Abstract Abstract Paintings

Scorpion is a contemporary artwork realized in 1973 by Genny Puccini. Mixed colored acrylic on canvas. Hand signed and dated on the lower margin and on...

Signed, verso, on stretcher bar, 'Renee Harwin' (Austrian-American, born 1924) and painted circa 1975. A dramatically balanced abstract comprising adjacent and overlapping geometric forms in muted shades of saffron, brick red and ultramarine. Renee Harwin's figures are gestural, reflective of human design and set within an environment of patterns suggestive of clouds and sky. She comes to the figure through years of hard-edge painting. Her work combines the influence of Midwest painters such as Clyfford Still and her San Francisco Art Institute instructor Jack Jefferson...

George Dannatt (1915-2009) Yellow Enclosed 1970 Mixed media on paper 25.4 x 17.7 cm Vertical orientation George Dannatt’s long career as a painter and sculptor ended with the ar...

Violet and green composition is a contemporary artwork realized by Leo Guida in 1975 Mixed colored oil painting Includes frame. Leo Guida (1992 - 2017). Sensitive to current iss...

Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...

Abstract composition is an original contemporary artwork realized by Leo Guida in 1970s. Mixed colored oil painting on canvas. Includes frame: 103 x 3 x 122 cm

Pink composition is a contemporary artwork realized by Genny Puccini in 1970. Acrylic on canvas. Signed and dated by the artist on the back: G. Puccini '70. This colorful artwork ...

Light blue and white surface with bears is an original contemporary artwork realized by Genny Puccini in 1975 Mixed colored acrylic on canvas. Hand signed and dated on the back. G...

Soft Blue Discs Acrylic/polymer on masonite, 1976 Signed by the artist in pencil lower right: LD Cantine (see photo) Signed, titled, dated verso (see photo) Canadian painter Cantine has spent his career exploring the role of color in painterly image construction Condition: Excellent Painting size: 12 x 15 inches Provenance: Kraushaar Galleries (lebl, see photo) "David Cantine (born 1939) is a Canadian painter, best known for consistently painting pictures using the same composition for the last forty years of his career. Cantine was born in Jackson, Michigan, and went to school at the University of Iowa, earning a Bachelor of Arts degree in 1962, and a Master of Arts degree in 1964. In 1965 he began teaching drawing and painting at the University of Alberta, until retiring from his position in 1996. Cantine's work in the beginning of his career was figurative art, but he began to experiment with abstraction in the 1970s, and in 1975 became inspired by a photograph of a pair of apples casting round shadows. This compositional structure became the basis for the minimalist, post-painterly abstraction David Cantine is best known for. David Cantine's paintings are in a number of collections, including the Art Gallery of Alberta, the University of Alberta, the Christopher Cutts Gallery, the Francis Winspear Centre for Music, the Alberta Foundation for the Arts, and the Masur Museum of Art." Courtesy Wikipedia "David Cantine’s highly recognizable compositions of coloured circles below Plexiglas have been the painter’s primary pursuit for 45 years of his impressive painting career spanning almost six decades. What originally began as a still-life of apples and their shadows evolved into the present abstract imagery of four circles and seven colours. Motivated by the use of “structural colour instead of descriptive colour,” David Cantine continues to explore variations on this minimalist theme. Since the early 2000s, he has also explored a more painterly form of colourful abstracted still-life, with echoes of inspiration from Giorgio Morandi. Born in Jackson, Michigan, Cantine received his Master of Arts degree from the University of Iowa before permanently relocating to Edmonton, Alberta, Canada. He taught Drawing at the University of Alberta for over thirty years and has been featured multiple times at the Art Gallery of Alberta, in the Alberta Biennial of Contemporary Art, and most recently in Soak, Stripe, Splatter. His work has been exhibited in 24 solo exhibitions and 37 group shows and can also be found in the following collections: Masur Museum, Louisiana; Museum of Contemporary Canadian Art, Ontario; Art Gallery of Alberta; University of Alberta FAB Gallery; Simons; Alberta Art Foundation; Hewlett-Packard; The Sims...

Compelling vintage abstract titled "Bandage Affixiation" by Carmel, CA based artist "Stoney" DeGuire (American, 20th Century), 1973. Titled, signed an...

This painting by Robert Goodnough is an abstract style acrylic painting on canvas. This piece was completed in 1974, framed, and in good condition.

Reference number A214 The painting is not framed but it could be with a natural oak floated or black frame (see how it would look like on the simulation photo. Price for the frame : ...

Blue n.18 is an original contemporary artwork realized by Gastone Biggi in 1974. Mixed colored acrylic painting on canvas Hand signed, titled and dated on the back Original title:...

