork and homogeneous flatness, while the central white field, into which a black bar protrudes, has a decidedly planar character. The sharp contrast between the autonomous black surface forms, reminiscent of Kasimir Malevich, and the free brushstroke, which is not bound to any motif, creates an enormous pictorial tension, which is conveyed by the white, but at the same time is intensified by the virulent black-and-white contrast. In addition to the tense contrast of form and color, there is also a contrast between the dynamic of the brushstroke and the static of the black surface forms, whereby the diagonal alignment of these forms also gives the static a dynamic, while at the same time the layered brushstrokes have something static about them. Added to this structure of tension is the fact that the painting ground, the unprepared hardboard, is clearly present as such in the picture. In this way, it becomes clear once again that we are not dealing with an autonomous cosmos of form and color, as in Suprematism, but with a painting created by the artist's hand. With this work, Jürgen Möbius explores the possibilities of painting and thematizes painting in terms of its twofold origin, the trace of the guided brush and the painterly form, which gains its independence precisely by absorbing the brushstroke into itself. About the artist From 1959 to 1965 Jürgen Möbius studied painting at the University Institute for Art and Work Education in Mainz. He also studied philosophy and art history at the University of Mainz. Afterwards he worked as a freelance artist in Mainz. At first, Möbius created material reliefs and installations, then, around 1974, he turned increasingly to conceptual art and added cinematic means. During this phase he wrote the manifesto-like essay "Principles of Supranatural Landscape" (1979). From 1981 on, Möbius concentrated on painting and searched for artistic ways to "treat intellectual and sensual perception equally in the fusion of representational and abstract pictorial elements" (Wolfgang Zemter). He found inspiration on his study trips to Thailand and Sri Lanka. "The pure painting of Jürgen Möbius flows through us as a timeless expression of memory and energy, ploughing our perception and bringing us the happiness of seeing authentic, immovable form. - Philippe Büttner Selection of solo exhibitions 1969 Galerie Würzner, Düsseldorf / Galerie Gurlitt, Mainz 1972 Städtische Galerie, Mainz 1973 Galerie Schloss Ringenberg Rathaus, Kleve 1974 Röderhausmuseum, Wuppertal 1976 Galerie Glasing, Osnabrück / Städtische Galerie, Herne 1977, 1997, 2004 Märkisches Museum, Witten 1979 Studio M, Bamberg / Staatstheater, Darmstadt 1980 Galerie Stolànovà, Wiesbaden / Mittelrheinmuseum, Koblenz 1982 Galerie Dornhöfer, Mainz 1984 Galerie Neumühle, Schlangenbad 1985 Landesmuseum, Mainz / Kunstverein, Ludwigshafen / Nassauischer Kunstverein, Wiesbaden 1986 Museum, Bochum / Galerie der Stadt Iserlohn 1987, 1990 Galerie Klaus Kiefer, Essen 1987, 2000 Galerie Ulrike Buschlinger, Wiesbaden 1988 Kunsthalle Darmstadt 1988, 1992, 1996, 1999 Galerie Leonhard, Basel 1992, 2002 Galerie Zulauf, Freisheim 1994 Galerie Remy, Vallendar 1995 Sendezentrum des Zweiten Deutschen Fernsehens, Mainz 2001 Collegium oecumenicum, Bamberg / MVB Forum für Kultur und Wirtschaft, Mainz 2006 Adam Gallery, London Selection of group exhibitions 1969 ‘International Graphic Arts’, Galerie Dalléas Bordeaux, Paris 1975 ‘Deutscher Künstler-Bund’, Dortmund 1979 ‘Man and man’s Images’, Märkisches Museum Witten 1980 ‘Love-Dokuments of our Time’, Art Hall Darmstadt and Art Association Hannover 1982 ‘Work - Progress – Position’, Nassau Art Association Wiesbaden 1983 ‘Principle Hope – Utopic Aspects in Art and Culture of the 20th Century’, Museum Bochum 1986 ‘Selfportraits’, Gallery Klaus Kiefer Essen 1987 ‘The Dying and Death’, Gallery Klaus Kiefer Essen 1989 ‘Where are You, Revolution – Freedom, Liberty, Egality, Fraternity to-day’, Museum Bochum 1990 ‘Flight – a Problem within the Memory of Man’, Kunsthalle Darmstadt ‘Art and War 1939 – 89’, House of Cultures Berlin 1991 ‘Material and Form’, Pillnitz Castle Dresden and Pfalz Gallery Kaiserslautern 1995 20 Years Exhibitions, Chrämerhuus Langenthal, Schweiz 1998 ‘Works on Paper’, Klaus Kiefer Gallery Essen 2000 ‘Acquisitions 1900 – 2000’, Mittelrhein-Museum Koblenz 2001 ‘Strange Pictures’, Klaus Kiefer Gallery Essen 2002 ‘10 Years Buschlinger Gallery’, Buschlinger Gallery Wiesbaden 2004 ‘Eternal Space – Pictures and Sculptures’, Dome of Bamberg 2005 Art Fair Chicago, Adam Gallery, London Selected Bibliography Mittelrheinisches Landesmuseum (Hrsg.): Jürgen Möbius - Neue Bilder, Mainz 1985. Kunstverein Darmstadt (Hrsg.): Jürgen Möbius. Bilder 1985 - 1988. Kunsthalle Darmstadt, 26. Juni - 14. August 1988. Red. Dorit Marhenke, Lyrik Marcus Schiltenwolf, Düsseldorf 1988. Gabriele Prusko (Hrsg.): Jürgen Möbius. Mit Texten von Philippe Büttner und Ralph Mieritz, Basel 1992. Wolfgang Zemter (Hrsg.): Jürgen Möbius - Aktuelle Arbeiten. Märkisches Museum der Stadt Witten, Bönen 1999. Wolfgang Zemter (Hrsg.): Jürgen Möbius. Flieger in meinem Zimmer und Beruhigte Zone, Bönen 2004. Dama Gallery...

