20th Century Abstract Paintings

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

Title: French Impressionist Garden Scene with Workers Tricolor Flag and Countryside By Fanch Lel Signed: Yes Size: 10.75 x 13.75 inches (height x width) Oil painting on cardboard, un...

Yellow Composition is a contemporary artwork realized by Leo Guida in 1970s. Mixed colored oil on canvas Leo Guida (1992 - 2017). S ensitive to current issues, artistic movements ...

Very powerful, large abstract painting by a very talented artist. It is in the style of a Robert Motherwell or Franz. Kline. The painting measures 25 inches high by 21 inches wide. T...

Title: Abstract Still Life with Pink and Orange Vases - Contemporary Oil Painting Artist: Roland Pichard Signed: Bottom right Medium: Oil on oi...

Abstract Expressionist Composition by Marie Deloume (French born 1942) signed & dated verso oil painting on paper stuck on canvas, unframed canvas size: 24 x 20 inches condition: ove...

French late 20th Century Abstract Expressionist oil on canvas by Abstrus. The painting is signed bottom right and signed titled and dated to the rear stretcher. Presented in a fine b...

Title: Figurative Nude with Floral Still Life - Abstract Contemporary Oil Painting Artist: Roland Pichard Signed: Bottom right Medium: Oil on oil paper, mounted on card Size: 13....

Expressionist French Landscape, Bright Colours, Oil Painting circle of Pierre Ambrogiani (French 1907-1985) Oil painting on canvas, unframed Canvas size: 6.5 x 9.5 inches Beautiful ...

Mid Century Modern, American Abstract Expressionist Painting on Masonite. This wonderful work in hues of blue comes house in a contemporary natural wood frame presentation.. The ar...

Modernist abstract composition signed Geist. Oil on board, circa 1950. Signed lower right. Displayed in a wood frame. Excellent ready to hang condition.

Abstract Expressionist Composition by Gilbert Pelissier (French born 1924) signed and dated verso oil painting on canvas, unframed canvas size: 20 x 20 inches condition: overall very...

Title: Original Oil Painting of Serene Landscape with Cypress Tree and Rolling Hills Artist: Roland Pichard Signed: Verso Medium: Oil on oil paper, mounted on card Size: 8.5 (hei...

"Rouge Mouille (A00963)" is an abstract Post War gouache and ink on paper work 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 inche...

Monumental Red Abstract Milburn Smith March 1969 Acrylic paint on canvas 65 x 64 x 1.25 Signed and dated lower right in ink Very Good Condition: Consistent with age and history. Fro...

This minimalist abstract acrylic painting is by Canadian artist Milly Ristvedt. Sea Span is one of a series of paintings Milly Ristvedt produced in the 1970s that used a clean, bol...

Lyman Kipp Untitled drawing, 1993 Unique Colored Ink Drawing on paper with two deckled edges Hand signed, inscribed and dated by the artist on lower front 26 1/4 × 20 inches Unframed...

Mid-century abstract landscape painting. Artist signature faintly visible on the right with a clear initial F and year in lower right hand. In excellent condition.

A dynamic & colorful, Abstract Expressionist Painting in Reds, Blues & Yellows by Artist Harold Haydon, Dated 1957. Framed in a dark, wood cube frame. Image size: 12" x 16". Fra...

Post-Impressionist Oil Painting of Donegal Wetlands Landscape in Ireland by 20th Century Irish Artist, Charles McNeill Caldwell. Signed, Ori...

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.

Title: Impressionist Mountain Village Landscape with River Cypress Trees and Wildflowers By Fanch Lel Size: 18 x 21.75 inches (height x width) Oil painting on board, unframed Conditi...

Title: French Autumn Landscape with Country Cottages and Tree Lined Path By Fanch Lel Size: 13 x 18 inches (height x width) Oil painting on board, unframed Condition: The painting is...

Large Geometric Abstract Oil Painting on Masonite No visible signature 36 x 48 unframed, 37.5 x 49.5 framed

Stunning original oil painting by Elvic Steele depicting this surrealist fantasy abstract painting. Elvic Steele is a fascinating English painter. Her works entrance the observer, d...

French cubist artist, circa 1950's signed oil painting on board, stuck on board board: 14 x 18 inches painting: 9.5 x 14 inches provenance: priva...