Winter landscape is an original artwork, realized by Sergio Barletta in the 1970s. Watercolor and tempera. Includes frame: 38 x 3.5 x 48 cm Hand-signed on the lower margin Sergio Barletta (1934) is an Italian cartoonist and illustrator, who has also published some humorous and political satire books. From the age of 22 is active in Rome, where he worked as an illustrator and art director in some monthly magazines like “Costume”, Diners Club house organ, BP Review, IBM, and others. In 1965 started the joint-working with Marino Gallery in Rome, and in 1966 in Milan with Humour Graphic’s group, at Levi Gallery and others in the following years. In these years graphic work and illustration are mixed with painting and photography, also with satirical drawings...

'Composition in Orange and Red', gouache on paper, by James Pichette (circa 1970s). A dynamic, lively abstract composition by an artist known for such s...

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

Felipe Orlando (Cuban-Mexican, 1911-2001). Coronel Retirado y su Amante Esposa, ca. 1970. Ink and gouache on paper with heavily built up layers of textured ground. Measures 13 1/4 x 18 3/8 inches. Signed lower left. Original label affixed on verso. Excellent condition. Unframed. An anthropologist as well as a painter and engraver, Orlando, whose full name was Felipe Orlando Garcia Murciano, studied at the University of Havana and at the painting workshop of Jorge Arche and Víctor Manuel. He was a founding member of the Asociación de Pintores y Escultores de Cuba (APEC) and a professor at the Universidad de las Américas and the Universidad Nacional Autónoma de México, both in Mexico City. His style is influenced by the Afro-Cuban movement and pre-columbian art...

Signed lower left, 'Inman' for Robert Inman (American, 1927–2016) and dated, lower right, outside of design, '79'. Retaining original, card, mat and backi...

Larry Zox Lexington, 1973 Acrylic on canvas 61 x 49 inches Provenance: Andre Emmerich Gallery, New York Janie C. Lee Gallery, Houston, Texas Private Collection, Greenwood Village, Colorado Exhibited: New York, Andre Emmerich Gallery, Larry Zox: New Paintings, March 10 - 28, 1973. Houston, Texas, Janie C. Lee Gallery, Larry Zox, February - April, 1974. A painter who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions, which question and violate symmetry. Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using a mechanical format with X number of possibilities." What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–74 solo exhibition at the Whitney Museum of American Art. Zox also at times used a freer, more intuitive method, while maintaining coloristic autonomy, which became increasingly important to him in his later career. Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973–74, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum, which acquired fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers. He occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. Zox’s earliest works were collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.” In 1965, he began the Scissors Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels...

Signed lower left and dated lower right. Acrylic on paper.

Abstract composition is an original Contemporary artwork realized in the 1970s by the italian Contemporary artist Leo Guida (1992 - 2017). Mixed media on panel. Leo Guida (199...

In this painting Stefanelli conveys the intrigue and mystery of oracles, who were offering counsel through prophecies and divination in the ancient times. Wise and insightful, oracle...

Oil on masonite. Like many of his compatriots in the New York School, Ben Wilson (1913-2001) began his career painting figuratively before transitioning to abstraction after WWII (and somewhat later than his compatriots.) However, because he started in a different place than they did, he ended up in a different place. His starting place was the cubism of Picasso, Braque and Leger, and their influence never left him. A critic in the Princeton Review in 1987 wrote: "Ben Wilson's canvases, while still within the abstract expressionist mode, retain echoes of Picasso, Braque and even mechanistic elements of Fernand Leger." Another critic writes: "The expressive abstractions of Ben Wilson belong among the best work created by New York artists in the 20th century; but they stand outside the critical labels applied to Abstract Expressionism..." Ben Wilson had more than 30 one-man shows during his lifetime, first starting to show in the early 1930s. As early as 1942, he was singled out by the New York Times art critic Edward Alden...

Colorful abstract composition by Michael William Eggleston (American, 20th Century). Bold colors and shapes interlock to form a high-contrast composition. Sections of orange, yellow,...

