Early 2000s Abstract Paintings

"QUEEN VICTORIA" is created and from acrylic and found objects on round MDF panel. It includes a photograph of a figure, pocket knife, beads, charms, and other unidentified objects in metal and wood. It is signed and dated along the lower edge. PROVENANCE: Exhibited in "Portals + Revelations: Richard J. Watson," the African American Museum in Philadelphia, Oct 2021 - Mar 2022. "Most of my works are supported by memories of the past and suggested realities. Issues of social politics, ancestral references, and astral projections are presented with fragmented elements of 'real life' collaged and collapsed, as dreams are prone to do. If connections are made, all the better. I feel that life should remind us of our dreams." - Richard J. Watson Richard J. Watson is an icon in the Philadelphia art world. Much of his work relates to his experiences as a Black African American man. He is a graduate of Pennsylvania Academy of the Fine Arts (1968), has taught at his alma mater, and has served in the Exhibitions Department at the African American Museum in Philadelphia since the 1980s. He has been exhibiting his work for decades, and has an extensive bibliography. His work is held in the Petrucci Family Foundation Collection of African American Art; the Pennsylvania Academy of the Fine Arts; Temple University; the Uniworld Corporation; Sony; the Federal Reserve Bank; the City of Philadelphia; Sprint; the Church of the Advocate; the poet Dr. Sonia Sanchez; and the Woodmere Museum...

Lucarne Maure 1 Pierre Marie Brisson, French (1955) Date: 2001 Oil on Canvas, signed, and dated verso Size: 45.5 x 35 in. (115.57 x 88.9 cm) Provenance: Franklin Bowles Gallery, NYC

Mixed media splatter painting. Oil and acrylic paint Signed and dated vers0 Gordon COUCH Born: 1944 It is Gordon Couch’s background as a boat restorer ...

A large scale, unique and vivid oil painting on stretched canvas, with different beige and orange shades. Ready to hang. Framing on request

MELISSA MEYER (American, b. 1946), 'Chance' Oil on Canvas 2006 Hand signed, dated and titled, verso Height: 30 inches, Width: 28 inches Provenance: Rebecca Ibel Gallery, Columbus, OH Melissa Meyer (born May 4, 1946) is an American artist and painter. The Wall Street Journal has referred to her as a "lighthearted Abstract Expressionist". She works in various formats, large abstract paintings, watercolors, prints, monotype, monoprint and drawings made up of fields of gestures. This one is abstract swirling hues of purple, red, blue, orange and yellow, Selected solo shows: Lennon, Weinberg, Inc., New York, NY; List Gallery, Swarthmore College, Swarthmore, PA; New York Studio School, New York, NY; Rebecca Ibel Gallery, Columbus, OH. Selected Group shows: “The Maslow Collection: Context and Content”, The Maslow Study Gallery for Contemporary Art, Scranton, PA; “Summer Reverie Invitational,” William Siegel Gallery, Santa Fe, NM.; "One of a Kind; Monoprints, Monotypes", The Gallery, Spencertown Academy...

Colorful contemporary Abstract Painting by Moroccan artist Abderrahman Banana. Mixed media on canvas. Offered framed. Size: 25 x 20.5 inches (framed) Signed front, lower right. Abd...

