Ted Dixon

Manuel Parking, red, yellow, black, abstract, patterns, dark colors

2023

Acrylic on canvas Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ab...

Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ability to perceive? ...

Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ability to perceive? ...

Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ability to perceive? ...

"Exponent" is a framed acrylic painting on panel by David Rothermel, featuring large swaths of color in black, golden yellow, red, and a hazy purple-gray. The tremendous scale of the piece leaves a lasting impact as the expressive brushstrokes around the edge add a sense of movement. This piece is finished in a gold floater frame with a black woodgrain finish along the frame's sides and interior. Pricing includes the pictured frame. Unframed dimensions are 72 X 84 inches. American artist, David Rothermel of David Rothermel Contemporary, Santa Fe, New Mexico, was born in Sunbury, Pennsylvania, a small town located at the confluence of the north and west branches...

Charles Green Shaw (American, 1892-1974) By the Dawn's Early Light, 1955 Oil on masonite Signed lower left, dated and titled verso 35.5 x 23.75 inches 38 x 26.25 inches, framed Provenance: The estate of the artist to Charles H. Carpenter Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...

In Steven Rehfeld's expansive 38" x 48" mixed media piece, passion, and precision collide in a visual spectacle. The canvas becomes a theater of emotions, with deep purples, fiery re...

"Red/Yellow" Large Abstraction of Yellow, Red, Black, White and Cream. Flashe on Canvas, 72 x 60 Inches. This painting has a very sophisticated sensibility in that it is purely...