Paint Paintings

“Untitled #34” was created by Sam Gilliam, one of the great innovators in postwar American painting. It is dated and signed on the lower front. The thick handmade paper is rich with folds and texture and the colors lively. In addition to Acrylic paint on the surface there appears to be imbedded color in the handmade paper which has additional embossed accents. Unframed the piece measures 16 x 14. Provenance of Yaw Gallery, Birmingham, Michigan is on the verso along with the note that the Paper Surfaces in contact with this artwork are acid free. In the mid-1960s he emerged from the Washington D.C. scene with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. One profound manner was the sculpture aspect of the painting giving it a free flowing expression of pure color. In the latter half of the 1950s, Washington D.C. saw a flourishing of abstract art that emphasized the form-making capabilities of pure color. Known as The Washington Color School, the loosely affiliated group of abstract painters knew each other through various teaching experiences. The moniker has an uncertain origin but likely originated with the title of a 1965 exhibition at the Washington Gallery of Modern Art, "Washington Color Painters," curated by Gerald Nordland. The show exhibited the works of Kenneth Noland, Paul Reed, Morris Louis, Howard Mehring, Thomas Downing, and Gene Davis. Additionally, Leon Berkowitz...

A 1980 yellow-toned, Abstract Geometric painting by Institute of Design artist Eugene Dana. Artwork size: 27" x 41". Framed size: 28". x42". Provenance: Estate of the artist. E...

A silent conversation. The painting depicts a gentle dance of water lilies - a silent dialogue of nature unfolding on the water's surface. The lilies, immersed in a tranquil space, s...

Toni LaSelle (1901–2002) was a pioneering American modernist and a key figure in shaping modern art education in the United States. Strongly influenced by European movements such as ...

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely w...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

Josep Guinovart (1927 –2007) was a Spanish Catalan painter most famous for his informalist or abstract expressionist work. In 1941, he began to work as a decorator. Three years later, he started his studies at the Escuela de Artes y Oficios de la Llotja (Art School of La Llotja) where he stayed until 1946. He first exhibited his work in 1948 in Galerías Syla in Barcelona. In 1951, he produced his first engravings entitled 'Homage to Federico García Lorca'. Two years later, he was awarded a grant from the French Institute to study in Paris for nine months. Here he discovered the cubist works of Henri Matisse and Pablo Picasso and travelled to Belgium, Holland and Germany. On his return to Barcelona and after a period working as an illustrator and set designer, around 1957 he began moving towards abstract art. His work is highly unconventional and usually on a large scale, using a wide range of materials, three-dimensional objects and organic substances such as eggshell, earth and straw. In 1962, he illustrated a book of poetry entitled Posies by Joan Salvat-Papasseit for the Ariel Editorial. He won many accolades for his work throughout the 1970s and 80s, including Spain's National Award for Plastic Arts in 1982. In 1994, a museum foundation dedicated to his art was inaugurated in Agramunt, his mother's birthplace to which he always felt a special attachment. In 2006 he designed the winery Mas Blanch i Jové in La Pobla de Cérvoles (Lleida) and created The Artists' Vineyard, a project intended to mix sculptures and other art works from different artists in the middle of a vineyard. The Artists' Vineyard was inaugurated after his death in 2010 with the unveiling of his sculpture The Countryside Organ: a music instrument, 6 meters height, for the wind to sing the vines. This winery also displays the 10.5 meters work In Vino Veritas...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

In her latest series, "The Weaver," Shizico explores forms, layers, and time onto canvases. Applying the format of diptychs and triptychs, she creates lyrical narratives, capturing t...

In this painting, I captured the graceful dynamics of the relationship between rider and horse with warm, expressive brush strokes. The bright background, shimmering with pink and em...

The inspiration for this work is a recent trip I made to the fiordes on Norways north west coast . Beautiful houses in white and red line the waters edge . This restricted palette of...

Barcelona native artist Raul de la Torre's vibrant abstract mixed media artworks pay homage to textiles. De La Torre allows the materials to take over during the process and collabor...