Contemporary abstract geometric painting by artist Mark Byckowski. The work is featured in a series of paintings. The work features horizontal lines with a variety of vivid colors of green, yellow, and blue, painted on a black background. Each work in the series features a bright red line at the bottom right corner. Signed, titled, and dated on reverse. Currently unframed, but options are available. Artist Biography: Mark Byckowski was born March 18, 1957 in Chicago, Illinois. He remained in and out of the Chicago area until moving to Raleigh, North Carolina in 1990. In 2016 moved to Livingston, Texas where he currently resides. At an early age he began drawing, studying, and creating art which has continued throughout his life. His artwork has changed and evolved through different periods and styles that span for decades. In the early years he was influenced by traditional representational artists and illustrators, then impressionism, surrealism and the avant-garde of modernism captured his imagination. His artistic talent eventually led him to Northern Illinois University where he received Dean List Honors in Fine Art with an emphasis in studio painting. As a studio artist he has produced a body of work in a variety of media painting, drawing, sculpture, print making, and computer art also known as digital art. While in college the artist began searching for an original idea and style of his own. In 1979 when the first apple personal computers became available in the art department. He immediately knew the technology would eventually influence the direction of fine art in the future. It took time to learn how to program and explore the possibilities of computers as a new tool in the creation of art. Personal computers back then did not have the capabilities they have today and were not user-friendly. There were only two fine artists Mark Pinson and I working with computer technology back then. We worked on our own ideas and after completing the programs and turning them into paintings and drawings we collaborated and mounted a two-man exhibition. My first program was a series of interconnected images entitled “Concatenation” paintings and drawings created from the program were exhibited with Mark Pinson’s work entitled “Random” in a two- man show at The Holmes Center Gallery, Northern Illinois University on November 30, 1980. The second program entitled “Visual Music” the paintings and drawings exhibited in a one man show at The Recital Hall Music Building Gallery, Northern Illinois University on April 26, 1981. Followed by an exhibit sponsored by Illinois Bell, works on paper selected a drawing from the Visual Music series for “A New Generation of Artists” at The Lobby Gallery, 225 West Randolph Street, Chicago, Illinois, May 14 through June 12, 1981. The artist has participated in exhibitions dating back to 1974. The above exhibitions were selected because they marked a new beginning and direction in the artist’s work that continues to the present day. Other positions held in the Fine Art field include: 1984-1985- Austin Galleries, Michigan Avenue, Chicago, Illinois (Main Gallery) and other locations Fine Art Consultant / Gallery Director 1982-1984- Atlas Galleries, Michigan Avenue, Chicago, Illinois (Main Gallery) and other locations Fine Art Consultant / Assistant Gallery Director Artist Statement: Subject matter for computer art, painting, and drawing Mark S. Byckowski In 1979 searching for a for an original idea and style of my own I began looking for abstract ideas that I could program with a computer for a new a paintings series. I decided on an idea called “Concatenation” a series beginning from the original image undergoing a transformational change from the previous image connected in a linked series. Example: Image 1 is the original, image 2 changes image 1 by adding a new line, and image 3 changes image 2 by adding an additional new line. Continually changing the previous image by adding an additional line etc. In 1980 I began working on a new abstract idea that I could again program with a computer for a new painting and drawing series. The similarities between music and art intrigued me and began thinking about how I could create a visual representation of musical sound. In music notes are arrangements turned into compositions. In art color is also, arranged into compositions and both seek aesthetic rhythms and harmony. Depending on what notes or colors used can also, affect different emotions and moods. The Artists painting process Step one: Create the computer drawing. For years I have used Microsoft classic paint to create drawings. It allows me to arrange an aesthetic composition and select a color scheme in advance. I can make changes easily until I am satisfied. Step two: I build a custom stretcher frame with support bars and corner braces. Step three: Measure and Stretch the canvas onto the frame pulling the canvas and using a staple gun...

Contemporary abstract geometric painting by artist Mark Byckowski. The work is featured in a series of paintings. The work features horizontal lines wit...

Paul Richard Aho, American (Born 1954) Oil painting and acrylic paint on wood "Mirage". Hand signed and dated 2004 verso. Dimensions 32" x 32" Paul Aho is an American abstract ...

Dreams come true by Lélia Pissarro (b. 1963) Acrylic, pigment and gold powder on canvas 100 x 75 cm (39 ³/₈ x 29 ¹/₂ inches) This work is accompanied by a certificate of authenticit...

With layers of bright oils and whisking brush strokes, the paint is able to shine and shimmer in a very unique pattern. This painting is from Shaoul's more modern collective works w...

Teresa Vallejos, passionate abstract expressionist painter from Southern California, has been an artist all of her life. She is the daughter of an LA artist and art collector who sou...

Dakota Nightshade (Native American, Indian piece) Mixed media (ink, paint etc. red thread stitching) Framed 43 X 57 sheet 36 X 49 Hand signed, dated and titled by artist. (with a l...

