1980s Paintings

A large, colorful oil on canvas abstract painting by Saul Kaminer depicting La Peluquera, the hairdresser, with a client in her chair, scissors in hand. Provenance: Kaminer, Galerie Thomas...

A Canadian flag flies from the top of a pole that swoops into the center of a taffy pink sky in this unique painting by artistic polymath Charles Pachter. In this painting, the arti...

Date: 1983 Medium: Acrylic on Canvas Dimensions: 29.75" x 25.70" Signature: Signed Center Right Movie poster design: Pair of rich con artists on the telephone Movie starred: Jackie Gleason, Mac Davis, Teri Garr, Karl Malden and Oliver Reed. The published poster also showed a $1000 bill...

This illustration was published as the paperback cover of, Build Me a Dream (Silhouette Special Edition series) by Pat Warren, Silhouette Books, 1989 A young man holding a young w...

A Kuppenheimer ad study and was published in Step By Step Graphics, January/February 1987 in the article “Learning From Masters of the Past” by Walt and Roger Reed Medium: Oil on Ca...

Painting for a poster, Comisky Park, Chicago White Sox Stadium 1985. Illustrator's Works Defined an Era: Bernie Fuchs, 76 By Adam Bernstein Washington Post Staff Writer Saturday, September 19, 2009 Bernie Fuchs, 76, an illustrator whose influential work for magazines ranging from Cosmopolitan to Sports Illustrated seamlessly blended qualities of traditional narrative with hints of abstract composition, died of esophageal cancer Sept. 17 at a care facility in Fairfield, Conn. He lived in nearby Westport. Mr. Fuchs was adept at balancing art and commerce. He met the needs of mass-circulation magazines accustomed to Norman Rockwell-style realism, but he injected a fresh vitality and impressionism that became hugely popular and transformed the illustration field. He even experimented with bold designs based on the abstract expressionism movement popularized by painters Jackson Pollock and Willem de Kooning. One vivid example, commissioned by McCall's magazine in the late 1950s, was a portrait of two young couples relaxing in a small room after dinner. One man is lying on the ground, his head nestled on a woman's lap and smoking a cigarette as she strokes his hair. While the image has the control and realism of Rockwell, it also has several more dynamic features taken from avant-garde techniques: the vigorous brush strokes; the tilted horizon that heightens a sense of drama; a lampshade in the foreground that appears slightly distorted; and, most strikingly, the placement of the couples in the distance instead of being the center of the picture. "Bernie combined the best of both worlds," said illustrator Murray Tinkelman, who directs the University of Hartford's master of fine arts program and chairs the New York-based Society of Illustrators' hall of fame committee. "He became the most emulated and imitated illustrator in the field through the 1980s . . . when the vogue turned to more decorative, whimsical, punkier illustrations that were influenced by underground cartoons like those of Robert Crumb." Mr. Fuchs entered the hall of fame in 1975. He was among the youngest inductees on a roster that includes Rockwell, N.C. Wyeth, Winslow Homer and John James Audubon. Bernard Leo Fuchs was born Oct. 19, 1932, in the coal mining town of O'Fallon, Ill., and his father soon abandoned the family. As a young man, Mr. Fuchs enjoyed drawing characters from Walt Disney movies...

"My head is somewhere near the intersections of the fields of art, history, psychology, engineering, and religion," Dan Wingren was quoted as saying, when he was named the Meadows Di...

Donald Vogel was inspired by gardens throughout his painting career. Before moving to Dallas, as a student at the Art Institute of Chicago in the late 1930's, Vogel's studio was a block away from Chicago's Lincoln Park...

An abstract acrylic on canvas executed in bright, primary red, blue and yellow by Post War artist Jack Roth. Signed, dated and titled verso, "ROTH81 "NEW SYNTHESIS - 15".

A painting by Carl Morris. This Untitled, abstract, acrylic on canvas painting is executed in a deep and lush palette of orange reds, blues, white and browns by Post War artist Carl ...

A monotype by Kenneth Noland. "Winds 82-23" is an abstract, painted monotype on handmade paper executed primarily in yellows and greens in a chevron pattern by Post War artist...

An abstract oil on canvas by Post War artist Robert Marc. Signed lower right, "Robert Marc." Provenance: Estate of the artist; Forum Gallery, New York; Barry Friedman Ltd., New York. Exhibition: London, Alon Zakaim...

Robert Motherwell Elegy Sketch 1980-ca. 1984 Acrylic on canvas board 15 x 29.5 cms (5 7/8 x 11 5/8 ins) RM-P80-2500 P1008 An early version of this work was photographed in 1980 (Sloman photo no. 1217). Studio photographs show that Motherwell modified the black forms and added the white lines sometime around 1984, without changing the overall composition. Exhibited: Solomon R. Guggenheim Museum, New York, Robert Motherwell, 1984, no. 106. Manny Silverman Gallery...

Robert Motherwell Shem the Penman #18 1983 Acrylic and charcoal on canvas 25.4 x 35.5 cms (10 x 13 3/4 ins) RM10044 P1068 Signed upper left and on reverse. Provenance: Dedalus Foun...

Robert Motherwell Open Untitled (Yellow) 1981 Acrylic and charcoal on canvas 30.5 x 40.6 cms (12 x 16 ins) RM10045 P1019 Recto upper left: RM Verso not signed,not dated Artist's stu...

Robert Motherwell Shem the Penman #19 1983 Acrylic and charcoal on canvas 25.4 x 35.6 cms (10 x 14 ins) RM13642 P1069 Recto, upper left: RM Verso: R. Motherwell \ 1983 Verso (on b...

Robert Motherwell The Studio 1987 Acrylic and charcoal on canvas 152.4 x 182.9 cms (60 x 72 ins) RM13966 P1140 When Motherwell made The Studio, in 1987, he was nearing the end of an...