Work on paper White wooden frame with glass pane 53 x 43,5 x 1 cm

Phenomena Spectrum Guardian by Paul Jenkins (1923 - 2012) Acrylic on canvas 76 x 101.5 cm (29 ⁷/₈ x 40 inches) Signed lower middle Paul Jenkins Executed in 1970 Provenance: Gallerie Iris Wazzau, Davos, Switzerland Private collection, Cologne, Germany Artist biography: Born at Kansas City in Missouri (USA), the multi-media artist, poet and playwright Paul Jenkins studied at the Kansas City Art Institute and the Art Students League in New York City. After his discharge from military service at the end of February 1946, he briefly studied playwriting with dramatist George McCalmon at the Carnegie Institute of Technology in Pittsburgh. Thereafter, Jenkins spent four years studying with Japanese American artist Yasuo Kuniyoshi in New York City. His first solo exhibitions were held at Studio Paul Facchetti in Paris in 1954 and the Martha Graham Gallery in New York City in 1956. Over the past thirty years, numerous retrospectives have been curated across the globe and Jenkins’ work can found in national collections from Europe and the United States to Israel, Australia and Japan. The diversity of his work springs from Jenkins’ wealth of eclectic influences. Some of his earliest works included what he called "interior landscapes" influenced by ancient natural forms like the caves he visited in the Ozark Mountains in his native-Missouri. Frequent student visits to the Frick Collection in New York fostered a love of the great masters: Bellini, Holbein, Vermeer, Rembrandt, de la Tour, Turner and Goya. In compliment, lingering student visits to the renowned Eastern collection of the Nelson-Atkins Museum of Art in Kansas City evoked powerful sympathy for a monumental Chinese fresco...

Fire Eater is an original artwork, realized by Sergio Barletta in the 1970s. Watercolor and tempera. Includes frame: 38 x 3.5 x 48 cm Sergio Barletta (1934) is an Italian cartoonist and illustrator, who has also published some humorous and political satire books. From the age of 22 is active in Rome, where he worked as an illustrator and art director in some monthly magazines like “Costume”, Diners Club house organ, BP Review, IBM, and others. In 1965 started the joint-working with Marino Gallery in Rome, and in 1966 in Milan with Humour Graphic’s group, at Levi Gallery and others in the following years. In these years graphic work and illustration are mixed with painting and photography, also with satirical drawings...

Passaggi is an original painting by Paolo Cotani (Rome, 1940-2011) in 1972. Hand-signed and dated in pencil on the lower right margin. Tempera on paper. Includes frame The artwor...

SHERRON FRANCIS (AMERICAN, B. 1940) Trap Rock, 1972 Acrylic on canvas 22 3/4 x 16 inches Signed, titled and dated on the reverse A reappraisal is long overdue for the second-generation abstract expressionists. Artists such as Helen Frankenthaler, Morris Louis, Dan Christensen, and Sam Francis are already well-known names. However, Sherron Francis, a female artist from the Midwestern United States, exhibited alongside many of these stars, yet has not been the recipient of a major exhibition in nearly 40 years. Francis was born in the Chicago suburb of Downers Grove, Illinois in 1940. She studied fine art at the University of Oklahoma from 1958 to 1960 before transferring to the Kansas City Art Institute for better educational opportunities. At the time, Francis remained loyal to figurative art. Philip Pearlstein, a contemporary artist and visiting professor once remarked at the confidence of Francis’ draftsman abilities. In the early 1960s, art dealers and gallerists from New York would visit the Institute to recruit artists by offering scholarships, but they only offered these scholarships to men. Francis was forced to plead with deans to allow a scholarship for women so that she could continue her studies. She ultimately graduated from the Kansas City Art Institute in 1963. In Missouri, Francis met Dan Christensen (Class of 1964), an artist friend, who would play a key role in her career throughout the next two decades. Francis then received her MFA from the University of Indiana, where she was housemates with Mernet Larsen, before assuming a teaching position at Eastern Michigan University. In 1968, with only $300 on hand, Francis moved to 16 Waverly Place in Soho. At the time, the neighborhood boasted some of the biggest names in abstract expressionism. She quickly became friends with Peter Reginato, Walter Darby Bannard, Michael Steiner, Peter Young, Larry Zox, and Larry Poons, who all lived and worked in the neighborhood. In fact, Francis introduced Larry Poons to his now wife, Paula, a friend and student of Sherron’s. Francis helped to found The Bowery Gallery in 1969 and received her first solo exhibition there in 1970 for her figurative works. After this exhibition, Francis decided to switch to abstraction. By 1971, Christensen, who was exhibiting with Andre Emmerich, introduced Francis to the legendary gallerist. There was no better gallery to be showcasing abstract expressionism and color field painting during this decade for an artist. For example, in 1972, Emmerich held solo exhibitions by art titans, such as Hans Hofmann, Al Held, Esteban Vicente, David Hockney, and Morris Louis. In 1973 alone, Emmerich gave one-person exhibitions to Helen Frankenthaler, Kenneth Noland, Hans Hofmann, Jack Bush and a new discovery: 32-year-old Sherron Francis. The January 27 - February 14 exhibition for Francis was a great success with Peter Schjeldahl commenting in the New York Times: “Francis has…sidestepped the danger of seeming hopelessly derivative of such artists as Mark Rothko, Morris Louis and Helen Frankenthaler —by, it seems to me, the use of a single canny formal device. All her canvases are tall, vertical rectangles. What this shape achieves is a physical presence that supports the paintings' fragile play of color and texture. Bearing roughly the proportions of the human body, but bigger in size, her pictures confront the viewer with a satisfying firmness, inviting delectation.” Francis’s career now took off with the stain paintings. In a 1974 article in Arts Magazine, Whee Kim writes, “She has asserted the credibility of her own answer to the problem of the outer edge of a canvas by limiting her investigations to a singular central image. In her variations on this theme, an intuitive sense of color and touch is given restricted free-play.” Schjeldahl added, “Her paintings, stained and brushed to a suavely grainy texture, each float an area of warm, soft color in a somewhat less‐intensely colored field. The areas are amorphous in shape and closely related, by hue, to the surrounding fields. Her colors run to luxurious brown‐golds, dreamy bluegreens and dusty pinks, though each canvas is alive with a variety of evanescent hues and tints. The goal of her art is to be at once as gorgeous and as delicate as possible: she intends to ravish.” In 1973, Francis exhibited at the Whitney Biennial and then received a second solo exhibition at Emmerich the following year. Corporate collections and private enthusiasts, including Helen Frankenthaler, rushed to purchase her paintings. More than sixty of her paintings sold in one year at Emmerich’s gallery. Throughout the 1970s and early 1980s, Francis exhibited at other leading American galleries, including Janie C. Lee Gallery in Houston, Barbara Kornblatt Gallery in Baltimore, Douglas Drake in Kansas City, Rubiner Gallery in Detroit, and Tibor de Nagy Gallery in New York. Francis always marched to the beat to her own drum. Although she admired the works of Jules Olitski, Jack Bush, and Kenneth Noland, Francis never felt that her work and lifestyle were influenced by others. When her friends summered in the...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Serie "U no és ningú" No. 21 by Antoni Tàpies (1923-2012) Acrylic, felt and pencil on cardboard 50 x 65 cm (19 ³...

