Salvatore Grippi

Abstract Nude Female Figures Like de Kooning, Monochromatic Neutral Palette

1958

In Byron Brown's "The Night Journey", 1947, Picasso meets Jackson Pollock. Here Brown strikes a balance between fanciful representation and abstraction. ...

Salvatore Grippi was my art professor at Ithaca college from 1970- 1971 Who was doing paintings like this in 1950? Jackson Pollack, Willem De Kooning and Salvatore Grippi, and a few...

Football plays cloaked in oversized Browns jackets are seen from behind running off the field. Always the graphic innovator, legendary illustrator Bob Peak creates a radical composition by leaving the bottom two-thirds of the picture plane empty of detail. To convey a sense of motion, Peak uses broad strokes of paint similar to the action painters Franz Kline and Willem de Kooning, who were the dominant force in the fine art world in the 1960s. Clearly, one can see a cross-over influence from Fine Art to commercial illustration as Peak strikes a balance between abstract versus figurative art. This work was done on an assignment for Sports Illustrated...

There are a lot of people in the art world today who dismiss illustrators are being commercial solely because the artists identified as being commercial artists and that the work was done on assignment. Sadly these art world people have limited imagination and a restricted sense of curiosity. This boxing illustration/painting was done for Sports Illustrated...

Punchy reds and zestful hot pinks convey a sense of intense motion and engine heat. The art is as much as color-field painting as a narrative work. It was a commissioned illustration for Sports Illustrated...

It's 1964, and the brilliantly inventive artist/illustrator Bob Peak is turning the world of commercial art upside down. In "Pregame Football Players" for Sports Illustrated, Peak pu...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Large abstract expressionist oil on canvas of Toulon Rugby Club supporters at a rugby match. Unsigned. Extremely vibrant and energetic depiction of Toulon ...

"Chained" Oil Painting 35" x 27" inch by Anastasiia Danilenko Anastasiia Danilenko is an artist and graphic designer. But the area of her occup...

Three Mysteries by California abstract expressionist artist Kristin Cohen (American, b.1963). Titled "Three Mysteries", signed "Kristin Cohen" and dated "2000" on verso. Image, 30"H ...

"Leader and Followers" is a visually striking piece of art that immediately captures the viewer's attention. The artwork, which was created using a combination of oil colors, feature...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Abiodun Nafiu Azeez is an accomplished artist with a diverse background in contemporary painting, particularly Osogbo art. However, his true passion lies in abstract expression, where he seeks to promote African art, culture, and nature. Influenced by his artist father, he paints to preserve memories and connect with broader societal concerns. Abiodun's artistic style is characterized by the abstraction and simplification of human compositions. He employs vibrant oil colors, often focusing on primary colors that transition into secondary and tertiary hues. His subjects stand out against neutral backgrounds, creating a harmonious balance in his paintings. A prominent feature in his works is the use of red, blue, and yellow tones, subtly blended to emphasize form and shape. His artistic journey includes training under renowned bead painting contemporary artist Jimoh Buraimoh...