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1950s Paintings

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Period: 1950s
Signed R Kelly Listed American Modernist Interior Pink Couch Abstract Painting
Located in Buffalo, NY
Vintage American modernist interior scene oil painting. Oil on canvas. Signed. Framed. Image size, 30L x 24H. Great color and a nice period modern wood frame. Ready to hang.
Category

Impressionist 1950s Paintings

Materials

Canvas, Oil

Vintage American School Signed Framed Abstract Flower Still LifeOil Painting
Located in Buffalo, NY
Vintage monogrammed abstract expressionist oil painting. Framed. Signed. Oil on canvas. Image size, 21L x 26H.
Category

Modern 1950s Paintings

Materials

Canvas, Oil

Vintage Framed Signed American Modernist Abstract Expressionist Oil Painting
Located in Buffalo, NY
Antique American signed abstract expressionist oil painting. Oil on board. Signed. Framed. Image size, 24L x 18H. Circa 1960. This painting has a nice period frame and stong co...
Category

Abstract Expressionist 1950s Paintings

Materials

Canvas, Oil

Hieroglyphics, Historic and Cultural Commentary by Female American Modernist
Located in Doylestown, PA
"Hieroglyphics" is a 20 x 30 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. The work is painted in a vibrant color palette. The pain...
Category

American Modern 1950s Paintings

Materials

Canvas, Oil

The Port of Grau Du Roi
Located in London, GB
'The Port of Grau Du Roi', oil on canvas, by Yves Brayer (circa 1950s). Le Grau-du-Roi was a fishing village but now is a resort on the French Mediterranean coast, between the histor...
Category

1950s Paintings

Materials

Canvas, Oil

Blue Drip Abstract Composition
Located in Delray Beach, FL
Blue Drip Abstract Composition Canvas with out the frame is 36x24 Artist signed illegibly lower right, Gallery Kabutaya label on revers stretcher. Mid-Century Modern drip abstract ...
Category

Abstract 1950s Paintings

Materials

Cotton Canvas, Oil

Original Painting S America Map Published 1956 Illustration Animals Planet Globe
Located in New York, NY
Original Painting S America Map Published 1956 Illustration Animals Planet Globe Antonio Petruccelli (1907 – 1994) The Wonders of Life on Earth Earth South...
Category

American Realist 1950s Paintings

Materials

Gouache, Board

Encaustic Abstract Untitled Painting 002 by Frederik Ottesen
Located in Hudson, NY
The texture of this artwork is mesmerizing. Seen from a distance, this painting invites the viewer to come closer and they are rewarded with the gorgeous encaustic surface Ottesen cr...
Category

Abstract Expressionist 1950s Paintings

Materials

Canvas, Encaustic

Multicolored Vintage French Painting - Ceramic Pitchers in Mosaic Style
Located in Houston, TX
Richly-hued vintage French acrylic painting of three ceramic pitchers, in a style beautifully mimicking a mosaic, circa 1950. Original artwo...
Category

1950s Paintings

Materials

Acrylic, Paper

"Harmony" Diptych
By Richard W. Dempsey
Located in Washington, DC
A pair of abstract modern paintings by Richard W. Dempsey (1909 - 1987). Paintings are oil on masonite and signed "Dempsey" front bottom corner. On the back of each painting on tape is written "Harmony". Richard Dempsey was born in Ogden, Utah, on September 14, 1909. His youth was spent in Oakland, CA, where he attended Sacramento Junior College (1929-31) as an art major. He then studied at The California School of Arts and Crafts (1932-34) and the Students Art Center (1935-40), where he was taught by the sculptor Sargent Johnson. In 1941, he moved to Washington, DC and studied at Howard University...
Category

Abstract 1950s Paintings

Materials

Masonite, Oil

"The Marriage Proposal (Family Gathering), " Leo Schutzman, Jewish Folk Art
Located in Larchmont, NY
Leo Schutzman (1878 - 1962) The Marriage Proposal, circa 1958 Oil on canvas 24 x 20 inches Signed lower left Leo (Kyle) Schutzman (1878-1962) developed ...
Category

Folk Art 1950s Paintings

Materials

Canvas, Oil

The Gathering
Located in West Hollywood, CA
Jirayr Zorthian(1911-2004), went through two Turkish massacres before age eight. He left Turkey at age nine with his family and spent a year in Padua, Italy, waiting for his visa to open to the United States. This period was very important in his life because his father took him to many cities in Europe and exposed him to great works of art. Zorthian arrived in the United States at the age of eleven and settled with his family in New Haven, Connecticut. He obtained his formal education there, after graduating from Yale in 1932, the Winchester Fellowship granted him a year and a half at the American Academy in Rome with travel and study throughout Europe. His art career branched into various directions on his return to the United States. As a mural painter his reputation was established. He has forty two (42) murals throughout the United States. Zorthian worked and taught painting at some of the finest art academiJirayr Zorthian(1911-2004), went through two Turkish massacres before age eight. He left Turkey at age nine with his family and spent a year in Padua, Italy, waiting for his visa to open to the United States. This period was very important in his life because his father took him to many cities in Europe and exposed him to great works of art. Zorthian arrived in the United States at the age of eleven and settled with his family in New Haven, Connecticut. He obtained his formal education there, after graduating from Yale in 1932, the Winchester Fellowship granted him a year and a half at the American Academy in Rome with travel and study throughout Europe. His art career branched into various directions on his return to the United States. As a mural painter his reputation was established. He has forty two (42) murals throughout the United States. Zorthian worked and taught painting at some of the finest art academies on the west coast including both the Chouinard Art Institute and the Otis Art Institute. es on the west coast including both the Chouinard Art Institute and the Otis Art Institute. The Gathering...
Category

1950s Paintings

Materials

Oil, Panel

Mid Century Modern Abstract Landscape Surreal Framed Oil Painting
Located in Buffalo, NY
Antique American impressionist seascape signed oil painting. Oil on canvas. Signed. Framed. Image size, 14L x 18H.
Category

Modern 1950s Paintings

Materials

Canvas, Oil

Mid Century Abstract Cubist Pink Interior Scene Vintage Framed Oil Painting
Located in Buffalo, NY
Antique American modernist still life oil painting. Oil on canvasboard. Framed. Image size, 18L x 24H.
Category

Modern 1950s Paintings

Materials

Canvas, Oil

Vintage Modernist Kitchen Table Flower Still Life Framed Minimalist Oil Painting
Located in Buffalo, NY
Vintage modernist abstract kitchen still life oil painting. Oil on board. Framed. Image size, 20L x 16H.
Category

Abstract 1950s Paintings

Materials

Canvas, Oil

Signed Framed Antique American School Signed Abstract Expressionist Oil Painting
Located in Buffalo, NY
Antique American abstract expressionist signed oil painting. Oil on canvas. Signed. Framed. Image size, 26L x 20H.
Category

Abstract 1950s Paintings

Materials

Canvas, Oil

Interior of Brighton Railway Works 1950 - British art Industrial oil painting
Located in London, GB
This historically interesting British 1950's industrial interior oil painting is by noted female artist Veronica Burleigh. Burleigh grew up in Hove with artist parents Charles and Av...
Category