Simon Gaon (born 1943) is an American painter, Expressionist, and action painter. This is a thick impasto oil painting. with a lot of texture and color. Times Square with 42nd st in...

Peter Lodato’s paintings continue the exploration of light and space. Adhering to reductive, often binary field /ground compositions, the paintings resonate with the viewer like opti...

Robert Seng was born and raised in Seattle, served in the US Navy in Vietnam, and finished his BFA and MFA on the GI Bill. He was a founder of Artech, Seattle’s premier art services company, to support his art career. A New York resident since 1986, Seng has worked at Artforum, the Guggenheim Museum and taught at Fairfield University while continuing his studio practice in painting and sculpture. In the mid 1990’s Seng moved into site-specific installation work with collaborator Lisa Hein. Together they have made more than 40 projects with moving light...

Nicely painted surreal nocturnal abstract oil painting by Paul Allen Reed (1919 - 2015) . Great color and composition. Framed. Signed verso.

YURI MARTINEZ RAMOS "THE FUNNY SIDE OF ME" OIL ON CANVAS, SIGNED CUBAN-AMERICAN, C.2005 20 X 16 INCHES This piece is a type of self-portrait where I try to show the ones around me, I also have a funny side. Yuri Martinez Ramos was born in Havana, Cuba on November 24, 1964. He studied at the Elemental School of Plastic Arts from 1975 – 1979 and the National School of the Arts from 1979 – 1983. Martinez’ figurative paintings have been compared to Botero because of his satirical social commentary. His style, however, is uniquely his own with typically vibrant Latin colors and use of expressive magical realism. His paintings tell his story and the story of the Cuban dilemma. Martinez was granted permission by the US Justice Department after much effort with Cuban authorities to come to the US with his family and pursue his career outside Cuba. He now lives and works in Texas. Papillon Gallery...

9.1 (Abstract Expressionism painting) Gouache on paper - Unframed Jill Moser is an American abstract artist whose work explores the intersection of “painting, writing and the anima...

Abstract assemblage titled "Spotty C Shadowbox Collage" by Marc Foster Grant (American, b. 1947), 2006. This mixed media piece is composed with acrylic, hemp, and metal on handmade p...

Elliot Gordon (American) , "Three Sisters", Contemporary Acrylic on Canvas, 36 x 30, Canvas, Early 21st Century, 2016 Colors: Red, Yellow, Orange, White...

Allen Kubach (American) "Untitled: Multicolored Linear Abstract" , Acrylic on Canvas, Signed on rear canvas, Early 21th Century, 2005 Colors: Yellow, Orange, Red, Green, Blue Allen Kubach and Marjorie Shaw Kubach were two married artists who explored their artistic styles together throughout their careers. The artists showed their works largely throughout New Jersey and New York, sometimes joining together for the same exhibits. The works that Detour Gallery has acquired are representative of the pair’s time in which they explored abstraction. These works were made in a postwar era, following the art world’s shifted focus on New York as the center for new modern art. Art at this time was evolving, and the experimentation of abstract expressionism, geometric abstraction, and minimalism evidently paved the path for later artists such as Allen and Marjorie. As noted in the New York Times by Vivian Reynor, Allen Kubach “specializes in strong colors, expressing them in vertical and diagonal grids laid one on top of another.” In such a manner, Allan reflects these contemporary ideals that were taking New York by storm in the 1960’s and 70’s. The linear focus and non objective use of color found in Allen’s work correlates to that of the pioneers of abstract and minimalistic work such as Sol Le Witt...

Textural abstract geometric composition featuring two hearts on fibrous handmade paper by Marc Foster Grant (American, b. 1947). Signed and dated "Grant '05" lower right. Displayed i...

Shadow of Opportunity on Red Planet Mixed media Framed 39.3 X 50 sheet 32.4 X 42.3 Hand signed, dated and titled by artist. (with a location of LA noted) This came with a group of 4...