Clifford Fishwick (1923-1997) British. Abstract Composition' circa 1974. paper media 38cm x 58cm and original period glazed frame, 51cm x 64cm. Signe...

1970s abstract oil on canvas by Broadmoor Academy artist Lawrence (Larry) Harris (1937-2008). Geometric shapes across the center of the canvas in warm colors of red, orange, yellow, black and brown. Presented in a custom wood frame measuring 20 ½ x 26 ½ inches. Image size measures 18 x 24 inches. Piece is clean and in very good condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Lawrence Harris...

Canvas collage and acrylic on wrapped canvas by 20th Century artist Margo Hoff (1910-2008) titled 'Suns and Moon.' It depicts an abstract image of geometric shapes painted in bright ...

George Dannatt (1915-2009) The Game 1981 Oil on card 12.8 x 17.8 cm George Dannatt’s long career as a painter and sculptor ended with the artist’s death in 2009 at the age of 9...

Richard Andres (American, 1927-2013) Interior, 1976 acrylic on canvas signed lower right, signed and titled verso 50 x 59.5 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...

Yuri Larin (1936-2014). Landscape, 1976. Watercolor on paper, 16.5 x 19.5 inches. Mounted on cardboard sheet measuring 24 x 28 inches. Signed and dated lower left. Excellent condition. Image is painted on verso side of block print wallpaper...

Paul Resika Skowhegan-Wesserunsett, 1976 Oil on board painting 6 × 9 1/4 × 1/2 inches Hand-signed by artist, Signed 'Resika' lower left, also signed, title...

Oil on masonite. Like many of his compatriots in the New York School, Ben Wilson (1913-2001) began his career painting figuratively before transitioning to abstraction after WWII (and somewhat later than his compatriots.) However, because he started in a different place than they did, he ended up in a different place. His starting place was the cubism of Picasso, Braque and Leger, and their influence never left him. A critic in the Princeton Review in 1987 wrote: "Ben Wilson's canvases, while still within the abstract expressionist mode, retain echoes of Picasso, Braque and even mechanistic elements of Fernand Leger." Another critic writes: "The expressive abstractions of Ben Wilson belong among the best work created by New York artists in the 20th century; but they stand outside the critical labels applied to Abstract Expressionism..." Ben Wilson had more than 30 one-man shows during his lifetime, first starting to show in the early 1930s. As early as 1942, he was singled out by the New York Times art critic Edward Alden...