Paul Winthrop Wood modernist abstract cityscape, 1979 Modernist Abstract Landscape Oil on Board 18" x 34" unframed, 24.5" x 40.5" framed Paul Winthrop Wood 1922-2003 Wood was born on August 29, 1922, in Kingsville, ON, Canada. He was the son of Albert G., an architect and Louise Wood. He married Jacqueline Stark, a pianist, on September 4, 1953. Wood attended Grand Central School of Art, 1938, New School for Social Research, 1939, and Art Students League in New York from 1939-41 and 1946-47. He was a portrait painter in 1948 at Paul W. Wood Studio, Port Washington, NY, owner, 1949-68, and a part-time course tutor. He taught at the Open University, Milton Keynes, England, beginning in 1980 and at the Department of Art History, 1993-2003. Wood was president of the Pleasant Hill, Inc., former director of Albert Wood and Five Sons...

Glyn Morgan, a Welsh artist, studied at Cardiff College of Art under Ceri Richards. He was a renowned imaginative artist and friend of Cedric Morris. He was influenced by the Benton ...

"Low Tide Afternoon" is a colorful example of Bryan Mark Taylor's modern approach to Impressionism. This beautiful oil on panel captures the mood and feel of the California Riviera ...

Bold contemporary form and striking bright colours define the unique artistic style of Aron Hill. The Calgary-based artist often uses the sun and rocks as central images in their wor...

Drawing inspiration from an immersive and impressionistic interpretation of nature, Canadian artist Vé Boisvert paints textural original artworks that capture the fleeting effects of...

Very nicely painted mid century abstract expressionist oil painting. Oil on board. Framed. Great colors and bold brush strokes.

Maria C Bernhardsson's original artworks are influenced by the architecture and geometry of houses. Born in Sweden, Bernhardsson travels the world photographing and sketching houses ...

Bold, heavily textured abstract composition by Stephen A. Peters (American, 20th Century). Titled and signed on canvas verso. Presented in a silver frame with a black mat and glass. ...

Original oil and acrylic painting on canvas titled “Sandscape 2” by the well known American artist, Syd Solomon. Signed Syd Solomon lower left. Signed and dated Syd Solomon 1972 and inscribed as titled on the reverse. 22 × 30 inches. Overall very good to excellent condition. No notable issues detected during inspection. No signs of restoration under UV inspection. The painting is in its original wood with silver reveal floating frame. Overall framed measurements are 24.25 by 32.25 inches. Provenance: A private collector. Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd. There, Solomon met and befriended many of the artists of the New York School, including Jackson Pollock, Franz Kline, Willem de Kooning, James Brooks, Alfonso Ossorio, and Conrad Marca-Relli. By 1959, and for the next thirty-five years, the Solomons split the year between Sarasota (in the winter and spring) and the Hamptons (in the summer and fall). In 1959, Solomon began showing regularly in New York City at the Saidenberg Gallery with collector Joseph Hirshhorn buying three paintings from Solomon’s first show. At the same time, his works entered the collections of the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Wadsworth Athenaeum in Hartford, Connecticut, among others. Solomon also began showing at Signa Gallery in East Hampton and at the James David Gallery in Miami run by the renowned art dealer, Dorothy Blau. In 1961, the Guggenheim Museum’s H. H. Arnason bestowed to him the Silvermine Award at the 13th New England Annual. Additionally, Thomas Hess of ARTnews magazine chose Solomon as one of the ten outstanding painters of the year. At the suggestion of Alfred H. Barr, Jr., the Museum of Modern Art’s Director, the John and Mable Ringling Museum in Sarasota began its contemporary collection by purchasing Solomon’s painting, Silent World, 1961. Solomon became influential in the Hamptons and in Florida during the 1960s. In late 1964, he created the Institute of Fine Art at the New College in Sarasota. He is credited with bringing many nationally known artists to Florida to teach, including Larry Rivers, Philip Guston, James Brooks, and Conrad Marca-Relli. Later Jimmy Ernst, John Chamberlain, James Rosenquist, and Robert Rauschenberg settled near Solomon in Florida. In East Hampton, the Solomon home was the epicenter of artists and writers who spent time in the Hamptons, including Alfred Leslie, Jim Dine, Ibram Lassaw, Saul Bellow, Barney Rosset, Arthur Kopit, and Harold Rosenberg. In 1970, Solomon, along with architect Gene Leedy, one of the founders of the Sarasota School of Architecture, built an award-winning precast concrete and glass house and studio on the Gulf of Mexico near Midnight Pass in Sarasota. Because of its siting, it functioned much like Monet’s home in Giverny, France. Open to the sky, sea, and shore with inside and outside studios, Solomon was able to fully solicit all the environmental forces that influenced his work. His friend, the art critic Harold Rosenberg, said Solomon’s best work was produced in the period he lived on the beach. During 1974 and 1975, a retrospective exhibition of Solomon’s work was held at the New York Cultural Center and traveled to the John and Mable Ringling Museum in Sarasota. Writer Kurt Vonnegut, Jr. conducted an important interview with Solomon for the exhibition catalogue. The artist was close to many writers, including Harold Rosenberg, Joy Williams, John D. McDonald, Budd Schulberg, Elia Kazan, Betty Friedan...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

