1980s Abstract Paintings

Larry Rivers LARRY RIVERS (hand signed and inscribed first edition book), 1989 Hardback monograph with a dust jacket (hand signed and inscribed "Enjoy the Matisse" Signed, dated and inscribed by Larry Rivers in red marker on the title page 11 3/5 × 9 4/5 inches Lavishly illustrated hardback monograph with dust jacket on the occasion of the artist's career retrospective. Text is by the distinguished art historian and Princeton professor Sam Hunter. Hand signed, dated and dedicated in red marker on the title page. Inscription reads: To Joanne and Ira Enjoy the Matisse Larry Rivers, April 2, 1992 About the book: Hunter, Sam. LARRY RIVERS. 358 pp. with 400 illustrations, including 155 plates in color. Folio, cloth. New York, Rizzoli, 1989. New York: Rizzoli, 1989. First edition. Hardcover. 358 pages. Retrospective monograph on Larry Rivers. Features text by Sam Hunter. Includes 400 illustrations of which 155 are in color. Publisher's Blurb: Rivers' public persona as an artist combines that of bohemian outsider, sensualist and entertainer. His best-known images of the 1960s--Dutch Masters cigars, French money, cigarette packs--became Pop icons. Eschewing abstraction, he came up with startling, disquieting figures, such as his obese, sagging mother-in-law depicted in the nude with brutal honesty ( Double Portrait of Berdie ). Yet there is more to Rivers than the hipster, as this lavishly illustrated monograph by a former Princeton art historian shows. Hunter makes a case for Rivers as a social realist: witness his powerful construction piece Ghetto Stoop or recent works that include searching portraits of Primo Levi...

Jeremy Gardiner (British, b. 1957) Argonauts, 1986 Oil on canvas 54 x 54 in. Framed: 55 1/2 x 55 1/2 x 3 in. Signed, dated, and titled verso Provenance: NYNEX Corporation Jeremy Gardiner’s artistic excavation of the geology of landscape is shaped both by human activity and by the forces of nature. Gardiner interprets, through his painting and printmaking, a variety of landscapes that contain the marks and secrets of their own distant formation, giving them a unique, contemporary depth and beauty. His artistic exploration has taken him from the Jurassic Coast...

Red Hammond (American) The Klue, 1986 Oil on canvas 65 1/4 x 53 1/2 x 1 1/2 in. Signed, dated, and inscribed verso Artist statement sourced from Red Hammond's website: ORIGINALITY...

Artist Bio: Carole Eisner was born and raised in New York City and received a BFA from Syracuse University. She has had eight solo shows in New York City at David Findlay Gallery, E...

Artist Bio: Carole Eisner was born and raised in New York City and received a BFA from Syracuse University. She has had eight solo shows in New York City at David Findlay Gallery, E...

Stone Faces - Abstract Portrait in Acrylic on Textured Paper Abstract portrait by California-based artist Ricardo de Silva (Brazilian, 20th Century). Two faces are merged, overlappi...

Edna Andrade Mirage (de-accessioned from the Reader's Digest Art Collection), 1988 Original Collage painting on board Signed, titled & dated on the front; the back bears labels from Marian Locks Gallery & Readers Digest Association with inventory (RDA) number Original frame included with collection and gallery labels verso This is a unique work Exquisite 1980s collage on board painting (framed) titled "Mirage" by renowned female Op artist Edna Andrade...

Clarence Holbrook Carter (American, 1904-2000) Transection with Architectural Forms, c. 1980s Acrylic and graphite on board 12 x 20 inches A surrealist mid-century figural abstract ...

This work adheres to the canons of most of Masi's paintings, namely the use of cardboard as it moves the artist away from the confines of two-dimensionality, providing an ideal basis...

Medium: Mixed media on paper Image dimensions: 40 x 32 inches Framed dimensions: 44 x 36 inches Signed and dated "Havard 81" at the top right James Pinkney Havard (American, b. 1937) is an American painter and sculptor born in Galveston, TX in 1937. He was a pioneer of abstract illusionism...

This work adheres to the canons of most of Masi's paintings, namely the use of cardboard as it moves the artist away from the confines of two-dimensionality, providing an ideal basis...

Clarence Holbrook Carter (American, 1904-2000) Maze, 1982 Acrylic on cardboard Signed and dated upper right 7 x 9.5 inches A surrealist mid-century figural abstract painting. Clar...