Antique American school modernist watermelon still life pastel painting. Pastel on paper. Signed. Framed. Measuring 18 by 22 inches overall and 16 by 20 painting alone.

Colorful Samurai, Large-Scale Modern Figural Geometric Abstract Colorful modern figural abstract of a samurai figure fractured into fields of color and pattern by S. Baker (Susan Baker...

Nicely painted mid century abstract oil painting. Great color and composition. Framed. Signed.

Title: French Impressionist Port Scene of La Rochelle Towers and Boats in Harbour By Fanch Lel Signed: yes Size: 13 x 16.25 inches (height x width) Oil painting on board, unframed Co...

Blue & Red II Abstract Expressionist Painting - a rare early work from Leading British Urban Artist, Angela Wakefield. Entitled 'Tropical City #2', this moody and atmospheric artwork...

In this painting the artist Larry Abramson depicts an abstract landscape with a high degree of simplification, taking references from the stylistic conventions of conceptual and minimalistic neo avant-garde art movements. Here, the artist applies thick layers of paint allowing for a textural feeling on the surface of the canvas. LARRY ABRAMSON South Africa, b. 1954 Larry Abramson is a South African-born Israeli artist. Born in 1954, Abramson and his family immigrated to Jerusalem in 1961. Shortly after graduating high school, Abramson entered London's Chelsea College of Art and Design in 1973 where he studied a Foundation Course. In 1975, he held his first solo exhibition. Abramson continued to develop his style, combining abstraction and figurative art to create dynamic situations. Upon returning to Israel, he worked as a printer and curator of exhibitions at the Jerusalem Print Workshop until 1986. In 1984, he joined the teaching staff of the Bezalel Academy of Arts and Design in Jerusalem and, in 1992, was appointed head of the Fine Art department. In 1996, he founded and headed the Bezalel Program for Young Artists, the first Master of Fine Arts program in Israel. He served as a guest lecturer at the San Francisco Art Institute in 2000 and 2003. In 2002, Abramson continued to be a leader in art academia by planning the establishment of a new art department at the Shenkar College of Engineering and Design in Ramat Gan, Israel. He is a founding member of Artists Without Walls, a dialogue group of Israeli and Palestinian artists. Throughout his career as an artist, Abramson has been the recipient of numerous awards including the Jacques Ohana Prize, The Minister of Education Culture Prize, and the Mendel and Eva Pundik Prize for Israeli Art. He has shown at prestigious group and solo exhibitions around the world and, in recent years, held two special museum projects, "Searching for the Ideal City" at the Magnes Museum, Berkeley (2005), and "Mini Israel" at the Israel Museum, Jerusalem (2006). Larry Abramson was born in Durban, South Africa. In 1961, he immigrated to Israel with his family and settled in Jerusalem. He studied art with Yona Mach at the Hebrew University High School and devoted much time to painting. In 1970, he signed the High School Seniors Letter protesting the Israel government's foot-dragging on the subject of peace. In the early 1970s, Abramson studied art history at the Hebrew University of Jerusalem and moved to London to continue his art studies, but only remained there for one year. In 1975, he began to work in printmaking. He became an instructor and curator at the Jerusalem Print Workshop and began exhibiting in Jerusalem galleries. In 1984, he began to teach at Bezalel. His work in the 1970s and 80s quoted from art history as a tool for critical reflections on art. This was particularly evident in "Anatomical Painting" (1980-1983), "Nevo" (1984-1986) and "Column" (1988). In 1992, he was elected chairman of the Fine Arts Department of Bezalel. In 1996, he received his professorship. In 1995, he showed his series, Tsooba, which explored the politics of Israeli landscape and aroused great public debate. From the 1990s, he published many essays on the link between art history and the political and social significance of art. Major works from this period include "The Return of the Black Square" and a series of drawings, "The Pile" (2002-2004). Education 1972 Art History, Hebrew University of Jerusalem, Jerusalem 1973 Chelsea School of Art, London, UK 1971 Hebrew University High School, Jerusalem, art with Yona Mach Teaching 1984-92 Bezalel Academy of Art and Design, Jerusalem 1992-96 Bezalel Academy of Art and Design, Jerusalem,Head of Fine Arts Department, 1992-96 Bezalel Academy of Art and Design, Jerusalem, Head of Young Artists Program, 2000-03 San Francisco Art Institute, California, USA, Guest Lecturer, 2002 onwards Shenkar College, Ramat Gan, Professor of Art, Multidisciplinary Art Department, Awards And Prizes 1978 Beatrice Kolliner Prize for a Young Israeli Artist, Israel Museum, Jerusalem 1988 The America-Israel Cultural Fund Scholarship 1991 Jacques and Eugenie Ohana Prize for a Young Israeli Artist, Tel Aviv Museum of Art, Tel Aviv 1993 The America-Israel Cultural Foundation, Sharett Fund Scholarship for a Young Artist 1998 Prize, Ministry of Education and Culture 2007 The Mendel and Eva Pundik Foundation Prize for an Israeli Artist, Tel Aviv Museum of Art, Tel Aviv Genia Schreiber University Art Gallery, Tel Aviv Abramson, Larry Avigdor Arikha, Dei Ben Shaul, David Michail Grobman, Michael Gross, Uri Lifschitz, Ofer Lellouche, Menashe Kadishman, Shaul Schatz and others Sarig - in Israeli Paintings Israel Pollak School of Art Kalisher Five, Art Sc, Tel Aviv Abramson, Larry Menashe Kadishman, Pinchas Cohen Gan, David Reeb, Arnon Ben David...