Realist 1950s Paintings

Materials

Oil

Abstract Composition 1957 - Scottish 1950's art oil painting
Located in London, GB
This superb Scottish abstract oil on board painting is by noted artist Colin McGurk. Painted in 1957 it is a work of geometric shapes with a palette of pink, orange and egg shell bl...
Category

Abstract 1950s Paintings

Materials

Oil

Vintage Mid-Century Framed Figurative Portrait Oil Painting - Cubist Figure
Located in Bristol, GB
CUBIST FIGURE Size: 73 x 56.5 cm (including frame) Oil on canvas A large and brilliantly executed mid century cubist figure composition, painted in oil onto canvas. Reminiscent of ...
Category

Expressionist 1950s Paintings

Materials

Canvas, Oil

Fireworks on the Thames, London - British art river night landscape oil painting
Located in London, GB
This superb British 1950's Post Impressionist London nocturne landscape oil painting is by noted artist Laurence Henry Irving. The scene is the Th...
Category

Post-Impressionist 1950s Paintings

Materials

Oil

"SPRING CREEK" TEXAS HILL COUNTRY. CANVAS 25 X 30 DATED 1951 PORFIRIO SALINAS
Located in San Antonio, TX
Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 25 x 30 Frame Size: 33 x 38 Medium: Oil Dated 1951 "Spring Creek" Texas Hill Country Biography Porfirio Salinas (1910-1973) Porfirio Salinas was a self-taught artist who painted landscapes of Central Texas with an emphasis on the vast bluebonnet fields that grow there in the springtime. Born in 1910 in Bastrop, Texas, he attended public schools in San Antonio. He also observed works in progress by the director of the San Antonio Art School, Jose Arpa, as well as landscape painter, Robert Wood. Wood is said to have paid Salinas five dollars a picture to paint bluebonnets because "he hated to paint bluebonnets". Salinas served in the military from 1943 to 1945. Although he was assigned to Fort Sam Houston, he was allowed to live at home. At the fort, Colonel Telesphor Gottchalk assigned him to paint murals for the officer's lounge and various other projects, and Salinas continued to be able to paint during his entire conscripted period. Even before he achieved notoriety among galleries, dealers, and museums, Salinas was widely followed and appreciated by many Texans, including former President Lyndon B. Johnson, who may be considered responsible for launching Salinas popularity beyond the boundaries of Texas. In 1973, Texas capital, Austin, honored Salinas for having "done much to bring the culture of Mexico and Texas closer together with his paintings". Salinas died in April 1973 in San Antonio, Texas. From the years of the Great Depression through President Lyndon Johnson's Great Society of the 1960s, Texan Porfirio Salinas (1910-1973) remained one of the Lone Star State's most popular artists. Today, his works remain popular with Texas collectors and those who love landscapes of the beautiful "Hill Country" that lies in the center of the state. One of the first Mexican-American painters to become widely recognized for his art, Salinas was a favorite of President Lyndon Johnson and his wife, Lady Bird Johnson, as well as of Sam Rayburn, the longest-serving Speaker of the House of Representatives, and Texas Governor John Connelly. In fact, President Johnson was so enamored with his Salinas paintings that the artist will forever be associated with America's first Texas-born President. Works by Porfirio Salinas are in a number of museum collections, grace the halls of the Texas State Capitol and the Governor's Mansion in Austin, and are included in virtually every major private collection of Early Texas Art. Porfirio Salinas was born on November 6, 1910 near the small town of Bastrop, Texas, about thirty miles from Austin. His father, Porfirio G. Salinas (1881-1967), and his mother, Clara G. Chavez, struggled to make a hardscrabble living as tenant farmers, but eventually were forced to give up farming. The family moved to San Antonio, where Salinas' father was able to get a job working as a laborer for the railroad, but the scenic area around Bastrop, with its pine trees and the wide expanse of the Rio Grande River, would forever remain a touchstone for the artist. For the rest of his life, Salinas and his brothers went back frequently to visit their grandmother in her little farmhouse. When in Bastrop, Porfirio painted on the banks of the Rio Grande or in the groves of pine trees. The Salinas family was close-knit and Porfirio was the middle child of five children, so he had an older brother and sister as well as a younger brother and sister. His mother was a native of Mexico, so throughout his childhood the family made the long drive to Mexico to visit Clara Salinas' family. As a child growing up in the bi-lingual section of San Antonio, Salinas drew and painted incessantly and by the time he was ten, he was already producing work that was mature enough to sell to his schoolteachers. Many years later in an article in the New York Times he was described as a "boy whose textbooks were seldom opened and whose sketchbook was never closed." Instead of studying, the young artist spent his spare time watching artists paint in and around San Antonio. As an aspiring painter, Salinas was fortunate to grow up in the historic city, which had the most active art scene in Texas. It was his exposure to older, professional painters that encouraged the precocious young painter to leave school early in order to help his family and pursue a career as a professional artist, despite his father's inability to see art as a career with any future for his son. When Salinas was about fifteen he came to know the artist Robert W. Wood (1889-1979). He met Wood while he was employed in an art supply store and he soon began to work as an assistant to the English-born painter, who had moved from Portland to San Antonio in 1924. Although the diminutive Englishman was already an established professional artist, he did not have a great deal of formal art training and so he was then studying with the academically trained Spanish painter Jose Arpa (1858-1952) in order to augment his knowledge and give his work a more polished look. Salinas was an eager young man, and while working in Wood's downtown San Antonio studio he learned to stretch canvases, frame paintings and to sketch in larger compositions from small plein-air studies for the English artist. He began to accompany Wood and Arpa to the hills outside San Antonio, where they painted small Plein-air studies of fields of blue lupin - the state flower, the famous "Bluebonnets" of Texas - in the springtime and scenes of the gnarled Red Oaks as they changed color in the fall. He was soon assisting Wood in the tedious work of painting the tiny blue flowers that collectors wanted to see in the landscapes they purchased of central Texas. According to a 1972 newspaper story, "Legend has it that one day in the 1920s artist Robert Wood decided he could not bear to paint another bluebonnet in one of his landscapes. He hired young Porfirio Salinas to paint them in for him at five dollars a painting." Whether this story is accurate or apocryphal isn't clear, but the ambitious and independent young Salinas wasn't destined to be anyone's assistant for very long. The formative