Tats Cru, Inc. / Nosm Untitled, 2004 Acrylic and spray paint on canvas 24 x 30 in. Signed verso Tats Cru, Inc. is a group of Bronx-based graffiti artists turned professional muralists.[1] The current members of Tats Cru are Bio, BG183, Nicer, HOW, and NOSM. Tats Cru were founded by Brim, Bio, BG183 and Nicer. Over the last two decades, Tats Cru has produced various advertisements for clients ranging from neighborhood businesses and institutions to large corporations like Coca-Cola and Sony.[2][3] Tats Cru is also a major producer of New York City-style memorial murals, and have created artwork for many musicians including Nicki Minaj, Missy Elliott...

Ameryllis Study 1 - Miniature Abstract Floral Canvas Art by Contemporary British Artist, Angela Wakefield Art measures 12 x 9 inches Frame measures 16 x 13 inches An intimate and r...

Find n.6 - Massimo D'Orta Italia - Oil on canvas mis. cm. 80x100 Massimo D'Orta born in Naples in 1950 where he currently lives and works. Atypical character in contemporary art: man...

Steven H. Rehfeld (American, born 1954) "The New York" 2002 Oil Paint, Pencil, Newsprint, Mixed Media, Canvas, Stretcher Bars The artist signed the back of the painting. In this stu...

Contemporary abstract geometric painting by artist Mark Byckowski. The work is featured in a series of paintings. The work features horizontal lines wit...

Contemporary abstract geometric painting by artist Mark Byckowski. The work is featured in a series of paintings. The work features horizontal lines with a variety of vivid colors of...

Heavy impasto abstract work from British artist Paul Wadsworth

Contemporary abstract geometric painting by artist Mark Byckowski. The work is featured in a series of paintings. The work features horizontal lines with a variety of vivid colors of...

A striking contemporary large-scale surreal figurative abstract, with a head of a man floating in a blue, yellow, and white space by Bay Area Figurative artist Michael Pauker (American, b. 1957). Titled "Sui Generis...

Black Waterfall is an original artwork realized by Claudio Palmieri in 2009. Wax pigments on cardboard. Sign, title, date, and technique on the back. ...

On The Town, signed lower right Dutch gold leaf and oil with acrylic. Deep box canvas

Bill Komodore - Optical Art Series - Large Geometric Abstract Oil Painting An electrifying example of Bill Komodore’s masterful engagement with Op Art, this geometric abstraction pu...

"Apollo" Chase Finlay Ballet Dancer - Figurative Abstract on Paper This dynamic figurative abstract painting by Marc Foster Grant (American, b. 1947) depicts ballet dancer, Chase Finlay, previously of the New York City Ballet, performing in the ballet, Apollo. He leaps into the soft blue air, with a shimmering golden lute held high above his head. Apollo is a neoclassical ballet in two tableaux composed between 1927 and 1928 by Igor Stravinsky. It was choreographed in 1928 by twenty-four-year-old George Balanchine, with the composer contributing the libretto. The scenery and costumes were designed by André Bauchant...

Positano, original signed painting by Andy Gradwell circa 2005 watercolour and pastel on paper 26cm x 36cm white glazed frame 43cm x 53cm An abstracted view of the coastal town and l...

Very nicely painted Venice view by Tim A Lovejoy (Born 1943). Watercolor and gouache on paper. Signed. Framed. Image size, 16H x 25L.

The gestural paintings of Hyunmee Lee are sumptuously minimal. Rich forms advance from buttery canvases like an abstract garden. Gauzy veils of paint hover like soft air against the ebony weight of matter. Light peeks through translucent shapes like sunlight illuminating soft mist. Texture swirls and echoes across the canvas as if carved by waves or eroded by the wind. The viewer, invited into a realm of contemplation and meditation, is surprised to look away and see the physical world existing in only three dimensions. But perhaps that is precisely the experience the artist would like the viewer to have. In her current exhibition, Touch, on display at the Phillips Gallery...

Pink and cyan abstract, an abstract expressionist oil painting by an unknown artist (American, 20th Century). Unsigned and unframed. Canvas is wrapped around 2" stretcher and painted...

Wonderful large scale mixed media abstract by Elliott Fouts (American, b. 1955), 2000. Titled "Straight up" and signed on verso. A channel of green orbs...

