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Fritz BultmanUntitled (#16)1973
1973
About the Item
Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously organized abstract compositions, use of sculpture, and the adoption of collage as a core practice. Best known for his collages that incorporated pre-painted paper into semi-figurative forms and abstract compositions, Bultman drew on years of psychotherapy to explore eroticism, sexual symbolism, and myth. Robert Motherwell called him “one of the most splendid, radiant, and inspired painters of my generation,” although many believe he suffered a lack of recognition due to missing the famed 1951 Life magazine photograph that helped establish the reputation of his contemporaries.
- Creator:Fritz Bultman (1919-1985, American)
- Creation Year:1973
- Dimensions:Height: 24.5 in (62.23 cm)Width: 9 in (22.86 cm)Depth: 9 in (22.86 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New Orleans, LA
- Reference Number:1stDibs: LU11021294283
Fritz Bultman
An abstract painter who was part of the New York School in New York City, Fritz Bultman was a student of leading Abstract Expressionist Hans Hoffman at Hoffman's school in Provincetown, Massachusetts. He also studied at the New Bauhaus in Chicago. Fritz Bultman also taught at Pratt Institute and Hunter College in New York City and at the Fine Arts Center in Provincetown, Massachusetts. Source:
Peter Falk, "Who Was Who in American Art"
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By Fritz Bultman
Located in New Orleans, LA
Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously organized abstract compositions, use of sculpture, and the adoption of collage as a core prac...
Category
Modern Abstract Sculptures
Materials
Bronze
Price Upon Request
Untitled (#15)
By Fritz Bultman
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For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials.
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Widows and Maidens #5
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