Maley

Woman and Child in the Woods - Midcentury Abstracted Landscape in Oil on Canvas

1979

"February 21st - Red" Abstract Expressionist Landscape by William Morehouse The image shows an abstract landscape painting by William Paul Morehouse (American, 1929-1993), titled "February 21st - Red". The painting has a textured application of impasto, in oil on canvas, with dominant earth tones and a contrasting red section at the top. The composition is divided into geometric shapes and lines, suggesting a stylized representation of a landscape. The colors and textures evoke a sense of the Northern California coastal prairie, a recurring theme in Morehouse's work. The painting is signed, titled, and dated 1960 on the reverse., and WM '60 center bottom of painting. Image, 34"H x 20"W x .5"D Signed center at bottom, Signed and dated on verso, with exhibition label and title. Post War California artist, William Paul Morehouse studied at the California School of Fine Arts (1947-1950) receiving his BFA. Not long after graduation from the CSFA he joined the Army during the Korean War. He became a Master Sergeant and was released with a Purple Heart in 1953, at which point he enrolled in courses at the California College of Arts and Crafts (now the California College of the Arts). A transfer to the San Francisco Art Institute the following year led to his Bachelors in Fine Arts, and in 1954 he enrolled at San Francisco State University where in under two years he earned his MFA. He traveled to New York that same year to participate in the Young American Painters exhibition at the Guggenheim, along with Diebenkorn, deKooning, Motherwell, and Jackson Pollock. He soon began dividing his time between the two coasts. Morehouse eventually settled in Bodega Bay permanently, where he continued to paint as part of the group the "Sonoma Four" Selected Group Exhibitions: Pennsylvania Academy of Fine Arts; University of Illinois; Fort Worth Museum; Los Angeles County Museum; National Academy; Oakland Art Museum; Rotunda Gallery, San Francisco; Denver Art Museum; Fourth Annual Exhibition of Contemporary Painting, California Palace of The Legion of Honor 1951; First Pacific Coast Biennial Exhibition, Santa Barbara Museum of Art & California Palace of the Legion of Honor, San Francisco 1955; PACIFIC COAST ART...

Spring Has Sprung on the Farm - Abstracted Landscape in Oil on Masonite Abstract farm with seeds sprouting in a bold abstract expressionist painting by ...

"Machinations of the Mind No. 3" - Abstract Surrealist Landscape in Oil Bold composition by Loreen Hewitt-Hackett (nee Bergman) (American, b. 1971). The artist has created an abstracted, surrealist scene with larger-than life objects in a barren land. The largest shape is similar to an hourglass, with other objects balanced on and floating around it. This piece has a muted color palette of teal, black, and brick red. Signed and dated "Bergman 04" in the lower right corner. Signed, titled, and dated on verso: Loreen Bergman...

"Visions of the Metropolis" - Original Oil on Canvas Original oil painting from Bay Area artist Travis Flack (American, 20th Century) from the series "Visions of the Metropolis." Hu...

"Cellar with Horseshoe" WPA American Scene Modernism 20th Century NYC Industrial Joseph Solman (1909-2008) "Cellar with Horseshoe," 16 x 20 inches, oil on canvas circa 1938, initial...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

Signed and dated lower left: "Ben Norris / 29 - XII - 50". With label verso: "Landscape Variations II - Sardonic Interlude / by Ben Norris". From the Estate of the Artist. Exhibite...

Out of many come one. A huge back mountain is formed out of scores of gas spewing smokestacks. The foreboding back mass fills most of the pictorial area. As one gets closer to the canvas, the complexity of the mass if revealed in low on contrast as we see the diverse variety of the stacks with accompanying petrochemical architecture. Above the stacks, plums of air pollutants like sulfur dioxide and nitrogen oxides rise gracefully into the atmosphere. The artist focuses less on the by-product of the stacks and more on his giant pollution machine that he has so astutely rendered. The work is mostly monochromatic but the artist has indicted a red tonality of a sunset/sunrise that offsets the charcoal blacks and grays. ______________________________________________ Submitted by Tamarind Institute Ian Davis...