4078 Large colorful geometric abstract in a rapped canvas Signed D. Ostrower

Marco Cingolani was born in Como in 1961 and moved to Milan at a very young age, in 1978. He began to frequent the underground creative environment, where art was mixed with fashion and punk music. In those years a new artistic sensibility was being formalized in Milan, whose roots no longer sank in the history of art and in the citation but practiced the critical manipulation of reality and its communication through the mass media. The image was taken out of context, subtracted from the use of common sense, radically distorted, almost mocked. The work of Marco Cingolani, from the beginning, has always tried to cancel the regulatory power of media images, subjecting them to the radical care of the artist, certain that art offers a decisive point of view for the interpretation of the world. In this context the interviews of the Interviews were born, where celebrities for their privacy were submerged by the microphones and the famous series dedicated to the attack on the Pope and to the tragic story of Aldo Moro. After having participated in numerous group exhibitions including An emerging scene (1991, Museo Pecci, Prato) and Two or three things that I know of them (1998, PAC, Milan), he is dedicated to major anthological exhibitions at prestigious public institutions such as Palazzo Strozzi in Florence and Promoter of Fine Arts in Turin. In November 2006 he took part in the collective exhibition "Senza famiglia", in the Palace of the Promoter of Fine Arts in Turin. In 2007 Cingolani received a further consecration: the Galleria Emilio Mazzoli hosts the exhibition entitled "What color are they?" in which the pictorial reflections on the color of Power and its disguises are presented. The art of Cingolani has always been fascinated by the passage from news to history and vice versa; also in this case the UN blue helmets, the red urn containing the electoral ballots, the multicolored segments of the Wall Street charts, the military uniforms and the party flags are contextualized in highly symbolic scenarios. In 2009 a return to the origins for Marco Cingolani, often the author of works expressly inspired by the religious theme. In particular, for this exhibition entitled " Percorsi della Fede", the artist focused his attention on the Marian apparitions that have marked the last two centuries: Lourdes and Fatima . In the same year an exhibition in Lucca at the National Museum of Villa Guinigi, joins him to some of the leading Italian artists of the last two generations; by the universally recognized and celebrated masters, present in the main international museums such as Mimmo Paladino, Sandro Chia, Salvo, passing through some of the protagonists of the 52nd Venice Biennale as Gian Marco Montesano, Daniele Galliano, Nicola Bolla, Bertozzi & Casoni who exhibited in 2009 in contemporary at the Lucca exhibition and at the Italian Pavilion of the Venetian event, to get to the young artists of the last generation already present in important national and international artistic events. Giacinto di Pietrantonio invites him the following year, 2010 to PAC, Pavilion of contemporary art in Milan, for the collective exhibition "Hybrid", alongside Jan Fabre, Gilbert & George, Charles Avery, Damien Hirst, Piotr Uklanski, Patrick Tuttofuoco and other great ones on the international scene. 2012 is the year of "Il Belpaese dell'arte", at Gamec di Bergamo, always curated by Pietrantonio and Maria Cristina Rodeschini, in the company of Elmgreen...

"Log Cabin Humble Beginnings" is a watercolor painting created by Barbara Kohl-Spiro. From 1984 this comes from a series of paintings based on quilt designs. This example depicts the...

This work adheres to the canons of most of Masi's paintings, namely the use of cardboard as it moves the artist away from the confines of two-dimensionality, providing an ideal basis...

1-4083 Oversized abstract on rapped canvas Unframed Ready to hang Signed on back Brunelli

Acrylic on canvas. Signed, dated, and titled verso. 52.25 x 52.75 in. 54 x 54.25 in. (framed) Custom framed in a maple hardwood floater. Provenance Salander O’Reilly Galleries, Ne...

Robert Goodnough Collage Canvas Painting III, 1983 Painted canvas collage on cardboard (signed twice and inscribed to artist and curator Matthew Rose) S...

This Vivian oil painting by Francis Pavy dates room 1989. It picks a person dressed in a Mardi Gras mask playing a fiddle with a fish on it. This work displays patterning typical of ...

Laddie John Dill (American, b. 1943) Untitled Oil painting on canvas mounted on panel Hand signed Laddie Dill (verso) 36 x 72 inches. (with frame 37 X 73) Laddie John Dill was born ...