Sophie Dumont is a contemporary painter who explores the intersection between abstraction and landscape, blending energy and serenity. Her intuitive and subtle approach is inspired b...

Bernhard Zimmer has created a positive stir at major international art fairs (Art Basel, Kunst Köln, etc.). His lively and mysterious compositions pique the taste of the serious art ...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Morning Hike" by Cat Tesla is an abstract journey that evokes...

Jack Wolfe Untitled, 1965 Acrylic and collage on board Hand signed on the front Frame included: held in original vintage frame with original gallery label Unique Provenance: Parker Street 470 Gallery, Boston, Mass (with label verso) Excellent abstract expressionist mixed media work. Measurements: Image: 17" x 24" Framed: 24" x 28" x 1" From Wiki: Jack Wolfe (14 January 1924 – 18 November 2007) was a 20th-century American painter most known for his abstract art, portraiture, and political paintings. Jack Wolfe was born in Omaha, Nebraska on January 14, 1924, to Blanche and Everett L. Wolfe. Soon after his birth, his family moved to Brockton, MA. At 18, Wolfe had an interest in commercial illustration, which he pursued at the Rhode Island School of Design (RISD). However, upon matriculating at RISD in 1942, he developed an interest in fine art and painting inspired by an exhibition of modern French art. He described this change of direction, explaining that, "One day, for the first time, I saw an exhibition of modern French art. It was like being struck by lightning." He became particularly interested in the work of a number of European modernists, including Rouault, Cézanne, Braque, Modigliani, and Picasso.[1] Following his time at RISD, he pursued a Master’s in Fine Arts degree at the Museum of Fine Arts School in Boston, MA. At the Museum School, Wolfe studied under the renowned Expressionist Karl Zerbe, a German-born artist who was the Museum School's most influential and vital teacher until 1953.[2] After graduating from the Museum School, Wolfe was represented by the Margaret Brown Gallery in Boston, which also represented many other cutting edge Moderns that defied the more conservative tastes of New England collectors at the time, including György Kepes, Congur Metcalf, and Alexander Calder.[3] Career and Museum Representation Jack Wolfe's painting "Robin's Rock" 1962, 72" x 72" Jack Wolfe's artwork received early recognition from a number of organizations and was consistently featured in influential exhibitions, including the 1955 Carnegie International at the Carnegie Institute in Pittsburgh, PA, the American Federation of Art's traveling exhibition New Talent in the USA in 1956-57, the Whitney Museum’s Young America exhibition in 1957,[4] the Boston Institute of Contemporary Art's Selection exhibition in 1957,[5] and both the Whitney Museum’s 1958 Annual exhibition and its Forty Artists Under Forty show in 1962-63.[6] In 1959, his widely acclaimed Portrait of Abraham Lincoln toured Europe in a show circulated by the Institute of Contemporary Art, Boston. In addition, his painting Crucifixion was chosen by the United States Information Agency to be exhibited across Europe, including being shown at the Salzburg Biennial in Austria in 1958.[7] Crucifixion was also exhibited at the Whitney Museum and subsequently displayed in the National Cathedral in Washington, DC, in 1958.[8] In 1966-67, his work was selected for Art for Embassies by the U.S. State Department.[9] He received the first annual Margaret Brown Memorial Award for high achievement by a New England Artist from the Institute of Contemporary Art, Boston, in 1958.[10] With his future as one of the great artists of his time laid out neatly before him, Wolfe moved to New York in the early 1950s, which was then the postwar epicenter of the art world and in the midst of experiencing the first real revolution in American Art, now known as Abstract Expressionism.[11] However, almost immediately upon his arrival, he became disenfranchised with the overtly commercial nature of the art scene there, spurning fame and security in an unwillingness to bend his creative vision to the expectations of others.[12] After four short months, he left New York, returned to Massachusetts where he bought property in Stoughton, cleared the land, and built both his home and studio with his own two hands. He would go on to live and paint there, extensively exhibiting and garnering constant critical acclaim.[13] Wolfe became one of the earliest artists championed by the deCordova Museum in Lincoln, MA and the Institute of Contemporary Art in Boston. He was awarded a traveling scholarship in 1958,[6] which allowed him to set up studio in San Miguel de Allende, Mexico and then in San Francisco, California.[14] Upon his return in 1959, the deCordova museum hosted Wolfe’s third solo exhibition, featuring work made during his time in California...