event of Porfirio Salinas' teenage years was the Texas Wildflower Competitive Exhibitions, a Roaring-Twenties dream of the eccentric oilman Edgar B. Davis (1873-1951). These competitive shows of paintings of wildflowers and Texas life were mounted in San Antonio from 1927 to 1929. Held at the newly opened Witte Museum each spring, the exhibition featured large cash prizes donated by the philanthropic Davis, which were an inducement for artists to travel from all over the United States to paint in the Hill Country of Texas. The "Davis Competitions," as they were known, helped to cement San Antonio's reputation as an art center, a legacy that remains with the "River City" today. The shows generated a great deal of excitement in the area, helping to make celebrities of the some of the artists who had already settled there and encouraging others to make San Antonio their home. Over the three years that the wildflower competitions were held, more than 300 paintings were exhibited, and many thousands of viewers saw the paintings at the Witte Museum and on tours throughout the state and in New York. Each year Davis would generously purchase the winning paintings and then donate them to the San Antonio Art League. Young Porfirio Salinas would have been able to not only watch his two mentors - Robert W. Wood and Jose Arpa - paint the works that they entered in the Davis Competitions, he would have been able to see Arpa take several of the major prizes, receiving the judge's accolades for "Verbena," "Cactus Flower" and "Picking Cotton," works that are still on view at the San Antonio Art League Museum today. Unfortunately, Davis eventually put his donations to work in other charitable endeavors, bringing to an end the wildflower events, but only after they inspired Salinas and other young painters and had helped to make wildflower paintings the most sought-after subject for traditionalist Texas collectors. In 1930, when he was only twenty, Salinas hung out a shingle and began to paint professionally, augmenting the sales of his easel paintings with what little business he could garner by painting signs for local concerns. It was a struggle for the young artist to make a living, as the effects of the Great Depression were settling in. His early works are very similar to those of Robert Wood's, both in subject matter and treatment. Salinas did small paintings of Bluebonnets for the tourists who visited San Antonio to see the famous Alamo as well as paintings of the Texas missions. While a few of his early works have a soft, tonalist quality, with subtle gradations of sunset colors, most were painted in a style that fits well within the currents of the late American Impressionist style, with solid drawing and a warm, chromatic palette. Like Robert Wood's works of the 1930s, the paintings Salinas produced as a young man were usually well composed and detailed views of the spring wildflowers in full bloom in the Texas countryside. In contrast to Wood's work, however, early Salinas compositions were usually pure landscapes without the pioneer farms or dilapidated fences that Wood often used to add visual interest to his wildflower scenes, and he also painted scenes of San Antonio itself as his mentor Jose Arpa had done. To residents of the Hill Country, Salinas was especially adept at accurately capturing the palette of the region and its unique atmosphere. In 1939 Salinas began working with Dewey Bradford (1896-1985), one of the great characters of Texas art. Bradford was a second-generation dealer whose family operated the Bradford Paint Company in Austin, where they sold art supplies, framed artwork, restored paintings and exhibited paintings by Texas artists. Salinas was struggling when he met Bradford, but the older man took the young artist under his wing and began to sell his work reliably, even though the prices that people would pay for a painting were still low due to the lingering effects of the Great Depression. Bradford was a born salesman with a gift for storytelling, and truth be told, a bit of embroidery. The relationship between Bradford and Salinas was often rocky, but it was to last the rest of the artist's life and give him a modest sense of loyalty and security, things which are all too rare in the art world. While Bradford could be critical of his work, Salinas knew that he had a dealer who encouraged him, believed in him and was not shy about singing his praises to anyone who entered Bradford's store on Guadalupe Street. During the early years of World War II Salinas met a pretty Mexican woman from Guadalajara named Maria Bonillas, who was working as a secretary for the Mexican National Railways office in San Antonio. While he was walking downtown with a painting of a bullfighter under his arm, he started a conversation with the young woman, and things progressed rapidly. The couple were married on February 15, 1942 and settled into life in bi-lingual San Antonio and they eventually purchased a tidy stone home on Buena Vista street that had a detached studio in back. By the time the United States entered World War II, Salinas was starting to make a decent living selling his art and beginning to garner recognition across Texas. However, in 1943, like millions of other young men, he was drafted into the service of his country. Fortunately, as an older Army draftee with special talents, after his training he was assigned to Fort Sam Houston, right in San Antonio, allowing him to remain at home while still completing his obligation to "Uncle Sam." Because of his artistic abilities, Salinas was asked to do paintings for the Army as well as a mural for the Officer's Club, which has been re-discovered in recent years. In his spare time he kept working on landscapes and when the war ended in 1945, he was not faced with the same rocky transition from military to civilian life as many veterans. That same year, Salinas became a father as he and Maria celebrated the birth of his only child, Christina Maria Salinas. Like most landscape artists of the era, Salinas was an avid Plein-air painter, and he took his easel and paint box with him on trips throughout Texas and into Mexico. He and his wife traveled deep into her native country, where the artist painted the majestic volcanic peaks of Iztaccihuatl (known as the "Sleeping Woman" because of its unique shape) and Popocatepetl (called the "smoking mountain" because the volcano is still active), south of Mexico City. Salinas also painted studies of rustic villages and their residents. While his most popular paintings were always the scenes of the Texas Bluebonnets and other wildflowers that bloom all over the Hill Country in the spring, he also painted scenes of the twisted Texas oak trees of central Texas, the more arid landscapes of the Texas panhandle and West Texas, and the historic Texas missions; he even sold rapidly executed scenes of bullfights and cockfights for Mexican-American collectors. By the late 1940s, the American economy was finally growing again and wealthier Texans began to collect Salinas paintings, purchasing them from galleries in San Antonio and Dallas and at Dewey Bradford's County Store Gallery in Austin. Salinas also sold work to the Atlanta dealer Dr. Carlton