'Portrait of a Woman with Short Hair', oil on board, by Peter Robert Keil (1983). A wide-eyed woman gazes out to the viewer with a tranquil smile. The colou...

This work adheres to the canons of most of Masi's paintings, namely the use of cardboard as it moves the artist away from the confines of two-dimensionality, providing an ideal basis...

A Pacific Northwest native, Bauer was born in Vancouver, Washington, and has maintained a studio in Portland, Oregon since 1976. She attended the Pacific Northwest College of Art and the University of Oregon where she received her M.F.A. Since that time, she has exhibited her work throughout the Northwest while teaching art as an associate professor at Marylhurst University. Bauer applies her modernist approach to her artwork, and her paintings become a sort of balancing act in reconciling her subjects and her techniques. Teetering between abstraction and representational, Bauer's houses are depicted as simplified forms, exploiting a universal iconography. The recognizable elements in her artwork – trees, buildings – are unconventionally depicted in wide patches of overlapping color, "pulling each painting away from literal interpretation." Marlene Bauer's abstractions stem from her interest in the visual dynamics of a quick impression of a landscape from a moving car or a glance out a window. The artist has exhibited her work in solo exhibitions at the Laura Russo Gallery, the Elizabeth Leach Gallery (both in Portland), and the Davidson Galleries in Seattle. Bauer's artwork is included in many of the region's public and private collections including the King County Regional Justice Center, Bank of America, the City of Portland, the City of Seattle, the Oregon State...

Antique Japanese abstract oil painting. Oil on canvas. Framed. Image size, 36L x 46H.

Gorgeous oil on canvas by Louis Papp. Amazing color and texture. Please look at all the photos. The piece is incredible and a great size. Unframed the piece measures 54h x 32w and it...

4073 Original acrylic abstract painting in pale blue and pink in a custom wood frame

3775 Oil on canvas colorful Surreal oil on canvas in a black frame

Primary Color Abstract in Acrylic on Textured Paper Abstract in bold primary colors on a stark black background with accents of white, by California-based artist Ricardo de Silva (B...

Signed upper right, 'Graham' for Ellwood Graham (American, 1911-2007) and painted circa 1985; additionally signed, verso, and titled, 'View Study'. This early California Modernist ...

Right Turn on the Railroad Track - Abstract Expressionist Mixed Media on Paper Abstract in bold blue and red on a soft black background , by California-based artist Ricardo de Silva...

Verticality - Abstract Expressionist Composition in Acrylic on Paper A bold abstract painting by California-based artist, Ricardo de Silva (American/Brazil, 20th C). A blue and red ...

Robert Rauschenberg Abstract Composition (Robert Rauschenberg Foundation #88.D109), 1988 Solvent transfer, watercolor, and gouache on Japanese dedication board Hand-signed by artist,...

Magenta and Yellow Abstract Expressionist Composition in Acrylic on Paper Abstract in bright colors on heavy grey paper by California-based artist Ricardo de Silva (Brazilian, 20th ...

1980s large scale vintage oil painting on stretched canvas by California artist Don Stacy (1925-2008). Beautifully textural; striking color palette. Slight s...

Modern blue toned tropical landscape painting by Texas born artist Clark Fox. The work features an abstract depiction of a sunset behind palm trees using pointillism, the practice of applying small strokes or dots of color to a surface so that from a distance they visually blend together. Signed and dated in the front lower left corner. Currently hung in a light wood floating frame. Dimensions Without Frame: H 24 in. x W 30 in. Artist Biography: Clark V. Fox was born in Austin, TX, in 1946. His father in the Army Air Forces, Clark spent the first five years of his life in Honolulu before the family moved to several cities throughout Texas, including Galveston, Houston, Corpus Christi, Hereford and Amarillo. In 1960 just before Clark entered high school, the family settled in Washington, D.C. Clark attended high school in Alexandria, Virginia, a period during which he had a studio with fellow classmates, David Lynch and Jack Fisk. Clark studied with Japanese art master Unichi Hiratsuka at the Japan-American Society of Washington, D.C. (1964-1965). Clark spent his first year of college at Pratt Institute in Brooklyn, New York (1965-66) with part-time stints at Andy Warhol’s “The Factory” studio, after which he returned to D.C., where he received his BFA in 1969 from the Corcoran School of Art. He soon became involved with the Washington Color School of Painting, where he apprenticed with artist Tom Downing...

