Ingrid Knaus

Adria, Sunshades from behind, Painting, Oil on Canvas

2017

Original oil on canvas on wooden stretchers, signed on the front. Certificate of authenticity included. :: Painting :: Abstract Expressionism :: This piece comes with an official cer...

75x60x1.5 cm. One of a kind work. Signed front and back. Sold with a certificate of Authenticity. Painted on canvas with the highest quality professional oil colors. Sold with a simp...

Paths twist and turn, shadows grow long, Lost in the labyrinth, where do I belong? Echoes of footsteps, fading in the night, In the maze of memories, seeking the light. :: Pai...

My abstract paintings are all about creating excitement for the viewer through concentrated exploration. Each painting is inspired by nature, travels, or imagination and created to e...

Original painting by Paola Zarate & Mark Wilson Two best friends completed a wonder of artworks for a weekend in Silverdale, Washington. "Smile For Me" represe...

Composition in Orange - French American Frédéric Choisel is inspired by the cities of France, New York and the Bay Area and creates elegant abstracti...

Created during my first residency at Found Wonder Studios in Brooklyn, New York. Represents the easter spirit within the composition. Egg Shells is a lighter...

Signed lower left. “Abstract and Fractured Biomorphic and Geometric Forms” which was painted in the mid to late 1950’s is a nod to Picasso’s famous painting Guernica, which Hart may have seen when it was given to the Museum of Modern Art in New York in 1958. Several elements in the painting clearly reference Guernica: the black geometric and cut-out shapes, the biomorphic shapes, the abstracted horse’s head and body, with a district reference to the bull’s tail, along with the black and white pallet choice and various details throughout-all hallmarks of Picasso’s Guernica. The abstracted reality Hart presents in these references go beyond a simple nod and reflect a personal interpretation reflected in the splintered abstraction and her bespoke interpretation. Agnes Hart’s first began her career as a social realist artist in the 1930’s. She was also WPA artist. Her longtime friend Milton Avery encouraged her, and she exhibited in the same gallery in the late 1940’s, the RoKo Gallery. Her instinctive and personalized modernist periods often reflected a similar path of her compatriot artists during the first half of the 20th century. Her early works were influenced by her teachers Josef Presser, Paul Burlin and Lucile Blanch, and Reginald Neal, and reflected historical modern trends-at times showing the influence of Avery and other modernist. Like Elaine DeKooning, Lee Kraser, Michael Corrine West...