Palmer, who represented Robert W. Wood for many years. In 1948 Palmer sold two large Salinas paintings to the Citizen National Bank in Abilene, Texas. Because Austin was the state capitol, Bradford counted many of the state's elite among his patrons, and due to his interest in history and literature, he played a large role in the cultural history of central Texas. Bradford introduced a number of the major Texas political figures to Salinas' work, including Lyndon Baines Johnson (1908-1973), who was then in the House of Representatives and on his way to winning a controversial election that vaulted him in the United States Senate. Johnson became an enthusiastic collector, as did his political mentor, the legendary House Speaker Sam Rayburn (1882-1961). Johnson decorated his Washington offices with Salinas paintings and he brought a number of them home to his vast LBJ Ranch, near Johnson City, Texas. In spite of his important patrons, Salinas went through a fallow and difficult period in the late 1950s. He had a volatile temperament, which made relationships difficult, and it took great patience for his wife to help him manage his career. As Salinas entered middle age his work began to sell steadily, but except for tourists who purchased his paintings in San Antonio, he was known primarily only to Texas art collectors. All that changed in 1961 with the election of John F. Kennedy (1917-1963) to the Presidency of the United States and his running mate Lyndon Johnson to the Vice Presidency. Johnson was an expansive, larger-than-life character and his status as a long, tall Texan in a cowboy hat was a large part of his imposing political image. During his storied career in the House of Representatives and the United States Senate, Johnson and Lady Bird Johnson (1912-2007) spent their time in Washington in a modest house on the edge of Rock Creek Park, but this home would not do for a Vice President. So, in 1961, the Johnsons purchased a French chateau-styled home in the Spring Valley section of the Capitol. Obtained from the famed socialite and ambassador Perle Mesta (1889-1975), the house came with a fine collection of French furniture and tapestries, and the designer Genevieve Hendricks was hired to meld the French look with objects from the Johnsons' overseas travels and paintings of the flora and fauna of their native Texas. Featured prominently in the foyer were the paintings of Porfirio Salinas. Because of the Johnsons' patronage, his work was mentioned in Time Magazine and other national publications. Lady Bird Johnson loved her landscapes of the Texas Hill Country and told reporters that, "I want to see them when ever I open the door, to remind me where I come from." After President Kennedy's death thrust Lyndon Johnson into the Presidency, he brought his Salinas paintings into the historic halls of the White House, further enhaning the Texas painter's national reputation. At the time of the President Kennedy's assassination, Salinas had completed a scene of a horse drinking titled "Rocky Creek" that was to have been presented to Kennedy during his ill-fated visit to Dallas. Instead, in an effort to memorialize the fallen President, Salinas painted a symbolic work of a lone horse depicted against foreboding clouds. During his tenure in the White House, President Johnson presented a Salinas landscape as a state gift to the President of Mexico, Gustavo Diaz Ordaz (1911-1979). During the 1960s, Salinas paintings sold briskly and, thanks to Presidential patronage, for escalating prices. In an interview with a writer from the New York Times, President Johnson enthused about the work of "his favorite artist" and said that, "his work reminds me of the country around the ranch." Salinas was invited to the LBJ Ranch frequently during the Johnson administration and his paintings were hung throughout the ranch, in the President's offices and even in the private quarters of the White House. The connection to President Johnson was a great boon to sales of Salinas paintings, and in 1964, when the demand was at its height, Texas Governor John Connelly (1917-1993) was told that all Salinas'work was sold and that he would have to wait for a painting. In 1960, a half century after his birth, Salinas was honored by his home town of Bastrop, a celebration that touched the modest artist. In 1962 Salinas was given a solo exhibition at the Witte Museum in San Antonio that featured more than twenty of his works. By the early 1960s, sales of reproductions of the artist's landscapes by the New York Graphic Society and other publishers grew rapidly, enlarging his audience throughout the United States. In 1967, Dewey Bradford helped to organize the production of a book of Texas stories titled "Bluebonnets and Cactus" (Austin: Pemberton Press: 1967), which was profusely illustrated with paintings by Salinas. His works were still popular when Salinas died after a brief illness in April of 1973, just a few months after former President Johnson's passing. He was memorialized in the City of Austin by Porfirio Salinas Day, which honored him for having "done much to bring the culture of Mexico and Texas together with his paintings." Bastrop, Texas, the city of the artist's birth, has been holding a Salinas Art Exhibition annually since 1981. He painted hundreds of scenes of the wildflowers, including the various varieties of Blue Lupin, the state flower, as well as other flowering flora. These show the influence of his artistic mentors Robert W. Wood and Jose Arpa Y Perea. Salinas also painted a number of scenes of Prickly Pear Cactus that show the influence of the English painter Dawson Dawson-Watson (1864-1939), who painted many such works during his tenure in Texas. He painted the more arid Texas landscape infrequently and these works are very rare today and sought after by collectors from the Texas Panhandle and West Texas. Salinas also painted many river landscapes along the Guadalupe, Rio Frio, the San Antonio and the Rio Grande. On trips to his wife's homeland of Mexico, he painted a number of scenes of the volcanic peaks as well as scenes of peasant villages and villagers. Figurative paintings are rare among Salinas' works and these scenes of bullfights, fandangos and cock fights are probably the least sought after of his paintings. There are also a small number of modest marines, painted on trips to the Texas and California coast. Salinas paintings are highly prized by collectors of early Texas art, with the paintings of wildflowers in greatest demand. Works by Porfirio Salinas can be found in a number of public collections, including the Panhandle Plains Historical Museum in Canyon, Texas; the Texas State Capitol; the Texas Governor's Mansion; the Lyndon Baines Johnson Ranch; the Sam Rayburn Library and Museum in Bonham, Texas; Amarillo High School; the Witte Museum in San Antonio; the historic Joan and Price Daniel House in San Antonio; the Stark Museum in Orange, Texas; the R.W. Norton Art Gallery in Shreveport, Louisiana; the Sangre de Cristo Arts Center in Pueblo, Colorado; Texas A & M University and the Modern Art Museum of Fort Worth. Salinas has been featured in a number of reference works as well as anthologies devoted to American Western Art...
Category