Ali Enache is an American abstract painter based in Los Angeles, California. A Washington D.C. native and a graduate of University of Wisconsin-Madison, Ali Enache worked as a design...

Beautiful ca. 1960 portrait by American artist, Vito Tomasello. Oil on sized illustration board measuring 21.5 x 30 inches. Signed lower right. A lifetime NYC resident, Tomasello ...

Tranquil shades of sylvan colour are paramount in this piece from Francesca Owen. Painted on a theme of metamorphosis it’s a particularly good work show...

My first red cat learned life on the street!) He was handsome and brave. Seasons away! ...I finally decided to adopt a second cat. This red cat lives on 5 floor, he is handsome and b...

"Blooming in Sunshine" is a striking, expressive contemporary painting by French artist Natalya Mougenot, and it forms part of her Floral series. In this series, Natalya masterfully ...

Abstract Portrait French School, mid 20th century oil on board, unframed 36 x 25 inches provenance: private collection, France condition: very good and sound condition though there i...

Signed lower left, 'R. Bowman' for Richard Irving Bowman (American, 1918-2001), titled, 'Kg. 55' (Kinetogenics 55) and dated February 1962. Additionally titled, on stretcher bar verso, 'Kg 55'. Accompanied by a first edition copy of 'Richard Bowman: Radiant Abstractions', by Patricia Watts and Stefanie De Winter, published 2018. Richard Bowman's work is featured in the July/August 2024 issue of Architectural Digest, in an article titled, 'Inside a 1920s LA Respite, Re-envisioned by Jamie Bush. Richard Bowman was awarded a scholarship to study at the Art Institute of Chicago and received his Bachelor's degree in 1942. He subsequently attended the University of Iowa, receiving his Master's degree in 1945. Over the course of a long and distinguished career, Bowman exhibited internationally with success and was the recipient of numerous gold medals, prizes and juried awards. With the Kinetogenics Series, which he began in 1956, Bowman explored the intersection of color and light using contemporary advances in light theory and fluorescence technology. "For this series, he started using fluorescent enamel alkyd paint, which, Bowman stated, emitted an actual, measurable energy from the canvas. He combines his early concept of elemental radiants with the gestures of a mature Abstract Expressionist. Incorporating bold fluorescent strokes of orange, yellow and blue, which are activated by the ultraviolet in daylight, Bowman's new abstractions represented a synthesis of the physical and sensorial transmissions of energy. The combination of the artist's interests in nuclear physics, atoms, and dynamism with these vibrant colors reflected Bowman's increasing confidence as an unconventional artist working in an unconventional medium." (Richard Bowman: Radiant Abstractions, p. 13) "The 'kinetogenic' series which Bowman has been painting recently, are whorls of pure energy in colors from the violet edges of the spectrum in vibrant relationship to the vivid primaries of the center. These paintings have much less sense of place or landscape than Bowman paintings we have seen before. The “Environs” group accompanying the energy pictures in this exhibition, are, on the other hand, specific about place: are of flower beds and branches of trees, painted with the same brilliant color intensity. This use of vibrant colors gives an