Full Moon was a pivotal piece of McClures work resulting from her Albers fellowship. This led to her working at the Institute in America, and remains of great significance in the maturing of her work. Painted in 2005 at the Josef Albers Foundation in Connecticut Image 21.5" x 28.5". Framed 30.5" x 36.75" Framed Daphne McClure...

Oil on masonite. Like many of his compatriots in the New York School, Ben Wilson (1913-2001) began his career painting figuratively before transitioning to abstraction after WWII (and somewhat later than his compatriots.) However, because he started in a different place than they did, he ended up in a different place. His starting place was the cubism of Picasso, Braque and Leger, and their influence never left him. A critic in the Princeton Review in 1987 wrote: "Ben Wilson's canvases, while still within the abstract expressionist mode, retain echoes of Picasso, Braque and even mechanistic elements of Fernand Leger." Another critic writes: "The expressive abstractions of Ben Wilson belong among the best work created by New York artists in the 20th century; but they stand outside the critical labels applied to Abstract Expressionism..." Ben Wilson had more than 30 one-man shows during his lifetime, first starting to show in the early 1930s. As early as 1942, he was singled out by the New York Times art critic Edward Alden...

Signed lower right: "Kupferman". Inscribed lower right: "2317". Titled, signed, dated, and inscribed verso: "GK:2,317.D / "Pacific Tide Pool" / Lawrence Kupf...

Oil on masonite. Like many of his compatriots in the New York School, Ben Wilson (1913-2001) began his career painting figuratively before transitioning to abstraction after WWII (and somewhat later than his compatriots.) However, because he started in a different place than they did, he ended up in a different place. His starting place was the cubism of Picasso, Braque and Leger, and their influence never left him. A critic in the Princeton Review in 1987 wrote: "Ben Wilson's canvases, while still within the abstract expressionist mode, retain echoes of Picasso, Braque and even mechanistic elements of Fernand Leger." Another critic writes: "The expressive abstractions of Ben Wilson belong among the best work created by New York artists in the 20th century; but they stand outside the critical labels applied to Abstract Expressionism..." Ben Wilson had more than 30 one-man shows during his lifetime, first starting to show in the early 1930s. As early as 1942, he was singled out by the New York Times art critic Edward Alden...

Work on paper White wooden frame with glass pane 43 x 53 x 1,5 cm

Abstract Mid-20th Century Oil Non Objective NYC Radio City Music Hall. Oil on board, 23 x 20 inches. Signed lower right. Provenance: Michael Desk...

Bright and dynamic depiction of two birds fighting by Filipino artist JG Rivera (20th Century). Splashes of color surround a flourish of feathers. At the center of the composition, t...

SAM FRANCIS 1923-1994 San Mateo, California 1923 – 1994 Santa Monica (American) Title: Untitled SF78-255 (Acrylic), 1978 Technique: Signed and Dated Acrylic on BFK Rives Paper Pap...

Untitled is an original modern artwork realized by Marisa Busanel in 1971. Oil painting on board Hand signed and dated. On the back of the painting: ...

Yuri Larin (1936-2014). Landscape, 1982. Watercolor on paper, 16.5 x 18 inches. Mounted on cardboard sheet. Signed and dated lower left. Excellent condition. Image is painted on verso side of block print wallpaper...

'Composition with Circles', gouache on paper, by James Pichette (circa 1970s). A dynamic, lively abstract composition by an artist known for such stunni...

Oil on canvas painting by Margo Hoff (1910-2008) titled "Pyramid" from 1979. Shows an abstract depiction of two pyramids on top of each other with a brown and red background. Present...

Snow of planet is a beauty acrylic painting realized by the Italian artists Frida & Raul in 2022. Hand-signed. Perfect conditions.

"Untitled (Taos, New Mexico)" is an abstract oil on canvas by James Meek (b. 1928) from 1975 with a rich golden-brown and stark horizontal, parallel lines in blue and orange that con...

The painting is being offered with a work and authenticity certificate

1970 Acrylic on canvas 54 x 54 in. (137.2 x 137.2 cm) Signed, lower right

Clarence Holbrook Carter (American, 1904-2000) Expanding Mandala, c. 1970s Acrylic on scintilla 23 x 30 inches Clarence Holbrook Carter achieved a level of national artistic success...

Born in 1934, the work of Suzanne Bloomfield represents the life force which binds us all -- a universal symbol for the soul's transformation. Bloomfield believes that painting is t...

Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...

A fine acrylic space scape painting with additional canvas strips added by American artist Carl Caivano (b. 1946). Caivano earned a Master of Fine Arts fr...