Impressionist 1950s Paintings

Materials

Oil

"CACTUS COUNTRY" TEXAS HILL COUNTRY. BLOOMING PRICKLY PEAR PORFIRIO SALINAS
Located in San Antonio, TX
Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 24 x 30 Frame Size: 32 x 38 Medium: Oil "Cactus Country" Prickly Pear in the Texas Hill Country Biography Porfirio Salinas (1910-1973) Porfirio Salinas was a self-taught artist who painted landscapes of Central Texas with an emphasis on the vast bluebonnet fields that grow there in the springtime. Born in 1910 in Bastrop, Texas, he attended public schools in San Antonio. He also observed works in progress by the director of the San Antonio Art School, Jose Arpa, as well as landscape painter, Robert Wood. Wood is said to have paid Salinas five dollars a picture to paint bluebonnets because "he hated to paint bluebonnets". Salinas served in the military from 1943 to 1945. Although he was assigned to Fort Sam Houston, he was allowed to live at home. At the fort, Colonel Telesphor Gottchalk assigned him to paint murals for the officer's lounge and various other projects, and Salinas continued to be able to paint during his entire conscripted period. Even before he achieved notoriety among galleries, dealers, and museums, Salinas was widely followed and appreciated by many Texans, including former President Lyndon B. Johnson, who may be considered responsible for launching Salinas popularity beyond the boundaries of Texas. In 1973, Texas capital, Austin, honored Salinas for having "done much to bring the culture of Mexico and Texas closer together with his paintings". Salinas died in April 1973 in San Antonio, Texas. From the years of the Great Depression through President Lyndon Johnson's Great Society of the 1960s, Texan Porfirio Salinas (1910-1973) remained one of the Lone Star State's most popular artists. Today, his works remain popular with Texas collectors and those who love landscapes of the beautiful "Hill Country" that lies in the center of the state. One of the first Mexican-American painters to become widely recognized for his art, Salinas was a favorite of President Lyndon Johnson and his wife, Lady Bird Johnson, as well as of Sam Rayburn, the longest-serving Speaker of the House of Representatives, and Texas Governor John Connelly. In fact, President Johnson was so enamored with his Salinas paintings that the artist will forever be associated with America's first Texas-born President. Works by Porfirio Salinas are in a number of museum collections, grace the halls of the Texas State Capitol and the Governor's Mansion in Austin, and are included in virtually every major private collection of Early Texas Art. Porfirio Salinas was born on November 6, 1910 near the small town of Bastrop, Texas, about thirty miles from Austin. His father, Porfirio G. Salinas (1881-1967), and his mother, Clara G. Chavez, struggled to make a hardscrabble living as tenant farmers, but eventually were forced to give up farming. The family moved to San Antonio, where Salinas' father was able to get a job working as a laborer for the railroad, but the scenic area around Bastrop, with its pine trees and the wide expanse of the Rio Grande River, would forever remain a touchstone for the artist. For the rest of his life, Salinas and his brothers went back frequently to visit their grandmother in her little farmhouse. When in Bastrop, Porfirio painted on the banks of the Rio Grande or in the groves of pine trees. The Salinas family was close-knit and Porfirio was the middle child of five children, so he had an older brother and sister as well as a younger brother and sister. His mother was a native of Mexico, so throughout his childhood the family made the long drive to Mexico to visit Clara Salinas' family. As a child growing up in the bi-lingual section of San Antonio, Salinas drew and painted incessantly and by the time he was ten, he was already producing work that was mature enough to sell to his schoolteachers. Many years later in an article in the New York Times he was described as a "boy whose textbooks were seldom opened and whose sketchbook was never closed." Instead of studying, the young artist spent his spare time watching artists paint in and around San Antonio. As an aspiring painter, Salinas was fortunate to grow up in the historic city, which had the most active art scene in Texas. It was his exposure to older, professional painters that encouraged the precocious young painter to leave school early in order to help his family and pursue a career as a professional artist, despite his father's inability to see art as a career with any future for his son. When Salinas was about fifteen he came to know the artist Robert W. Wood (1889-1979). He met Wood while he was employed in an art supply store and he soon began to work as an assistant to the English-born painter, who had moved from Portland to San Antonio in 1924. Although the diminutive Englishman was already an established professional artist, he did not have a great deal of formal art training and so he was then studying with the academically trained Spanish painter Jose Arpa (1858-1952) in order to augment his knowledge and give his work a more polished look. Salinas was an eager young man, and while working in Wood's downtown San Antonio studio he learned to stretch canvases, frame paintings and to sketch in larger compositions from small plein-air studies for the English artist. He began to accompany Wood and Arpa to the hills outside San Antonio, where they painted small Plein-air studies of fields of blue lupin - the state flower, the famous "Bluebonnets" of Texas - in the springtime and scenes of the gnarled Red Oaks as they changed color in the fall. He was soon assisting Wood in the tedious work of painting the tiny blue flowers that collectors wanted to see in the landscapes they purchased of central Texas. According to a 1972 newspaper story, "Legend has it that one day in the 1920s artist Robert Wood decided he could not bear to paint another bluebonnet in one of his landscapes. He hired young Porfirio Salinas to paint them in for him at five dollars a painting." Whether this story is accurate or apocryphal isn't clear, but the ambitious and independent young Salinas wasn't destined to be anyone's assistant for very long. The formative event of Porfirio Salinas' teenage years was the Texas Wildflower Competitive Exhibitions, a Roaring-Twenties dream of the eccentric oilman Edgar B. Davis (1873-1951). These competitive shows of paintings of wildflowers and Texas life were mounted in San Antonio from 1927 to 1929. Held at the newly opened Witte Museum each spring, the exhibition featured large cash prizes donated by the philanthropic Davis, which were an inducement for artists to travel from all over the United States to paint in the Hill Country of Texas. The "Davis Competitions," as they were known, helped to cement San Antonio's reputation as an art center, a legacy that remains with the "River City" today. The shows generated a great deal of excitement in the area, helping to make celebrities of the some of the artists who had already settled there and encouraging others to make San Antonio their home. Over the three years that the wildflower competitions were held, more than 300 paintings were exhibited, and many thousands of viewers saw the paintings at the Witte Museum and on tours throughout the state and in New York. Each year Davis would generously purchase the winning paintings and then donate them to the San Antonio Art League. Young Porfirio Salinas would have been able to not only watch his two mentors - Robert W. Wood and Jose Arpa - paint the works that they entered in the Davis Competitions, he would have been able to see Arpa take several of the major prizes, receiving the judge's accolades for "Verbena," "Cactus Flower" and "Picking Cotton," works that are still on view at the San Antonio Art League Museum today. Unfortunately, Davis eventually put his donations to work in other charitable endeavors, bringing to an end the wildflower events, but only after they inspired Salinas and other young painters and had helped to make wildflower paintings the most sought-after subject for traditionalist Texas collectors. In 1930, when he was only twenty, Salinas hung out a shingle and began to paint professionally, augmenting the sales of his easel paintings with what little business he could garner by painting signs for local concerns. It was a struggle for the young artist to make a living, as the effects of the Great Depression were settling in. His early works are very similar to those of Robert Wood's, both in subject matter and treatment. Salinas did small paintings of Bluebonnets for the tourists who visited San Antonio to see the famous Alamo as well as paintings of the Texas missions. While a few of his early works have a soft, tonalist quality, with subtle gradations of sunset colors, most were painted in a style that fits well within the currents of the late American Impressionist style, with solid drawing and a warm, chromatic palette. Like Robert Wood's works of the 1930s, the paintings Salinas produced as a young man were usually well composed and detailed views of the spring wildflowers in full bloom in the Texas countryside. In contrast to Wood's work, however, early Salinas compositions were usually pure landscapes without the pioneer farms or dilapidated fences that Wood often used to add visual interest to his wildflower scenes, and he also painted scenes of San Antonio itself as his mentor Jose Arpa had done. To residents of the Hill Country, Salinas was especially adept at accurately capturing the palette of the region and its unique atmosphere. In 1939 Salinas began working with Dewey Bradford (1896-1985), one of the great characters of Texas art. Bradford was a second-generation dealer whose family operated the Bradford Paint Company in Austin, where they sold art supplies, framed artwork, restored paintings and exhibited paintings by Texas artists. Salinas was struggling when he met Bradford, but the older man took the young artist under his wing and began to sell his work reliably, even though the prices that people would pay for a painting were still low due to the lingering effects of the Great Depression. Bradford was a born salesman with a gift for storytelling, and truth be told, a bit of embroidery. The relationship between Bradford and