all-over electric, textural effect in contrast to the after-image jump which obtains when the vibrants are painted flat and geometric. This textural mosaic effect is close to the vision of heat and passionate rhythm which was central to pre-Columbian art, and is still present in the Mexican arts and crafts, which were one of Bowman’s formative sources. It is interesting to note that several of the painters who have influenced many others to experiment with vibrancy and glow in color, found their own impetus in this direction while painting in Mexico. Bowman was one of the painters who was working with fluorescents when the general tendency was to paint with muck. One feels that using color thus leads the artist, as it did his pre-Columbian esthetic ancestors, in the direction where the ecstatic becomes mystic." (courtesy: Artforum, April 1964) Thomas Albright writes of the artist, "Visiting Mexico on a traveling fellowship in the early 1940s, [Bowman] met Gordon Onslow-Ford, with whom he renewed a friendship after moving to San Mateo County in the early 1950s. His paintings, although gestural and abstract, were close in spirit to those of the Dynaton artists than to the mainstream of Abstract Expressionism. They constituted an intensely lyrical and metaphorical abstract Impressionism inspired by Bonnard and an intimacy with the natural environment. Bowman was also influenced by jazz improvisation and the jazz poetry of Kenneth Patchen, a close friend" (p. 263) EDUCATION Art Institute of Chicago, BFA, 1944 University of Iowa, MFA, 1949 AWARDS 1942 Edward L. Ryerson Foreign Traveling Fellowship, Art Institute of Chicago (Mexico) 1945 William M. R. French Memorial Gold Medal, Art Institute of Chicago 1952 Modern Painting Prize, Montreal Museum of Fine Arts 1972 Gift of Time Grant, Roswell Museum and Art Center, Roswell, New Mexico SOLO EXHIBITIONS 1945 The Pinacotheca Gallery (Rose Fried Gallery) New York 1946 Milwaukee Art Institute, Wisconsin 1949 Swetzoff Gallery, Boston 1949 Bern Porter Gallery, Sausalito, CA 1950 Kinetic ... A commentary on the relationship of SCIENCE and ART. Stanford Art Gallery, Stanford University, Palo Alto, CA 1956 Stanford University, Palo Alto, CA 1957-1977 (every 18 months) Rose Rabow Galleries, San Francisco 1961 Richard Bowman: Paintings and Reflections.1943-1961. San Francisco Museum of Art 1970 Richard Bowman: Paintings from 1966-1970. San Francisco Museum of Art 1972 Richard Bowman: Paintings, 1943-1972. Roswell Museum and Art Center, New Mexico. Traveled to the Museum of Texas Tech University, Lubbock, 1972; and Sacred Heart Convent Gallery, Menlo Park, 1972 1986 Richard Bowman: Forty Years of Abstract Painting. Harcourts Modern Gallery, San Francisco 2000 Rock and Sun: Richard Bowman's Pioneer Abstractions of the 1940s. Steven Wolf Fine Arts, San Francisco 2019 Radiant Abstractions, Curated by Patricia Watts. the Landing Gallery, Los Angeles TWO-PERSON EXHIBITIONS 1945 Room of Chicago Art: Paintings by Richard Bowman and Russell Woeltz. Art Institute of Chicago. 1947 Joan Mitchell and Richard Bowman: Oil Paintings. Harry and Della Burpee Art Gallery, Rockford, Illinois. Traveled to University of Illinois. Sponsored by Rockford Art Association. 