Robert Motherwell Elegy to the Spanish Republic No. 163 1979-82 Acrylic and Conte crayon on board 59.1 x 74.3 cms (23 1/4 x 29 1/4 ins) RM14159 P1061 Elegy to the Spanish Republic No. 163 is a fine example of Robert Motherwell’s most acclaimed body of work, the Elegies to the Spanish Republic. As important as Barnett Newman’s zips and Jackson Pollock’s drips for their revolutionary contribution to art history, the Elegies are Motherwell’s most extensive series; he executed over 140 paintings using this motif, beginning in 1948 until his death in 1991. Nearly every major museum collection, including the Metropolitan Museum of Art, New York, Museum of Modern Art, New York, Solomon R. Guggenheim Museum of Art, New York, and San Francisco Museum of Modern Art, have in their permanent collection an Elegy to the Spanish Republic. Intended to be read as a lamentation or funeral song after the Spanish Civil War (1936-39), Motherwell’s Elegies to the Spanish Republic are a lyrical and poetic memorial to the immense human loss and suffering endured during these harrowing years. Motherwell was a young student of twenty-one when the horrors of the Spanish Civil War commenced in 1936, and he would later reflect that it was the most “moving political event” of his youth. In 1939, the Spanish Civil War concluded with the fall of Spain’s democratically elected socialist government, which was deposed by a fascist coalition led by dictator Francisco Franco, whose dictatorship would persist until 1975. In 1948 nearly a decade after the end of the Spanish Civil War, Motherwell created his first Elegy with a small drawing to accompany a poem by Harold Rosenberg. Over the next four decades, Motherwell would pursue this same structural and thematic motif relentlessly; taken as a whole, the Elegies confirm the resounding impact that this war had on the young artist, and indeed stand as a powerful monument to the overwhelming loss during and in the aftermath of the Spanish Civil War. Motherwell stated: “I meant the word 'elegy' in the title. I was twenty-one in 1936, when the Spanish Civil War began…The Spanish Civil War was even more to my generation than Vietnam was to be thirty years later to its generation, and should not be forgotten, even though la guerre est finie.” (David Craven in Joan M...

Robert Motherwell Homage to Catalonia 1985 Acrylic on canvas 61 x 91.4 cms (24 x 36 ins) RM14749 P1116 This painting was begun in 1985 as a work from the Hollow Men series. By 1986 ...

An abstraction of a god's eye view of the land below.

​Francisca Sutil is a Chilean painter known for her research of the chromatic surface, the nature of the support and the study of textures and materials that she prepares herself. Born in Santiago de Chile in 1952, she moved to New York where she received an M.F.A. from Pratt Institute in 1981. Since 1992, Sutil has lived and worked in Santiago. Sutil’s work is characterized by its superb construction and unique contemplative qualities. When approaching her paintings, the viewer is immediately captivated by the textures and hues. She proposes a rigorous exercise of painting on support, regardless of its material composition, in search of pictorial depth. It is a mental process from which a neat and pure chromatic production emerges. Intending no specific content in her paintings, she instead asks viewers to respond openly and honestly to her abstractions. She uses her work to provoke emotions and sensations, and in turn, encourages reflection, meditation and lasting thoughts and memories...

A leading abstract painter in his lifetime, Dan Christensen drew from a range of Modernist sources to produce colorful, luminous compositions that featured giant dots, whirling loops...

Strips of canvas saturated in pink are shaped and curated into a large vertical swath in this bold painting. The hue, tone and personality of this dramatic rose colour framed by pass...

RICHARD ANUSZKIEWICZ Translumina – Yellow to Red (No. 800), 1987 Acrylic on canvas 24 x 24 inches

RICHARD ANUSZKIEWICZ Translumina – Blue Edged (No. 879), 1988 Acrylic on canvas 84 x 84 inches

RICHARD ANUSZKIEWICZ Translumina with Deep Blue (No. 839), 1986 Acrylic on canvas 48 x 48 inches

RICHARD ANUSZKIEWICZ Translumina Cool Mix (No. 790), 1986 Acrylic on canvas 72 x 72 inches

RICHARD ANUSZKIEWICZ Untitled (Knot No. 1117), 1986-2019 Acrylic on canvas 48 x 48 inches

RICHARD ANUSZKIEWICZ Untitled (Knot No. 1118), 1986-2019 Acrylic on canvas 48 x 48 inches

RICHARD ANUSZKIEWICZ Untitled (Knot No. 1119), 1986-2020 Acrylic on canvas 48 x 48 inches

RICHARD ANUSZKIEWICZ Untitled (Knot No. 1120), 1986-2020 Acrylic on canvas 72 x 84 inches

RICHARD ANUSZKIEWICZ Untitled (Knot No. 1116), 1986-2019 Acrylic on canvas 72 x 84 inches

RICHARD ANUSZKIEWICZ Green, Blue and Grey Knot (No. 1115), 1986 Acrylic on canvas 60 x 70 inches

From the Target Series

William Tillyer Untitled (The Westwood Paintings) 1989 Acrylic on canvas 61 x 71.1 cms (24 x 28 ins) WT9778

Signed in oil verso

Acrylic and mixed media on canvas, 1989, 25.4 x 120.02 cm. (10 x 47 ½ in.)

Jules Olitski Wolf, 1985 Acrylic On Canvas 8h x 12w in

Acrylic on canvas, 1984, signed and dated on the verso, 34.4 x 23.5 cm. (13 ½ x 9 ¼ in.)

Oil on canvas, circa 1986-87

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

CLEVE GRAY Three, 1989 Acrylic on canvas 57 x 79 inches

Acrylic on Canvas

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler: Visionary seems the right word for describing his vivid, unusual and technically refined painting...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...