Geoffrey Bowman

"Orange Row", Abstract Geometric Minimalist Composition w Ovals, Limited Edition

1995

Large-scale abstract in orange of bold shapes by Bay Area artist Michael Pauker (American, b.1957). Unsigned, but was acquired with a collection of his work. Unframed. Image size: 60...

Delicate Abstract Lithograph with Blue and Orange by American Beat artist Will Peterson (1928-1994.) This lithograph blends the linework and movement of abstract impressionism with a color field-esque composition. The vibrant orange rectangle in the center of the piece is bracketed by a contrasting cobalt border. The edges of these shapes are softened by delicate linework and areas of hazy lighter blues and whites. Overall, this creates an atmospheric and striking piece. Lithograph is printed on wove paper which is fixed to a larger piece of handmade paper containing the artists signature and a small embossing found on his other pieces from this time period. This paper is displayed on top of a linen covered board with sturdy wood edges and a plexiglass over over the entire piece. Will Peterson was born in Chicago in 1928 to German immigrant parents. He contracted Polio when he was in High School and thus spent much of his early years ill. During this time he started working as a cartoonist for his high school’s paper. He started his official art studies at Wilber Wright College in Chicago and later earned a BA and a MA at Michigan State University. Here he studied print making and lithography under John S. deMartelly. He began enjoying artistic success while still in graduate school, exhibiting at the Detroit Art Institute, the Terry Art Institute, the National Print Exhibition, and the Boston Printmakers. Peterson was drafted into the army in 1952 and thus spent time in Korea and Japan. His time as an educational specialist in Hokkaido was a formative experience for him and his interest in Japanese calligraphy and other arts influenced his later work. Upon returning to the United States, he moved to Oakland, California. He became involved with the beat movement and after founding the Bay Printmakers Society with fellow artist Mel Strawn...

Colorful abstract painting by Bay Area artist Michael Pauker (American, b. 1957). Unframed. Unsigned, but acquired with a collection of his work. “I’m driven by curiosity...where i...

Orange Portal - Vintage Latin American School Original Abstract Bright and bold abstract painting by Latin American California-based artist, Ric...

Artist: Arthur Boden, American Title: T Series (Orange) Year: circa 1970 Medium: Screenprint, signed and numbered in pencil Edition: 100 Size: 29 in. x 23...

Signed & dated Verso. 1965 Paul Reed in 1970. He favored “staining” untreated canvas. Paul Reed, the last surviving member of the Washington Color School, who explored the complexities of color and form in vibrant bio-morphic and hard-edge abstract paintings, died on Sept. 26 at his home in Phoenix. He was 96. His death was confirmed by his daughter, Jean Reed Roberts. Mr. Reed acquired his public identity as an artist when he was included, along with Gene Davis, Kenneth Noland, Morris Louis, Thomas Downing and Howard Mehring, in “The Washington Color Painters,” a landmark traveling exhibition that began at the Washington Gallery of Modern Art in 1965. All of the other painters had been shown, the year before, in “Post-Painterly Abstraction,” a 31-artist exhibition at the Los Angeles County Museum of Art organized by the critic Clement Greenberg in an effort to write a new chapter in the historic march of abstract art. Like his fellow Washington artists, Mr. Reed rejected the hot, gestural approach of Abstract Expressionism and explored color and abstract forms in a cooler mode. Working with diluted acrylic paint, in discrete series that methodically explored formal issues, he created luminous fields of color by letting the paint bleed into, or stain, untreated canvas. “I have a saying: Pollock dripped, Frankenthaler poured,” he told The Washington Post in 2011, referring to the artist Helen Frankenthaler. “Morris Louis poured. Howard Mehring sprinkled. I blot.” In his first stained series, “Mandala,” color radiated from a circular central image. The nearly 100 paintings in his “Disk” series, which he called “a matrix for exploiting color,” consisted of a central circle and two triangles positioned at the corners of the canvas. Over the next decade he moved to hard-edge geometric zigzags and stripes in the vertical “Upstart” series, color grids and shaped canvases that allowed for more complex experiments in form and color relations. He also made welded steel sculptures and, in the “Quad” series of the 1980s, collaged photographs. “Reed was, in a sense, the ‘little master’ of that first batch of Washington colorists,” the critic Benjamin Forgey wrote in The Washington Post in 1997. “He was a latecomer — he didn’t turn seriously to painting until he was in his mid-30s — but he never considered becoming anything other than an abstract painter. And when he was ready to show, in his early 40s, he was a very good abstract painter indeed.” Mr. Reed gave himself a more modest assessment in an interview with NPR last year. “I’m sort of low man on the totem pole of that group of six,” he said. Paul Allen...

Contemporary geometric colorful abstract painting by Texas-based artist Max Manning. The work features organic and geometric shapes in orange and pink tones. Signed, titled, & dated ...

Hermann Kremsmayer, born in Salzburg in 1954, lives and works in Vienna. This work, entitled ‘Orange Composition’ by Hermann Kremsmayer, shows a play between colours, complementary ...