Lyman Kipp Untitled Abstraction, 1980 Ink roller Painting on Paper Signed and dated by the artist on the front 29 1/2 × 43 1/4 inches Unframed and affixed to original matting This oi...

Oil on canvas. Signed lower right. 42.25 x 52.25 in. 43.75 x 55.75 in. (framed) Custom framed in a solid maple floater. Provenance Private Collection, Ann Arbor, MI Mignonette Yin Cheng was born in Amoy, China in 1933. She received her initial training at the Russian Art Academy in Shanghai and the Chao Shao-An Studio in Hong Kong. In 1958, she received a full scholarship to attend Ohio...

Cleve Gray Zen Garden #106, 1982 Signed, dated and titled on the reverse Acrylic on canvas 60 x 70 inches Provenance: The artist Irving Galleries, Palm Beach, Florida Private Collec...

Pierre Coquet – Abstract Composition Reference number A268 Framed with a natural oak floated frame 55 x 70 cm frame included (50 x 65 cm without frame) This work is painted with oil on a paper that is mounted on a board and placed in a made to measure wood strectcher. It is signed in the bottom right. Stamp of the signature in the bottom right Pierre was very sensitive to abstract paintings. He did a lot of abstract works melting colors and shapes in different atmosphere and style. Nevertheless he could come back to figuration and again to abstraction with no precise period of time. Abstract paintings by Pierre Coquet represent a large part of his production. The constant search for balance between shapes and colors as well as his passion for Nicolas de Staël, André Lanskoy, Alfred Mannessier… takes him on different paths from what we know of him. His way of painting is strong and thoughtful, the lines stretch out and the harmonious touches, applied with sobriety, reveal a great sense of color. Provenance : Workshop of the artist (stamped and numbered on the back) Pierre Coquet (1926-2021) is a French painter who was born in Limas near Lyon, France. He entered the Ecole des Beaux Arts in Lyon in 1942 and followed the teaching of Antoine Chartres, Henri Vielly and René Chancrin. He won a prize in 1945 and joined a movement that wanted to be outside of any school whose name ends with “ism”, (like impressionism, cubism…) between figuration and the renaissance of Abstract Art, bringing together young generations under thirty and eager not to submit to any technique. The “Sanzism” (literally without « ism ») will bring together, among others, painters: James Bansac, Roger Bravard, André Chaix, Jean Mélinand, Paul Clair, André Cottavoz, Pierre Doye, Jean Fusaro, Jacques Truphémus, André Lauran...

Provenance: Charles Cowles Gallery, New York, NY Signed & Dated verso

Sepia Abstract Expressionist Composition in Acrylic on Paper A bold abstract painting in in sepia-toned brush strokes and deep red and bright yellow accents with contrasting black a...

Red Tent Abstract Expressionist - Acrylic on Paper Abstract in bold colors on a stark black background, by California-based artist Ricardo de Silva (Brazilian, 20th Century). A deep...

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EXODUS 28 can be displayed either horizontally or vertically. The primary colors in this colorful, abstract, painting are red, orange, green, purple & yellow. G. (Gloucester) Calima...

Chaco Canvas, fabric, pigment and collage elements, 1985-1995 Signed lower left corner in red paint Title and signed in pencil on the verso on the top of the stretcher Condition: Excellent Canvas size: 18 x 18 inches Provenance: Estate of the Artist By descent Chaco is a Native American culture of Ancestral Puebloan peoples, thriving in New Mexico between 850 CE and 1250 CE. Some of the motifs in this work was inspired by Chaco Canyon wall art. This mixed media work was created after the artist moved from New York to Santa Fe in 1985. It combines many Southwestern and Native American motifs. This is one of a small group of similar works combing collage and mixed media. (See photo of native pictographs) that inspired this work. Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...

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Abstract Expressionist Self Portrait in in Acrylic and Pastel on Paper A colorful abstracted self portrait painting by California-based artist Ricardo de Silva (American/Brazil, 20t...

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...