1959 Gordon Onslow Ford and Richard Bowman. San Francisco Museum of Art 1990 Independent Abstraction: A Survey of Paintings by Richard Bowman and Emerson Woelffer. Harcourts Modern & Contemporary Art, San Francisco. SELECT GROUP EXHIBITIONS 1943 Ras-Martin Gallery, Mexico City 1945 56th Annual American Exhibition of Oil Paintings. Art Institute of Chicago 1945 Art of This Century Gallery, New York 1947–48 Abstract and Surrealist American Art: Fifty-Eighth Annual Exhibition of American Paintings and Sculpture. Art Institute of Chicago. Curators: Daniel Catton Rich, Frederick A. Sweet, and Katherine Kuh. Catalogue. 1948 Fourth Summer Exhibition of Contemporary Art. State University of Iowa, Iowa City. Organized by Lester D. Longman. Included Milton Avery, Max Beckmann, Leonora Carrington, Max Ernst, Hans Hofmann, and others. Brochure. 1948 Joslyn Memorial Art Museum, Omaha, NE 1949 2nd Biennial Exhibition of Paintings and Prints. Walker Art Center, juried show, Minneapolis, 1949. Brooklyn Museum. 1951 [Group exhibition of University of Manitoba, Winnipeg, artists.] Montreal Museum of Fine Arts. Included William McCloy, Robert Gadbois, John Kacere, and other instructors from the School or Art, University of Manitoba. 1952 Sixty-ninth Annual Spring Show. Montreal Museum of Fine Arts. Bowman awarded Modern Painting Prize. 1953 Annual Exhibition of Canadian Painting. The National Gallery of Canada, Ottawa. Included John Kacere, William McCloy, Roland Wise, and Takao Tanabe. 1953 Winnipeg Group. Vancouver Art Gallery. Included William McCloy, John Kacere, Cecil Richards, Roland Wise. 1953–54 São Paulo Biennial of Modern Art, Second edition. Canadian section. Traveled to Caracas, Venezuela, and the Palacio de Bellas Artes, Mexico City. Catalogue. 1954 [Group exhibition of Winnipeg artists.] Art Gallery of Ontario, Toronto. Included Oscar Cah n, William McCloy, and Cecil Richards. 1954 Royal Ontario Museum, Toronto 1958 Esther Robles Gallery, Los Angeles 1959 Rabow Galleries, San Francisco. Included Julius Wasserstein, Gordon Onslow Ford, and Fred Reichman. June 18, 1960 David Cole Gallery, Inverness, CA. Included Ruth Awasa, John Baxter, Nankoku Hidai, Onslow Ford, Fritz Rauh, David Simpson, and Jean Varda. 1961 Paintings from the Pacific: Japan, America, Australia, & New Zealand. Auckland City Art Gallery, New Zealand. Catalogue. 1961–62. Pittsburgh International Exhibition of Contemporary Paintings and Sculpture. Fine Arts Gallery, Carnegie Institute. 1962 50 California Artists. Whitney Museum of American Art, New York. Organized by the San Francisco Museum of Art, with assistance of the Los Angeles County Museum of Art. Traveled to Walker Art Center, Minneapolis, MN; Albright-Knox Gallery, Buffalo, NY; and Des Moines Art Center, IA. Catalogue. February 1966 Contrasts. San Francisco Art Institute. Included Hassel Smith, Gordon Onslow Ford, and Ruth Asawa. October 1967 Arleigh Gallery, San Francisco. Included Lee Mullican, Fred Reichman, Amalia Schulthess, and John Baxter. 1975 Gallery 865, San Francisco 1976 Painting and Sculpture in California: The Modern Era. San Francisco Museum of Modern Art. 1978 Creation. Galerie Schreiner, Basel, Switzerland. Included Joan Mir , Fritz Rauh, John Anderson, Ruth Asawa, J.B. Blunk, Roberto Matta, Lee Mullican, Gordon Onslow Ford, Wolfgang Paalen, Fritz Rauh, Yves Tanguy, and others. Accompanying book by Onslow Ford. 1984 A Personal Selection/Collection. David Cole Gallery, Inverness, CA. Forty-eight artists including Richard Diebenkorn, Claire Falkenstein, Richard Faralla, Sam Francis, Arthur Holman, Frank Lobdell, Ed Moses, Gordon Onslow Ford, Fritz Rauh, David Simpson, Amalia Schulthess, Jean Varda, Jack Wright, J.B. Blunk. 