Evelyn B. Johnson

Doric Game VIII

circa 1980

Victor Vasarely Saeule HK (Detail), 1967 Silkscreen on thick glazed paper (after a painting from 1964) Image Size: 10.4 x 4.7 in. Sheet size: 10.6 x 10.6 in. Unsigned as issued Print...

Almir Mavignier Untitled (from 48 Serigraphien), 1961 Medium: 9 abstract screen prints on paper Dimensions: 15 7/10 × 11 7/10 in 39.8 × 29.7 cm Edition of 50: Each Hand-signed in pe...

Günter Fruhtrunk (German, 1923-1982) Farbbewegungen, 1970 Medium: Portfolio of 6 screenprints on cardstock Dimensions: each 65 x 90 cm Edition of 125: Each hand-signed and numbered i...

Technical Information: Julian Stanczak Compounded Red 1981 Screenprint 26 x 26 in. Edition of 175 Pencil signed and numbered Accompanied with COA by Gregg Shienbaum Fine Art

Technical Information: Julian Stanczak Boxed, from Twelve Progressions 1971 Screenprint 26 1/2 x 26 1/2 in. Edition of 90 Pencil signed and numbered Accompanied with COA by Gregg S...

TECHNICAL INFORMATION: Julian Stanczak Yellow One 1970 Silkscreen 28 1/2 x 28 1/2 in. Edition of 165 Pencil Signed and Numbered Accompanied with COA by Gregg Shienbaum Fine Art Co...

Technical Information: Julian Stanczak Let It Be Orange 1981 Screenprint 25 3/4 x 25 3/4 in. Edition of 175 Pencil signed and numbered Accompanied with COA...

Julian Stanczak Aerial, from Twelve Progressions 1971 Screenprint 26 1/2 x 26 1/2 in. EA #3 Pencil signed and numbered Julian Stanczak (Polish, November 5, 1928 – March 25, 2017) was a Polish-born American painter and printmaker who is considered a central figure of the Op art movement in the U.S. during the 1960s and 1970s. Described as an artist whose work "evinced a tremendous geometric inventiveness", Stanczak is primarily known for his large-scale polychromatic abstract compositions made using acrylic paint on canvas in which he explored the perceptual dimensions of color.[3] Born in 1928 in Borownica, Poland, Stanczak survived a Siberian labor camp during World War II where he lost the use of his right arm. He retrained himself to paint left-handed and emigrated to the United States in 1950, where he eventually became a citizen. In 1956, Stanczak received an M.F.A. from Yale University, where he studied with Josef Albers and Conrad Marca-Relli, and was roommates with fellow abstract painter Richard Anuszkiewicz. The term "Op art", since used to describe a short-lived movement of 1960s and 1970s, originated from Stanczak's work when the Minimalist artist and sculptor Donald Judd used it in his critical review of the 1964 exhibition titled Julian Stanczak: Optical Paintings at Martha Jackson Gallery in New York. Stanczak achieved broader commercial recognition after being featured in the landmark 1965 exhibition The Responsive Eye created by curator William C. Seitz at the Museum of Modern Art in New York. As the popularity of Op art diminished in the late 1970s, Stanczak remained active as a painter and continued to exhibit his work, but became progressively separated from mainstream contemporary art in the U.S. In addition to being a practicing artist, Stanczak served as a faculty member at the Art Academy of Cincinnati from 1957 to 1964 and, later, as Professor of Painting at the Cleveland Institute of Art from 1964 to 1995. In 2013, he was awarded an honorary doctorate from Case Western Reserve University in Ohio. Stanczak lived and worked in Seven Hills, Ohio with his wife, the sculptor Barbara...

TECHNICAL INFORMATION: Julian Stanczak Dedicated, from Twelve Progressions 1971 26 1/8 x 31 3/4 in. Edition of 90 Pencil Signed and Numbered Accompanied with COA by Gregg Shienbaum...

Technical Information: Julian Stanczak Tempo of Three 1981 Screenprint 26 x 39 1/4 in. Edition of 175 Pencil signed and numbered Accompanied with COA by Gregg Shienbaum Fine Art