Marc Chagall 1887-1985 Russian Esquisse pour L'Opéra (Study for the Opéra) Signed "Chagall Marc" (lower left) and signed and inscribed "Marc / pour Vava / 1953 / Chagall" (en vers...

Zvi Mairovich. (Poland, Israel 1911-1974) Large abstract harbor scene with boats. Vibrant colors. Oil on canvas. Hand signed lower right. Tel Aviv, Jaffa harbour. Canvas: 35.5 x 47....

Title: Impressionist Harbour Scene with Fishing Boats Lighthouse and Sunset Sky By Fanch Les Size: 15 x 18 inches (height x width) Oil painting on cardboard, unframed Condition: The ...

Title: 1960's British Surrealist Oil Painting - Nature Study with Leaves Abstract Artist: Elvic Steele Medium: Oil on board, unframed Size: 4.5 height x 5 width Condition: Good Prov...

Performer Artist signed lower right, canvas 28"x31"75 Nicola Simbari was born in Italy and grow up in Rome. He studied at the Accademia di Belle Arti di Roma, and in the 1940s he beg...

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

Oil on plywood realized by Martin Bradley in 1974.  Hand signed and dated in top right corner; hand signed and titled on rear. Very good condition.

Antique American modernist abstract oil painting by Adele Becker. Oil on canvas. Framed. Signed.

Elfi Schuselka (Austrian, b. 1940), Abstract Composition, Oil on Canvas, 1989-90, signed and dated to verso, unstretched, unframed. 21.5" H x 23.5" W. Provenance: From the collection...

Impressive early American modernist beach scene oil painting. Framed. Oil on board. Signed verso. Image size, 16H by 9L.

Colorful abstracted portrait by Michael William Eggleston (American, 20th Century). Bold colors and dripping paint create an expressive, dynamic composition. The figure is primarily ...

Modernist abstract oil painting. Oil on canvas, circa 1940. Unsigned. Image size, 37"L x 25"H.

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint and 3-dimensional wooden shapes on canvas. The warm metal grey paint is highly textured, while the ...

Patina - Minimalist Composition in Wax and Acrylic on Wood Panel Bold abstract composition by Charles David Francis (American, 1951-2018). Laye...

Keith Haring. 1958-1990. The iconography of his drawings includes dancing animals and figures, dogs, crawling babies, pyramids, televisions, telephones, and flying saucers. The idea ...

Oli T. Sihvonen (1921 - 1991) The Secrets in the Circle, 1962 Oil on canvas 25 x 34 in Signed lower right; signed, titled dated, and inscribed "Box 563 Taos, N.M." on the reverse Pr...