1987 Visions of Inner Space: Gestural Painting in Modern American Art. Wight Gallery, UCLA. Fifteen artists including Sam Francis, Morris Graves, John Anderson, Lee Mullican, Gordon Onslow Ford, Mark Tobey, and Ed Moses. Co-curated by Merle Schipper and Lee Mullican. Catalogue. Traveled to National Gallery of Modern Art, New Delhi, India, 1988 1997 Through the Light: An Exploration into Consciousness. Arts and Consciousness Gallery, John F. Kennedy University, Berkeley, California. Curated by Farbiba Bogzaran. Catalogue. 1998 Lee Mullican Memorial Exhibtion. Herbert Palmer Gallery, Los Angeles. 2007 The Rose Rabow Galleries Retrospective: 1959-1977. The 8 Gallery, San Franicsco. 2008 Landscapes of Consciousness: A Circle of Artists at the Beginning of Lucid Art. Weinstein Gallery, San Francisco. Included Gordon Onslow Ford, Fritz Rauh, John Anderson, and Jack Wright. Catalogue. 2016 Palm Springs Fine Art Fair, the Landing Gallery, Palm Springs, CA 2018 Ship of Dreams: Artists, Poets, and Visionaries of the S.S. Vallejo. Sonoma Valley Museum of Art, Sonoma, CA. Catalogue. 2019 FOG Design+Art. the Landing Gallery, San Francisco, CA 2020 FOG Design+Art. the Landing Gallery, San Francisco, CA 2022 FOG Design+Art. the Landing Gallery, San Francisco, CA MUSEUM COLLECTIONS Nora Eccles Harrison Museum of Art, Utah State University, Logan Oakland Museum of California San Francisco Museum of Modern Art Santa Barbara Museum of Art, California The Smart Museum of Art, University of Chicago Taubman Museum of Art, Roanoke, Virginia BOOKS AND CATALOGUES 1947 Rich, Daniel Catton. Abstract and Surrealist American Art: Fifty-Eighth Annual Exhibition of American Paintings and Sculpture. Chicago: Art Institute of Chicago. 1948 Fourth Summer Exhibition of Contemporary Art. Iowa City: State University of Iowa. 1956 Porter, Bern. Kinetic: A commentary on the relation of Science and Art in conjunction with a retrospective exhibition of paintings by Richard Bowman. Palo Alto: Stanford University Art Gallery. 1986 Kim Eagles-Smith, ed. Richard Bowman: Forty Years of Abstract Painting. San Francisco: Harold Parker in association with Harcourts Modern Gallery, Inc. 1961 Culler, George D. Richard Bowman, Paintings and Reflections, 1943-1901. San Francisco: San Francisco Museum of Art. 1962 Culler, George D. 50 California Artists. New York: Whitney Museum of American Art. 1972 Nordland, Gerald. Richard Bowman, Paintings, 1943-1972, Roswell, NM: Roswell Museum and Art Center. 1978 Onslow Ford, Gordon. Creation. Basel: Galerie Schreiner. 1987 Schipper, Merle. Visions of Inner Space: Gestural Painting in Modern American Art. Los Angeles: Frederick S. Wight Art Gallery, UCLA. With introduction by Lee Mullican. 1997 Bogzaran, Fariba. Through the Light: An Exploration into Consciousness. San Francisco: Dream Creations. 2008 Bogzaran, Fariba. Landscapes of Consciousness: A Circle of Artists at the Beginning of Lucid Art. San Francisco: Weinstein Gallery. 