Provenance: Babcock Galleries (bears their label verso. signed verso with artists monogram signature. Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures. Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Marilyn Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies. Following a tour of museums in Amsterdam, Paris and Rome, the artist made her way to Jerusalem in 1966. During this journey, the artist worked with painter Ruth Bamberger, studied etching and mingled with the artists and intellectuals of the city. The result was Dintenfass's first architectural commission, to design the “Pop Op Disco,” Jerusalem's first disco. This commission allowed her to work with an array of materials to employ shapes, surfaces, textures, colors, and lights, all of which coalesced in her consciousness that would become important components of her mature personal visual vocabulary. Dintenfass also married and started her family during these years. Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.” Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.” Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant." The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist's paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself. Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculpture unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.” Dintenfass has also been commissioned to create many large-scale installations, including works for the State of Connecticut Superior Courthouse; the Port Authority of NY 42nd Street Bus Terminal; IBM in Atlanta, Charlotte, and San Jose; The Baltimore Federal...

Ursonate K. Schwitters is a unique contemporary modern painting by renowned Polish-Dutch artist Eliza Kopec. The painting is a typical example of her preferred minimalist abstract ge...

White Tulips at Night in Oil on Canvas Dramatic floral painting by Rod Norman (American, b. 1947). Several white tulips are shown against a dark background...

Artist: Bob Nugent, American Title: Magico Year: 2002 Medium: Oil on Canvas, signed, titled, and dated verso Size: 50 x 70 in. (127 x 177.8 cm) Frame Size: 52 x 72 inches

Edie Nadelhaft “Fine Detail III” Oil on canvas, 22 x 48 inches. Offered unframed. Edie Nadelhaft's bold, large-scale, colorful monolithic oil paintings of bodega flowers were born f...

"Shattered Mind" by Masri is a 30" x 24" canvas that exemplifies 'Shattered Cubism', a style that deconstructs and reimagines the traditional form. This portrait is a kaleidoscope of...

"Selbstportrait Und Der Sonne" This work is part of a series of alligator paintings Brock made in 2007. All are painted in a somewhat similar and b...

Artist: Garner Tullis, American (1939 - ) Title: Untitled I Year: 2001 Medium: Encaustic Painting on Hand-made Paper, signed l.c. Size: 17 x 15 inches [...

Provenance: Babcock Galleries (bears their label verso.) signed verso with artists monogram signature. Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures. Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Marilyn Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies. Following a tour of museums in Amsterdam, Paris and Rome, the artist made her way to Jerusalem in 1966. During this journey, the artist worked with painter Ruth Bamberger, studied etching and mingled with the artists and intellectuals of the city. The result was Dintenfass's first architectural commission, to design the “Pop Op Disco,” Jerusalem's first disco. This commission allowed her to work with an array of materials to employ shapes, surfaces, textures, colors, and lights, all of which coalesced in her consciousness that would become important components of her mature personal visual vocabulary. Dintenfass also married and started her family during these years. Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.” Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.” Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant." The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist's paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself. Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculpture unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.” Dintenfass has also been commissioned to create many large-scale installations, including works for the State of Connecticut Superior Courthouse; the Port Authority of NY 42nd Street Bus Terminal; IBM in Atlanta, Charlotte, and San Jose; The Baltimore Federal...

Grigio Naturale 05 is a hypnotic abstract painting realized by the contemporary artist Li Lei in 2007. This vertical original artwork represents an abstract co...

Abstract expressionist figure by R. Navarro. Signed "R. Navarro" and dated "2000" lower right. Sand Francisco bay area find by undiscovered artist. Image, 30"H x 20"W.

Abstract Expressionist painting by Layton (American, 20th c.).Circa 2000. Image 30"H x 15"W. Acrylic on canvas wrapped and edges painted black.

A striking, large-scale contemporary surreal figurative abstract by Bay Area artist Michael Pauker (American, b. 1957). Titled "A Disturbance in the Force" on verso. Signed "Michael ...

Night of Man is a beautiful acrylic painting realized by the Italian artist Paolo Cantù in 2020. This is an original abstract artwork with bright and lively colors. The figure eme...