Salinas was often rocky, but it was to last the rest of the artist's life and give him a modest sense of loyalty and security, things which are all too rare in the art world. While Bradford could be critical of his work, Salinas knew that he had a dealer who encouraged him, believed in him and was not shy about singing his praises to anyone who entered Bradford's store on Guadalupe Street. During the early years of World War II Salinas met a pretty Mexican woman from Guadalajara named Maria Bonillas, who was working as a secretary for the Mexican National Railways office in San Antonio. While he was walking downtown with a painting of a bullfighter under his arm, he started a conversation with the young woman, and things progressed rapidly. The couple were married on February 15, 1942 and settled into life in bi-lingual San Antonio and they eventually purchased a tidy stone home on Buena Vista street that had a detached studio in back. By the time the United States entered World War II, Salinas was starting to make a decent living selling his art and beginning to garner recognition across Texas. However, in 1943, like millions of other young men, he was drafted into the service of his country. Fortunately, as an older Army draftee with special talents, after his training he was assigned to Fort Sam Houston, right in San Antonio, allowing him to remain at home while still completing his obligation to "Uncle Sam." Because of his artistic abilities, Salinas was asked to do paintings for the Army as well as a mural for the Officer's Club, which has been re-discovered in recent years. In his spare time he kept working on landscapes and when the war ended in 1945, he was not faced with the same rocky transition from military to civilian life as many veterans. That same year, Salinas became a father as he and Maria celebrated the birth of his only child, Christina Maria Salinas. Like most landscape artists of the era, Salinas was an avid Plein-air painter, and he took his easel and paint box with him on trips throughout Texas and into Mexico. He and his wife traveled deep into her native country, where the artist painted the majestic volcanic peaks of Iztaccihuatl (known as the "Sleeping Woman" because of its unique shape) and Popocatepetl (called the "smoking mountain" because the volcano is still active), south of Mexico City. Salinas also painted studies of rustic villages and their residents. While his most popular paintings were always the scenes of the Texas Bluebonnets and other wildflowers that bloom all over the Hill Country in the spring, he also painted scenes of the twisted Texas oak trees of central Texas, the more arid landscapes of the Texas panhandle and West Texas, and the historic Texas missions; he even sold rapidly executed scenes of bullfights and cockfights for Mexican-American collectors. By the late 1940s, the American economy was finally growing again and wealthier Texans began to collect Salinas paintings, purchasing them from galleries in San Antonio and Dallas and at Dewey Bradford's County Store Gallery in Austin. Salinas also sold work to the Atlanta dealer Dr. Carlton Palmer, who represented Robert W. Wood for many years. In 1948 Palmer sold two large Salinas paintings to the Citizen National Bank in Abilene, Texas. Because Austin was the state capitol, Bradford counted many of the state's elite among his patrons, and due to his interest in history and literature, he played a large role in the cultural history of central Texas. Bradford introduced a number of the major Texas political figures to Salinas' work, including Lyndon Baines Johnson (1908-1973), who was then in the House of Representatives and on his way to winning a controversial election that vaulted him in the United States Senate. Johnson became an enthusiastic collector, as did his political mentor, the legendary House Speaker Sam Rayburn (1882-1961). Johnson decorated his Washington offices with Salinas paintings and he brought a number of them home to his vast LBJ Ranch, near Johnson City, Texas. In spite of his important patrons, Salinas went through a fallow and difficult period in the late 1950s. He had a volatile temperament, which made relationships difficult, and it took great patience for his wife to help him manage his career. As Salinas entered middle age his work began to sell steadily, but except for tourists who purchased his paintings in San Antonio, he was known primarily only to Texas art collectors. All that changed in 1961 with the election of John F. Kennedy (1917-1963) to the Presidency of the United States and his running mate Lyndon Johnson to the Vice Presidency. Johnson was an expansive, larger-than-life character and his status as a long, tall Texan in a cowboy hat was a large part of his imposing political image. During his storied career in the House of Representatives and the United States Senate, Johnson and Lady Bird Johnson (1912-2007) spent their time in Washington in a modest house on the edge of Rock Creek Park, but this home would not do for a Vice President. So, in 1961, the Johnsons purchased a French chateau-styled home in the Spring Valley section of the Capitol. Obtained from the famed socialite and ambassador Perle Mesta (1889-1975), the house came with a fine collection of French furniture and tapestries, and the designer Genevieve Hendricks was hired to meld the French look with objects from the Johnsons' overseas travels and paintings of the flora and fauna of their native Texas. Featured prominently in the foyer were the paintings of Porfirio Salinas. Because of the Johnsons' patronage, his work was mentioned in Time Magazine and other national publications. Lady Bird Johnson loved her landscapes of the Texas Hill Country and told reporters that, "I want to see them when ever I open the door, to remind me where I come from." After President Kennedy's death thrust Lyndon Johnson into the Presidency, he brought his Salinas paintings into the historic halls of the White House, further enhaning the Texas painter's national reputation. At the time of the President Kennedy's assassination, Salinas had completed a scene of a horse drinking titled "Rocky Creek" that was to have been presented to Kennedy during his ill-fated visit to Dallas. Instead, in an effort to memorialize the fallen President, Salinas painted a symbolic work of a lone horse depicted against foreboding clouds. During his tenure in the White House, President Johnson presented a Salinas landscape as a state gift to the President of Mexico, Gustavo Diaz Ordaz (1911-1979). During the 1960s, Salinas paintings sold briskly and, thanks to Presidential patronage, for escalating prices. In an interview with a writer from the New York Times, President Johnson enthused about the work of "his favorite artist" and said that, "his work reminds me of the country around the ranch." Salinas was invited to the LBJ Ranch frequently during the Johnson administration and his paintings were hung throughout the ranch, in the President's offices and even in the private quarters of the White House. The connection to President Johnson was a great boon to sales of Salinas paintings, and in 1964, when the demand was at its height, Texas Governor John Connelly (1917-1993) was told that all Salinas'work was sold and that he would have to wait for a painting. In 1960, a half century after his birth, Salinas was honored by his home town of Bastrop, a celebration that touched the modest artist. In 1962 Salinas was given a solo exhibition at the Witte Museum in San Antonio that featured more than twenty of his works. By the early 1960s, sales of reproductions of the artist's landscapes by the New York Graphic Society and other publishers grew rapidly, enlarging his audience throughout the United States. In 1967, Dewey Bradford helped to organize the production of a book of Texas stories titled "Bluebonnets and Cactus" (Austin: Pemberton Press: 1967), which was profusely illustrated with paintings by Salinas. His works were still popular when Salinas died after a brief illness in April of 1973, just a few months after former President Johnson's passing. He was memorialized in the City of Austin by Porfirio Salinas Day, which honored him for having "done much to bring the culture of Mexico and Texas together with his paintings." Bastrop, Texas, the city of the artist's birth, has been holding a Salinas Art Exhibition annually since 1981. He painted hundreds of scenes of the wildflowers, including the various varieties of Blue Lupin, the state flower, as well as other flowering flora. These show the influence of his artistic mentors Robert W. Wood and Jose Arpa Y Perea. Salinas also painted a number of scenes of Prickly Pear Cactus that show the influence of the English painter Dawson Dawson-Watson (1864-1939), who painted many such works during his tenure in Texas. He painted the more arid Texas landscape infrequently and these works are very rare today and sought after by collectors from the Texas Panhandle and West Texas. Salinas also painted many river landscapes along the Guadalupe, Rio Frio, the San Antonio and the Rio Grande. On trips to his wife's homeland of Mexico, he painted a number of scenes of the volcanic peaks as well as scenes of peasant villages and villagers. Figurative paintings are rare among Salinas' works and these scenes of bullfights, fandangos and cock fights are probably the least sought after of his paintings. There are also a small number of modest marines, painted on trips to the Texas and California coast. Salinas paintings are highly prized by collectors of early Texas art, with the paintings of wildflowers in greatest demand. Works by Porfirio Salinas can be found in a number of public collections, including the Panhandle Plains Historical Museum in Canyon, Texas; the Texas State Capitol; the Texas Governor's Mansion; the Lyndon Baines Johnson Ranch; the Sam Rayburn Library and Museum in Bonham, Texas; Amarillo High School; the Witte Museum in San Antonio; the historic Joan and Price Daniel House in San Antonio; the Stark Museum in Orange, Texas; the R.W. Norton Art Gallery in Shreveport, Louisiana; the Sangre de Cristo Arts Center in Pueblo, Colorado; Texas A & M University and the Modern Art Museum of Fort Worth. Salinas has been featured in a number of reference works as well as anthologies devoted to American Western Art...
Category