Blue Navy Abstract, Size: 31x36.5 framed 32x37.7 Walter Swyrydenko was born in Sloviansk, Ukraine in 1942. A graduate of Kent State University, receiving a B.S. in Art Education and an M.A. in Painting. Studied in Paris, France. Professor of Art at Lakeland Community College. He was awarded the rank of Professor Emeritus in 2002 by Lakeland Community College, and held a retrospective of his work, "A Look Back 1965-2001," at the LCC Gallery in 2003. Listed in Marquis’ “Who’s Who Dictionary of International Biography,” “ Leaders of America,” “Who’s Who in the Arts, 1971-1972,” Artists/USA, 1972-1973, 1974-1975,” “Outstanding Young Men of America,”1971,” International Who’s Who in Art and Antiques, 1972,” Annuaire De L’Art International, 1974-1975, 1975-1976,” “Library Of Human Resources...

John Costigan (1888-1972) oil on canvas, circa: 1950s. In excellent condition. Exciting Expressionist Painting of a lively Carnival Scene. Signed lower right: ''J.E. Costigan", Title...

This lithograph is part of my private collection since 1970's. It is pencil signed by the artist and numbered 198/220. Guilde del la Gravure .

It is a one of a kind piece and a part of my School of Paris era collection.

Title: French Impressionist Oil Painting of Château de Trécesson in Brittany By Fanch Lel Signed: yes Size: 15 x 18 inches (height x width) Oil painting on board, unframed Condition:...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

French Abstract Expressionist work, mid/ late 20th century indistinctly signed oil painting on canvas, unframed canvas: 25.5 x 18 inches condition: very good provenance: from a coll...

RALPH DELLA-VOLPE (1923-2017) Fine Art Painter, American Contemporary The Valley Oil on canvas Hand signed lower left and again to stretcher and verso 16 x 20 inches. frame dimensions: 22 1/4 x 26 inches, wood frame Provenance: The Estate of the artist Ralph Della Volpe TRAINING: National Academy of Design The Art Students League, NYC Ralph Eugene Della-Volpe's semi-abstract paintings of often simplified, minimalist, beach scenes and anonymous portraits "convey profound awareness of mood and character", and his paintings are hardly as literal as they may first appear (Arts Magazine. "New York Exhibitions". 1965). His brightly-colored, light-infused, ornamental compositions bring together aspects of many modernist art movements including Fauvism, Impressionism, Symbolism, and abstraction. Della-Volpe first studied painting at the prestigious National Academy of Design before joining the Army during World War II. As a soldier, the artist saw action on Utah Beach, winning a Purple Heart, and his experiences undoubtedly affected his later artistic style. The Fauvist "coloristic exuberance" found in the works beginning in the mid 1960's, with their vibrant fuschias and yellows, seem to offset what could be an otherwise solemn tone to many of his works at the time. Upon his return from military service, Della-Volpe’s style evolved significantly. In the years following the second world war, his work was solemn, imbued with a quiet darkness. Over time, this darkness faded: by the 1950s, influenced by his time at the Art Students League, his oeuvre was overtaken by the tenants of Abstract Expressionism. Paintings from this period boast bold brushwork, energetic compositions, and strong color. Although the next decade saw Della-Volpe trade expressionist abstraction for figuration, his love of color continued to shine through his work.Della-Volpe took a teaching position as the first artist-in-residence at Bennett College in Millbrook, New York where he remained for 28 years, serving as chairman of the Art Department for most of that time. Obviously influenced by impressionism 's preoccupation with the treatment of light, Della-Volpe's own works have a "faultless tonal quality, with its sense of failing light—the areas of silvery gray deepening into rosy tans" (Arts Magazine. "In the Galleries". 1960). Della-Volpe has exhibited widely throughout his career and has lectured on art at colleges, universities, and galleries across the country. SOLO SHOWS: Hotchkiss Library, Sharon, Conn Millbrook Library, Millbrook,NY Gregory James Gallery...

Gloria Dudfield Mexican Fruit Bowl 1960s Oil Pastel and Gouache on Paper 36"x32" unframed $1600 *Custom framing available for additional charge. Please...

Title: Portrait of a Gentleman with Glasses - Contemporary Oil Painting Artist: Roland Pichard Medium: Oil on oil paper, mounted on card Size: 13.75 (height) x 10.75 (width) (Moun...

Title: French Countryside Oil Painting of Curved Path Farmhouse Autumn Trees and Open Fields By Fanch Lel Size: 13 x 16 inches (height ...

"Martos" is an abstract oil painting on canvas by Stanley Bate featuring what appears to be a high horizon line of white and muted yellow. Beneath that line is a combination of textu...