Serge Guerin (1916)

20th Century French Geometric Abstract Surrealist Composition Oil Painting

Abstract Composition signed by Serge Guerin (b. 1916), French oil painting on canvas, unframed size: 20 x 26 inches provenance: private collection, Paris, France condition: overall g...

Abstract Composition signed by Serge Guerin (b. 1916), French oil painting on canvas, unframed size: 20 x 26 inches provenance: private collection, Paris, France condition: overall g...

Abstract Composition signed by Serge Guerin (b. 1916), French oil painting on canvas, unframed size: 20 x 26 inches provenance: private collection, Paris, France condition: overall g...

Artist/ School: Modern British contemporary Title: abstract composition Medium: oil on canvas , unframed Canvas : 19.5 x 19.5 inches Provenance: private collection, UK Conditi...

Martin worked as the assistant to legendary artist Sam Gilliam for 12 years in his D.C. studio, after graduating from Carnegie Mellon where Sam was his Masters Mentor and guide. Over the past decade, he has incorporated mixed media and found objects into his abstract expressionist oil paintings on canvas, introducing new textural quality similar to Gilliam arts, which he helped to originate while his assistant. Martin received a B.F.A. degree from SUNY Purchase where he was inspired by figurative and abstract expressionism which evolved into his own style which Sam discovered in recruiting him to come to Pittsburgh to study for his M.F.A. degree with him where he credits his further artistic development with Gilliam. His works have been acquired by corporate patrons such as the Estée Lauder Companies, Eli Lilly and Company, Citigroup, Agatha Gund (past Chr of M.O.M.A) and Bill Kurtis TV Productions , who produced a TV special on A&E Channel entitled, "The Shattered Mind." His work has been featured in both group and solo exhibitions and presented two solo exhibitions at Fountain House Gallery in support of mental health. The prestigious New York gallery Vivian Horan Fine Art presented a solo exhibition of his work. Martin's work was also showcased in a solo show at the corporate headquarters of Estée Lauder Companies. Martin Cohen...

Signed & dated Verso. 1965 Paul Reed in 1970. He favored “staining” untreated canvas. Paul Reed, the last surviving member of the Washington Color School, who explored the complexities of color and form in vibrant bio-morphic and hard-edge abstract paintings, died on Sept. 26 at his home in Phoenix. He was 96. His death was confirmed by his daughter, Jean Reed Roberts. Mr. Reed acquired his public identity as an artist when he was included, along with Gene Davis, Kenneth Noland, Morris Louis, Thomas Downing and Howard Mehring, in “The Washington Color Painters,” a landmark traveling exhibition that began at the Washington Gallery of Modern Art in 1965. All of the other painters had been shown, the year before, in “Post-Painterly Abstraction,” a 31-artist exhibition at the Los Angeles County Museum of Art organized by the critic Clement Greenberg in an effort to write a new chapter in the historic march of abstract art. Like his fellow Washington artists, Mr. Reed rejected the hot, gestural approach of Abstract Expressionism and explored color and abstract forms in a cooler mode. Working with diluted acrylic paint, in discrete series that methodically explored formal issues, he created luminous fields of color by letting the paint bleed into, or stain, untreated canvas. “I have a saying: Pollock dripped, Frankenthaler poured,” he told The Washington Post in 2011, referring to the artist Helen Frankenthaler. “Morris Louis poured. Howard Mehring sprinkled. I blot.” In his first stained series, “Mandala,” color radiated from a circular central image. The nearly 100 paintings in his “Disk” series, which he called “a matrix for exploiting color,” consisted of a central circle and two triangles positioned at the corners of the canvas. Over the next decade he moved to hard-edge geometric zigzags and stripes in the vertical “Upstart” series, color grids and shaped canvases that allowed for more complex experiments in form and color relations. He also made welded steel sculptures and, in the “Quad” series of the 1980s, collaged photographs. “Reed was, in a sense, the ‘little master’ of that first batch of Washington colorists,” the critic Benjamin Forgey wrote in The Washington Post in 1997. “He was a latecomer — he didn’t turn seriously to painting until he was in his mid-30s — but he never considered becoming anything other than an abstract painter. And when he was ready to show, in his early 40s, he was a very good abstract painter indeed.” Mr. Reed gave himself a more modest assessment in an interview with NPR last year. “I’m sort of low man on the totem pole of that group of six,” he said. Paul Allen...

Represented by George Billis Gallery, NYC & LA -- JOHN BELINGHERI ​Artist Statement "Thoughts are patterns that bounce back and forth expressing the vacillating dialogue in my ...

JOHN BELINGHERI ​Artist Statement "Thoughts are patterns that bounce back and forth expressing the vacillating dialogue in my thinking, they become a constant conversation in my he...