Impressionist 1950s Paintings

Materials

Oil

Vintage American Modernist Outsider Pop Art Abstract Large Original Painting
Located in Buffalo, NY
Vintage American modernist abstract oil painting. Oil on canvas. Signed.
Category

Abstract 1950s Paintings

Materials

Canvas, Oil

Mid Century Modern Abstract Watermelon Still Life Framed Oil Painting
Located in Buffalo, NY
Antique American modernist abstract still life painting. Oil on board. Framed. Image size, 14L x 11H.
Category

Abstract 1950s Paintings

Materials

Canvas, Oil

Blue and Green Forms - British 50's abstract art oil painting paper colourfield
Located in London, GB
This stunning British abstract oil on paper painting is by noted radical British artist Robyn Denny. One of his earlier works, it was painted in February 1959. Entitled blue and green forms it is a striking image and the composition really pleasing to the eye. A fantastic piece of British Art. Signed and dated lower right 'Denny 2 / 59' numbered 15. Provenance: Cambridge estate. Condition. Oil on paper, image size is 31 inches by 23 inches and in good condition. Frame. Housed in a surround frame, 35 inches by 28 inches and in good condition. Edward Maurice FitzGerald "Robyn" Denny (1930- 2014) was one of a group of young artists who transformed British art in the late 1950s, leading it into the international mainstream. Reacting against the mainstream St Ives School of landscape-based painting and inspired by Abstract Expressionism, American films, popular culture and urban modernity, they saw abstract painting as their only conceivable route. He was born in Abinger, Surrey, the third son of The Rev. Sir Henry Denny, 7th Baronet, a clergyman, and his wife Joan, whose family name was also Denny. He was educated at Clayesmore School, Dorset. The family's coat of arms was: Gules a saltire argent between twelve cross crosslets or. After national service in the Royal Navy he studied at St Martin’s School of Art (1951–54) and the Royal College of Art (1954–57). After graduating from the Royal College in 1957, Denny began exhibiting with Gallery One, and in 1964, at the Kasmin Gallery, noted for its modernism. He was awarded a scholarship to study in Italy, then taught part-time at Hammersmith School of Art, the Slade School of Art and the Bath Academy of Art, Corsham. Among the paintings Denny created at the Royal College are rudimentary images of heads, indebted to French Tachisme, with dripped and dribbled paint. These were interspersed with abstract collages and large gestural paintings which display the broad gestures and bold marks of American Abstract Expressionism, exhibited in London in 1956 and 1959. In 1969, he organised an exhibition for the Arts Council on the American artist Charles Biederman...
Category

Abstract 1950s Paintings

Materials

Oil

Curvilinear Warm-Toned Abstract 20th Century Painting
Located in San Francisco, CA
This 1950s mixed-media on paper board abstract is by Bay Area painter, printmaker, and designer Calvin Anderson (1925-2023). He studied at CCAC and Art Center College in the 1940s an...
Category

Abstract 1950s Paintings

Materials

Oil, Graphite

Young woman in front of a mirror, original oil on canvas, signed, Marcel DYF
Located in PARIS, FR
An oil-on-canvas painting by Marcel Dyf (1899-1985) circa mid-20th century. It shows a young woman seated three-quarters of the way up, dressed in a yellow dress and white blouse, wi...
Category

Impressionist 1950s Paintings

Materials

Canvas, Oil

Antique American School New York City Street Scene Plaza Hotel Oil Painting
Located in Buffalo, NY
Antique American impressionist cityscape oil painting. Oil on canvas. Framed. Image size, 24L x 20H.
Category

Impressionist 1950s Paintings

Materials

Canvas, Oil

Vintage American Modernist Abstract Geometric Signed Framed Oil Painting
Located in Buffalo, NY
Vintage American school geometric abstract oil painting. Oil on board. Signed. Framed. Image size, 36L x 36H.
Category

Abstract Geometric 1950s Paintings

Materials

Canvas, Oil

Vintage Cool Palette Signed Exhibited Large Cubist Still Life Abstract Painting
Located in Buffalo, NY
Vintage exhibited abstract signed oil painting by Lionel Gilbert (1912 - 2005). Oil on canvas. Signed. Framed. Exhibited.
Category

Cubist 1950s Paintings

Materials

Canvas, Oil

Antique American School Modernist Abstract Framed Geometric Oil Painting
Located in Buffalo, NY
Antique American modernist abstract oil painting. Oil on canvas. Framed. Image size, 30L x 24H.
Category

Abstract 1950s Paintings

Materials

Canvas, Oil

'Fishing Boats', Sausalito, North Beach, San Francisco Bay Area Expressionist
Located in Santa Cruz, CA
Signed lower right, "Cucaro" for Pascal Cucaro (American, 1915-2003). An icon of the Beat years in San Francisco's North Beach, Pascal Cucaro was the winner of numerous medals and a...
Category

Post-Impressionist 1950s Paintings

Materials

Oil, Canvas, Acrylic

Antique American School Signed Framed Black Woman Street Scene Oil Painting
Located in Buffalo, NY
Antique American modernist street scene oil painting. Oil on board. Signed. Framed. Image size, 12L x 16H.
Category

Modern 1950s Paintings

Materials

Canvas, Oil

Portrait of Lady Audrey Norris - British 50s Post Impressionist art oil painting
Located in London, GB
This bold British Post Impressionist oil painting is by noted portrait artist Anthony Devas. Painted in the 1950's the sitter is Lady Audrey Norris. It is a seated portrait in warm a...
Category

Post-Impressionist 1950s Paintings

Materials

Oil

Vintage Mid-Century Framed Geometric Abstract Oil Painting - Figures in Colour
Located in Bristol, GB
FIGURES IN COLOUR Size: 42 x 51 cm (including frame) Oil onto Canvas A playful and striking composition presenting 2 figures in a coloured backdrop, brilliantly executed in oil onto...
Category

Abstract 1950s Paintings

Materials

Canvas, Oil

Vintage Mid Century Modern Abstract Expressionist Signed Framed Oil Painting
Located in Buffalo, NY
Antique American modernist signed abstract oil painting. Oil on board. Signed. Framed. Image size, 24L x 20H.
Category

Abstract Expressionist 1950s Paintings

Materials

Canvas, Oil

The Green Sweater - St Ives School 1950's female portrait oil painting
Located in London, GB
Artists Leonard John Fuller and Borlase Smart promised themselves that, if they survived WW1, they would move to Cornwall and paint. Thankfully they did both survive and in 1938 they established the St Ives School...
Category

Realist 1950s Paintings

Materials

Oil

Festivities Buckingham Palace - British 1950's figurative landscape oil painting
Located in London, GB
This superb British Post Impressionist figurative landscape oil painting is by war artist Gerald Spencer Pryse. Painted circa 1953 it depicts festivities outside Buckingham Palace, L...
Category

Post-Impressionist 1950s Paintings

Materials

Oil

Vintage Mid-Century Framed Cubist Abstract Oil Painting - Madonna & Child
Located in Bristol, GB
MADONNA & CHILD Size: 48 x 41.5 cm (including frame) Oil onto Board An outstanding mid-century modernist figurative composition, executed in oil onto canvas board. This painting de...
Category

Abstract 1950s Paintings

Materials

Canvas, Oil

Elegy to a Dead Tree - Kent Landscape - British 1950's art oil painting
Located in London, GB
This superb British 1950's landscape oil painting is by noted artist Laurence Henry Irving. Painted in 1952 it is entitled verso as Elegy to a Dead Tree. In the foreground, towering ...
Category

Realist 1950s Paintings

Materials

Oil

Lemons and Artichoke - Oil on Canvas by Gennaro Bottiglieri - 1950s
Located in Roma, IT
Lemons and Artichoke is an oil painting on canvas realized in the 1950s by Gennaro Bottiglieri (1899-1965). Hand-signed on the lower. Good conditions.
Category

Contemporary 1950s Paintings

Materials

Canvas, Oil

Edouard Goerg, Les 3 Brunes, Large Oil on Canvas, 1955
Located in Saint Amans des cots, FR
Large oil on canvas by Edouard GOERG (1893-1969), France, 1955. LES 3 BRUNES. With frame : 114x95cm - 44.9x37.4 inches ; without frame : 92.2x73 cm - 36.3x28.75 inches. Format 30F. S...
Category

