Abstract Expressionist Still-life Paintings

A painting from the popular "black table" series by Darius Yektai.

"Nasturtium, Diptych" is an abstract diptych painting of two potted plants. On the lefthand canvas the background is painted a thin hookers green and resin was poured over the top. The potted flower is painted over the resin, sitting on a white stippled table with a thick yellow edge. Yellow stipples are painted around the plant. The righthand painting has intentionally exposed canvas soft smudges of green paint through the middle of the canvas and navy up in the upper lefthand corner, at the middle of the composition. A heavy impasto flower...

In his latest series of flower paintings, Yektai creates a popular subject he always comes back to: a black table against a bright landscape. This particul...

We are pleased to present another impressive painting from 2019 by abstract expressionist Christophe that we are proud to be representing in the United States. There is an excitemen...

Still life. 1972, paper, gouache, 44x40 cm Gunars Klava (1933 – 1989) Gunars Klava was born in 1933 in Priekule. 1953 - graduated from J. Rosenthal Art School 1964 - began to parti...

Mushrooms and mountains. 1968, paper, gouache, 83,5x59,5 cm Gunars Klava (1933 – 1989) Gunars Klava was born in 1933 in Priekule. 1953 - graduated from J. Rosenthal Art School 1964...

Abstract with vase. 1965, paper, gouache, 79 x 59,5 cm Gunars Klava (1933 – 1989) Gunars Klava was born in 1933 in Priekule. 1953 - graduated from J. Rosenthal Art School 1964 - be...

Through the Hedgerow [2023] original Oil on Canvas Image size: H:100 cm x W:100 cm Complete Size of Unframed Work: H:100 cm x W:100 cm x D:3.5cm Sold Unframed Through the Roses [202...

Pensée Quartet " by Koko Hovaguimaian is an oil on board that showcases the artist's distinctive brushstroke style. The title, "Pensée Quartet," suggests that the artwork revolves ar...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

The artist has painted the work in matte black and gloss black. It a sense this is also an optical art “Op Art” in that it changes as the light changes. Jimmy Ernst was a major figure of the New York School of abstract painting and part of The Irascibles, and son of Max Ernst: Provenance: Grace Borgenicht Gallery, New York, New York; Joseph H. Hirshhorn, New York and Washington, D.C. (acquired from the above in 1966); Joseph H. Hirshhorn bequest, Hirshhorn Museum, Washington, D.C., 1981; Sotheby's Arcade, New York, New York, February 24, 1995, lot 331; The Jeanne and Carroll Berry...

CAROLINA PONTE No Title, 2016 60 x 197 inches Acrylic on Linen Message for videos of the piece with more details. The extended present time and the a...

CAROLINA PONTE No Title, 2016 (Painting) 60 x 197 inches (150 x 400 cm) Acrylic on Linen Message for videos of the piece with more details. The exten...

CAROLINA PONTE No Title, 2016 60 x 197 inches Acrylic on Linen Message for videos of the piece with more details. The extended present time and the a...