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Chuta KIMURA (also "Tchuta" or "Tshuta") is an allusive landscape painter and pastellist. His name - composed of the words Ki (tree) and Mura (village) - literally means "village tree". The artist was born into a middle-class family with an ancestral Samurai background. From the age of 13, he took drawing lessons at the Takamatsu School of Decorative Arts. In 1936, he went on to study at Tokyo's Nika Art Academy, where the academic teaching did not suit him. In 1937, he exhibited for the 1st time at the Dokuritsu Salon, but was immediately drafted by the army to serve in China - where, despite the war, he developed a passion for ancient calligraphy. In 1940, he eventually returned to Japan due to illness. Shortly afterwards, in 1941, he discovered a painting by Pierre Bonnard at the Ohara Art Museum in Kurashiki, the light of which overwhelmed him. He was mobilized again in China in 1945, then, once the war was over, he resumed his exhibitions in Tokyo and discovered Bonnard once again. In 1947, he married Satchiko Yunoki, with whom he decided to move to Paris. Thanks to a patron, the young couple settled in Montparnasse in March 1953 (taking over the former studio of his illustrious compatriot, Foujita). In 1954, he exhibited at the Salon des Artistes Français and met Jacques Zeitoun, artistic director of the "Art Vivant" gallery (Paris and Lyon), who immediately signed him up. From 1955 onwards, Kimura enjoyed a steady stream of solo exhibitions - in Paris (e.g. Galerie St Placide, Kriegel, or Art Yomiuri - the latter exhibiting his work 4 times at FIAC in the 1980s); Lyon (e.g. Galerie St Georges); Antibes (e.g. Galerie St Georges); and Paris. galerie St Georges); Antibes (ex. galerie René Raporte); Brussels (ex. galerie de France et du Benelux); Geneva (ex. galerie Krugier); Tokyo (ex. galleries Nichido, or Takarashi); and New York (ex. galleries David Findlay, or Ruth Sigel). The artist also participated in fairs and group exhibitions (e.g. Biennale de Paris in 1957, Centre Pompidou in 1979, The Phillips Collection in 1985). In 1962, he moved to Châtenay-Malabry and met Jean Grenier - professor of philosophy and holder of the chair of aesthetics and art science at the Sorbonne - who became his principal biographer: "When Kimura rightly prides himself on uniting East and West, which, he writes, are as different from each other as day and night are from each other, he might add that it is by remaining himself and drawing on the dual traditions of his country that he has succeeded in creating a work that is at once so violent and so gentle. In 1963, the French State bought a painting from him - "Jardin à Châtenay". In 1965, Galerie Kriegel (recently opened by his 1st dealer...

John Rozelle (American, 1944-) Grant Series II #5, Collage, 1988 Hand signed, dated and titled in pencil Provenance: Isobel Neal Gallery, Chicago, Measurements Matted to approximately 20 by 16 Sight: 11 by 9 inches Layers of torn ripped, and painted paper with music notes are overlaid on top of each other in this contemporary collage assemblage composition with a jazz sensibility. The pieces of paper have been arbitrarily arranged while in contrast, the artist has applied color in this piece in a very thoughtful way. John Everette Rozelle is an internationally renowned artist from St. Louis, Missouri now living in Banyoles, Girona. He is a masterful collagist, painter and sculptor included in museums and private collections worldwide. John Rozelle was born in St. Louis, Missouri and holds a B.F.A with a major in painting and a minor in sculpture from Washington University and a M.F.A from Fontbonne College. John Rozelle is currently tenured Associate Professor in the Drawing and Painting Department at The School of the Art Institute of Chicago. Prior to joining the Art Institute faculty he taught drawing, design, painting, and sculpture as an Adjunct Assistant Professor at Fontbonne College. Rozelle has served on numerous occasions as curator, juror, and artist-in-residence for several exhibitions. His twenty years of solo and group shows have included those in New York, Philadelphia, Chicago, St. Louis, Atlanta, and Los Angeles. His work is housed among various corporate collections some of which include: Anheuser Busch, Citibank Corp., AT&T, Borg-Warner, Price Waterhouse, Saks Fifth Avenue, the Seven-Up Company, Ralston Purina, the Westin Hotels and ARCO. Rozelle is currently tenured Associate Professor in the Drawing and Painting Department at The School of the Art Institute of Chicago. His art can be found in over 20 public collections and in over 50 private collections throughout the United States. He has been in many important exhibitions including Pennsylvania Academy of Fine Arts. Layers of Meaning: Collage and Abstraction in the Late 20th Century. Included: Romare Bearden, Moe Brooker...

Abstract Expressionist Composition in Acrylic on Paper A bold abstract composition by California-based artist, Ricardo de Silva (American/Brazil, 20th C). A bold black character tak...

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Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

The painting is being offered with a work and authenticity certificate

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...