Expressionist 1950s Paintings

Materials

Canvas, Oil

Multicolor Abstract Cubist Oil Painting with Monogram Signature MJ
Located in Atlanta, GA
This stylish abstract cubist oil on board painting with a monogram signature "M.J." is from a German artist (20th Century). The colorful painting features a stylized abstract composi...
Category

Cubist 1950s Paintings

Materials

Oil, Board

Vintage Mid-Century Swedish Framed Figurative Oil Painting - Moroccan Ladies
Located in Bristol, GB
MOROCCAN LADIES Size: 75 x 55 cm (including frame) Oil on canvas A lively and visually striking modernist figurative painting, executed in oil onto canvas. This composition depicts...
Category

Expressionist 1950s Paintings

Materials

Canvas, Oil

"The Horse Show"
Located in Lambertville, NJ
Jim's of Lambertville Fine Art Gallery is proud to present this piece by Harry Leith-Ross (1886 - 1973). The son of an English father and a Dutch mother, Harry Leith-Ross was born in the British Colony of Mauritius, an island in the Indian Ocean a thousand miles off the southeast coast of Africa. His first formal art instruction began in England under Stanhope Forbes, followed by studies with Jean Paul Laurens at the Academie Julian in Paris. Leith-Ross came to the United States to enroll at the National Academy of Design in New York City in 1910, and then to Woodstock, in 1913. It was in Woodstock at the Art Students League, under the tutelage of Birge Harrison and John F. Carlson, that Leith-Ross would receive the training that most influenced his career as an artist. There he formed a lifelong friendship with fellow artist, John Folinsbee. The two artists shared a studio during this time and participated in several joint exhibitions exclusively featuring their work, including an exhibit at the Louis...
Category

1950s Paintings

Materials

Oil, Board

Vintage Mid-Century Modern Figurative Framed Oil Painting - Summer Holiday
Located in Bristol, GB
SUMMER HOLIDAY Size: 58 x 48 cm (including frame) Oil on Paper A striking mid century figurative composition, painted in oil onto paper, by the established female Swedish artist Br...
Category

Expressionist 1950s Paintings

Materials

Paper, Oil

Altar Piece, Spiritual and Cultural Abstract by Female American Modernist
Located in Doylestown, PA
"Altar Piece" is a 30 x 46 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. The painting is signed "Peter Miller", titled, and estate ...
Category

American Modern 1950s Paintings

Materials

Canvas, Oil

Vintage Mid-Century Modern Figurative Oil Painting - A Game of Petanque, Framed
Located in Bristol, GB
A GAME OF PETANQUE Size: 46 x 54 cm (including frame) Oil on canvas A fun and charming mid-century narrative oil painting depicting a group of figures in the middle of a town square...
Category

Expressionist 1950s Paintings

Materials

Canvas, Oil

Vintage Mid-Century Modern Swedish Abstract Oil Painting - Jigsaw, Framed, 1959
Located in Bristol, GB
JIGSAW Size: 32 x 76.5 cm (including frame) Oil on canvas A fun and playful abstract composition, executed in oil onto canvas and dated 1959. The artist has arranged an array of ge...
Category

Abstract 1950s Paintings

Materials

Canvas, Oil

Fatale
Located in Milano, IT
CESARE MONTI (Brescia, 1891 - Bellano, 1959) Fatale, 1956 Oil on cavans, 78x40 cm Signed on lower left "C.Monti" Cesare Monti was born in Brescia in 1891. In 1906, at the age of onl...
Category

Italian School 1950s Paintings

Materials

Oil

Vintage Swedish Mid-Century Framed Coastal Landscape Oil Painting - Blue Breeze
Located in Bristol, GB
BLUE BREEZE Size: 36 x 72cm (including frame) Oil on canvas A restful and atmospheric mid-century modernist coastal scape painting, executed in oil onto canvas. Simple yet effectiv...
Category

Impressionist 1950s Paintings

Materials

Canvas, Oil

Vintage Mid-Century Modern Swedish Animal Figurative Framed Painting - Safari
Located in Bristol, GB
SAFARI Oil on Board Size: 34 x 45 cm (including frame) A very striking mid century oil composition, presenting a landscape scene where a woman in a red and blue dress and a hat is...
Category

Modern 1950s Paintings

Materials

Oil, Board

Radcliffe Camera, University of Oxford lithograph by John Piper
Located in London, GB
To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the artist you ...
Category

Abstract 1950s Paintings

Materials

Lithograph

Pair of 1950s Original Signed Oil Abstract Paintings, Blue Brown, Tan, Gray
Located in Denver, CO
Pair of original abstract oil on masonite paintings signed and dated by artist Bernard Arnest (1917-1985). Painted in browns, greens, blues, and white. ...
Category

American Modern 1950s Paintings

Materials

Masonite, Oil

Futurist Vision - Mid-Century New York Skyline - Industrial Progress
Located in Miami, FL
Rarely do you come across a work of art that is vastly different than just about anything you see. This work is undeniably brilliant and a sheer pleasure to behold. Alexander Leydenfrost...
Category

Art Deco 1950s Paintings

Materials

Graphite, Charcoal, Gouache, Board

“Dienstag” Orange, Red, and Brown Abstract Cubist Figurative Painting
Located in Houston, TX
Orange, red, and brown abstract cubist painting with two human figures by artist Roy List. Framed in a beautiful wooden frame. Signed and dated by the artist at the back. Dimension...
Category

Cubist 1950s Paintings

Materials

Canvas, Acrylic

Composition in Red and Blue - Abstract 1950s Oil Painting
Located in Denver, CO
'Composition in Red and Blue' is a vintage abstract expressionist original oil painting on board by Charles Bunnell (1897-1968) from 1951. Signed and dated by the artist in the lower...
Category

Abstract Expressionist 1950s Paintings

Materials

Canvas, Oil

Multicolor Cubist Variation Gouache and Watercolor Painting by André Morin
Located in Atlanta, GA
This stunning post-cubist multicolor geometric composition, gouache, and watercolor painting was designed by French artist André Morin (20th Century). Geom...
Category

Abstract 1950s Paintings

Materials

Paper, Watercolor, Gouache

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Science Uncovers Hidden Truths behind Young Pablo Picasso’s Blue Period

Science Uncovers Hidden Truths behind Young Pablo Picasso’s Blue Period

From 1901 to 1904, Picasso limited his palette to bluish hues in producing some of his most famous early works. A new show looks at the recycled materials, hidden underpaintings, surprising influences and bohemian lifestyle that led to their creation.

An Inspiring Collage by Self-Taught Miami Artist Purvis Young

An Inspiring Collage by Self-Taught Miami Artist Purvis Young

In 1995, the artist embellished a found poster of Martin Luther King with visionary markings.

Why Jasper Johns Is So Much More Than a Maker of Aloof Pop Art

Why Jasper Johns Is So Much More Than a Maker of Aloof Pop Art

A retrospective spanning two major East Coast museums demonstrates Johns’s massive role in contemporary art history. © 2021 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY. Philadelphia Museum of Art Photo Studio; Joseph Hu

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