This painting is mailed from Switzerland rolled up. Stretching required. No framing is required since there are no staples on the sides (back-stapled). The profile is painted black...

"Geometric Abstract #7" is a 30 x 48 inches oil on board work by Philadelphia artist Morris Lewis Blackman. The painting is signed and dated "MLB...

"Geometric Abstract #4" is a 30.5 x 48 inches oil on board work by Philadelphia artist Morris Lewis Blackman. The painting is signed and dated "M...

"Geometric Abstract #2" is a 30 x 48 inches oil on board work by Philadelphia artist Morris Lewis Blackman. The painting is signed and dated "MLB...

Splashes of color fill this powerful canvas. Pinks, yellows, greens and blues with a black background make this a wonderful piece for a large wall. :: Painting :: Abstract :: This p...

Dan Christensen (1942-2007) is widely recognized as one of America’s foremost abstract artist. Over the course his lengthy career, Christensen was devoted to exploring and expanding the constantly shifting aesthetics of 20th century abstraction. Christensen established his reputation at the end of the 1960s, by using spray guns to create colorful stacks, loops, and lines in his artworks. This body of work was considered by the legendary art critic Clement Greenberg among the most original abstract paintings of the decade. Unlike many of his contemporaries who dedicated themselves to a signature style, Christensen was unrelentingly curious and allowed his dynamic version of abstraction to evolve as he tried new techniques and varied his aesthetic. During the 1980's in particular, Christensen focused on experimenting with different forms of washing, spraying, and layering colours over top of each other. The works from Christensen's late period combine the gestural drama of Abstract Expressionism with the stained surface look popularized by the color field artists. The aesthetic complexity he achieved with these combined techniques are perfectly demonstrated in this later untitled work (aka "Indian Summer...

Mixed media on jute

Mixed media on jute

Mixed media on jute, diptychon

Acrylic Paint On Canvas :: Painting :: Abstract :: This Piece Comes With An Official Certificate Of Authenticity Signed By The Artist :: Ready To Hang: Yes :: Signed: Yes :: Signatur...

ACRYLIC PAINT ON CANVAS :: Painting :: Abstract :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed: Yes :: Signatur...

This set of four birthday collage cards are rare early examples of the small-scale collages that American artist Joel Jaecks began producing in the 1980s. Jaecks began working in wat...

"Inset-Red" is a monochromatic abstract painting in oil and bronze pigment from 1980. The colored marks blend together in a mix of red,...

Ferruccio Gard (Italy, 1940) is one of the pioneers and leading artist representatives of the Neo-Constructivist art, Programmed Art and Optical Art, which he has practiced since 1969. He is considered to be a master of colour, in his painting Gard creates original formal and compositional solutions of forms and colours. Exploring the geometric composition with chromatic and special themes Gards clasps the complexity of black and white and the extremes of the tonal scale of colours. Gard's work have been the subject of many writers, including Piero Dorazio and Virgilio Guidi, as well as renowned poets art art curators such as Jorge Amado...

Planet is a watercolor painting on Fabriano paper by Italian-born multidisciplinary artist Lucio Pozzi. It is currently housed at Hal Bromm Gallery.

Face is a watercolor painting on Fabriano paper by Italian-born multidisciplinary artist Lucio Pozzi. It is currently housed at Hal Bromm Gallery.

Horseman is a watercolor painting on Fabriano paper by Italian-born multidisciplinary artist Lucio Pozzi. It is currently housed at Hal Bromm Gallery.

Triple Spiral is a watercolor painting on paper by Italian-born multidisciplinary artist Lucio Pozzi. It is currently housed at Hal Bromm Gallery.

The Bay is a watercolor painting on paper by Italian-born multidisciplinary artist Lucio Pozzi. It is currently housed at Hal Bromm Gallery.

Bad Luck is a watercolor painting on Fabriano paper by Italian-born multidisciplinary artist Lucio Pozzi. It is currently housed at Hal Bromm Gallery.

Window Level is a watercolor painting on paper by Italian-born multidisciplinary artist Lucio Pozzi. It is currently house at Hal Bromm Gallery.

Old Grid Ways is a water color and graphite painting by Italian-born multidisciplinary artist, Lucio Pozzi. The work is currently housed at Hal Bromm Gallery.