YURI MARTINEZ RAMOS "SYMPHONY IN D-MINOR" OIL ON CANVAS, SIGNED, TITLED CUBAN-AMERICAN, DATED 2005 40 X 30 INCHES Symphony in D Minor is the "music" Cuban people have to perform every day to survive a decadent system that has pushed people to the limit. A prostitute looking for living on the street, a musician playing for no tourist, a rounded stage that depicts the enclosing system from where you cannot escape, vigilant red birds are the government-symbol watching everywhere, controlling your miserable life. -D- minor instead of a chord is Destruction, Deplorable. Yuri Martinez Ramos was born in Havana, Cuba on November 24, 1964. He studied at the Elemental School of Plastic Arts from 1975 – 1979 and the National School of the Arts from 1979 – 1983. Martinez’ figurative paintings have been compared to Botero because of his satirical social commentary. His style, however, is uniquely his own with typically vibrant Latin colors and use of expressive magical realism. His paintings tell his story and the story of the Cuban dilemma. Martinez was granted permission by the US Justice Department after much effort with Cuban authorities to come to the US with his family and pursue his career outside Cuba. He now lives and works in Texas. Papillon Gallery...

Stephanie Visser, a native of southwestern Michigan, was educated at Kendall College of Art and Design in Grand Rapids Michigan. She continued her education in fine arts and painting...

Don Giffin (American, 1948-2003) Skin Deep, 2001 Mixed media on canvas Hand signed Don Giffin, titled and dated (verso) 68 x 53 inches. Provenance: from the Art Collection of the InterContinental Buckhead Atlanta Framed dimensions: 74 1/4 x 59 inches. Don Giffin, Born in Chicago in 1948, Giffin earned his bachelor’s and master’s degree at what is now Cal State Northridge. An abstract painter who expanded the Southern California modes of “color and light” and “finish fetish” art, melding impressions of photography, printmaking and painting into a single work. Giffin, a master printmaker as well as a painter. In 1995 he mounted the first of his five solo exhibitions at the Christopher Grimes Gallery in Santa Monica. David Pagel described the artist’s work in a Los Angeles Times review as perfectly smooth, glass-like surfaces when viewed from afar that seemed to decay as one approached. They make pain palpable and evoke mortality’s inevitability, Pagel wrote of Giffin’s creations, which used layers of paint, gesso and tar that he pulled apart as they dried. “His corporeal abstractions bypass your mind to hit you in the stomach.” Giffin was one of 10 Los Angeles, California artists whose work was featured in the 1997 Biennial of the Orange County Museum of Art. (including Robert Blanchon, Jessica Bronson, Julia Couzens, Terri Friedman, Don Giffin, Dennis Hollingsworth, Carlos Mollura, Carter Potter, Monique Prieto, and Chris Wilder.) In reviewing that exhibition for The Times, Cathy Curtis wrote: Don Giffin reinvents stain painting by layering color in such a way that it emits an inner radiance verging on iridescence. The artist continued to push boundaries, and when he displayed his 6 X 5-foot acrylics at the Grimes Gallery in 2000, Pagel described them as mesmerizing works. The cross-fertilization between painting and photography that has been cropping up in some of the most intriguing works being made today takes breathless shape in Don Giffin’s physically resplendent paintings,” the critic wrote. “When I work,” he once said, “it’s like I’m doing a dance with the painting, and I’m not always leading. When the imagery is mysterious, the surface is perfectly smooth and the color contrast is just right with that glow of pale color coming through it’s sheer delight. Finish Fetish denotes a style of art related to the LA Look, pop art, minimalism, and light and space originating in southern California in the 1960s. Artwork of this type often has a glossy and slick finish and features an abstract design on a two-or three-dimensional surface made from fiberglass or resins. The style is similar to the simplicity and abstraction of minimalism and the bright colors and reference to commercial products found in pop art. To the world of postwar art it was a substantive addition. Artists included Peter Alexander, Larry Bell, Billy Al Bengston, Judy Chicago, Joe Goode, Robert Irwin, Craig Kauffman, John McCracken, Kenneth Price, DeWain Valentine...

A very large triptych each panel 48” x 36” This artwork arose from improvised music, expressing the nuances of harmony, rhythm and melody in visual form. Mixed media on marine ply.