2018 Bogzaran, Fariba, ed. Artists, Poets, and Visionaries of the S.S. Vallejo: 1949-1969. Inverness, CA: Lucid Art Foundation. ARTICLES AND REVIEWS [Review of Solo Exhibition at The Pinacotheca Gallery.] Art News. March 1945. “Joan Mitchell, Richard Bowman Open TwoMan Show Tomorrow at Art Association Meeting.” Rockford Morning Star (IL). January 1947. Robert Ayre. [Review of Exhibition, Montreal Mu-seum of Fine Arts.] Montreal Daily Star. 1951. Ben Metcalfe. "Varsity Art Shock —A Morbid Hoax?" Winnipeg Tribune, December 3, 1951. Beverly Wright. "Richard Bowman, abstract painter, has one-man show at Stanford Gallery." Palo Alto Times. February 17, 1956. "Atomic Art Show at Stanford." San Francisco Chronicle. February, 19, 1956. "P.A. Artist Portrays Energy in Oils." San Jose Mercury News. July 25, 1958. Neita Crain Farmer. "A Solitary Voice: Richard Bowman's Paintings Say Something, In A New Way." Palo Alto Times. May 30, 1959. Barbara Bladen. "Dick Bowman's Paintings Show Atomic Awareness," San Mateo Times. July 18, 1959. Arthur Bloomfield. "Two Top Painters at San Francisco Museum." San Francisco Call Bulletin. July 31, 1959. Alfred Frankenstein. "Slow and Fast Sculpture and Kinetogenics." San Francisco Chronicle. May 24, 1959. "Paintings on Display: Bowman and Onslow Ford Show." San Francisco Weekly. July 1959. Herman Wong. "Bowman's Art Seen At Show, Artist Builds Studio Near Hillside House." Red-wood City Tribune, September 15, 1960. Dean Wallace. "Four Bring Their Art to Perfec-tion." San Francisco Chronicle. September 30, 1960. Dean Wallace. "A Painter Looks at the Atom." San Francisco Chronicle. May 29, 1961. Alfred Frankenstein. [Review of retrospective at San Francisco Museum of Art.] San Francisco Chronicle. November 12, 1961. "International Art." Pittsburgh Post-Gazette, Sunday Magazine. October 29, 1961. "Pacific Paintings Show Common Character-istics." The Press (Auckland, New Zealand). August 5, 1961. Naomi Baker. "San Francisco's Art Is Viewed." San Diego Evening Tribune. January 26, 1962. John Canaday. "Visitors From the West." New York Times. October 28, 1962. Arthur Bloomfield. "Lost in a World They Were Never Made For." San Francisco News-Call Bulletin. August 3, 1963. Arthur Bloomfield. "Bowman Paints His Own Path." San Francisco News-Call Bulletin. February 11, 1964. "The Rockford Fifty States of Art Exhibition." Palo Alto Times. October 5, 1965. Alfred Frankenstein. "Bowman's Radiant Ab-stract Art." San Francisco Chronicle. November 12, 1965. Thomas Albright. "A Kind of Non-Art Show: Brilliant Work by Bowman." San Francisco Chronicle, February 14, 1970. Paul Emerson, "Menlo Gallery Shows Bow-man Art: Major Retrospective Show." Palo Alto Times. October 6, 1972. Arthur Bloomfield. "A Luxuriant Impact to Bowman Paintings." San Francisco Examiner. November 20, 1972. Thomas Albright. "Two Artists Views of Na-ture." San Francisco Chronicle. October 9, 1974. Arthur Bloomfield. "All But the Kitchen Sink." San Francisco Examiner. September 24, 1974. Thomas Albright. "Realism Moves In." San Francisco Chronicle. Thursday, September 4, 1975. Suzanne Muchnic. "Inspired Visions of Inner Worlds at UCLA." Los Angeles Times. January 10, 1988. Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 1, page 404; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 2, page 701; Art in the San Francisco Bay Area: 1945-1980, Thomas Albright, University of California Press, 1985, page 263; A Dictionary of Contemporary American Artists, Paul Cummings, St. Martin’s Press: New York 1966, page 66-67; Mallett’s Index of Artists, Supplement, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1940, page 31; Richard Bowman: Radiant Abstractions, essays by Patricia Watts and Stefanie De Winter, published by Watts...

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