Abstract Impressionist Abstract Sculptures

Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculptors of our time. He is a living master whose work is considered to be both personal a...

Susan Hable is inspired by the work of David Hockney, Milton Avery, Henri Matisse, Alex Katz, Howard Hodgkins, Hilma af Klint, Georgia O'Keeffe, Barbara Hepworth and Constantin Brâncuși. With humor and a bit of mischief, Susan Hable’s “Don't Pick The Flowers!” is a body of work that is at once a refuge and a playground. Inspired by her sumptuous garden just outside of her Athens studio, Susan flows from one medium to the next from painting to collage to sculpture. Susan sees her garden as a place for adventure and daydreaming, challenging her perceptions of what her Art can be. Even a weedy ground cover has caught Susan’s eye, an overlooked invasive is seen in a new light becoming a dreamlike fairytale path. Her work asks us to engage in life, go for a walk and play. Susan Hable Smith is the artist and designer behind the boldly colored and hand drawn patterns of Hable Construction...

W. R. Stevenson's abstract bronze sculpture titled "Bird". The unique sculpture stands on a sleek wooden base and has a plaque that includes the artist and title. Artist Biography: William Robert Stevenson was born in 20 May 1925 in Eugene, Oregon. His family moved to Minneapolis, MN but he promptly returned to Oregon and Washington during the Great Depression to work in the Works Progress Administration (WPA). Hoping to study Art, his future was sidetracked when he was drafted into the United States Army at age 17 years old in early 1942. Being a strong swimmer, and having worked at stables as a child, he initially served in the last US Cavalry Corps, and also as a Swimming Instructor for the United States Army. Upon the abolition of the Cavalry Corps, he was trained as a Gunnar and Tank Commander for the M-4 Sherman Tank under General Patton...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his travels. In his ongoing series of memory jugs, Thompson adorns stoneware vessels with a kaleidoscope of ceramic shards, found objects, and pocket-sized trinkets he collected over the course of his life. Also known as forget-me-not jugs or spirit jars, memory jugs are African American folk art objects that honor a loved one who has recently passed. Small tokens and mementos of the deceased are gathered and affixed to the exterior of a jug or vase, an abundance of memories that celebrates a life lived to the fullest. Michael Thompson applies this tradition to his own practice, creating tactile assemblages of this and that. Formed in the manner of collage, each jug honors the lost memories of generations past and his own memories of personally discovering each item. With varied sources for materials including Kyoto, Turkey, and Mexico, a great number of the found shards are 18th and 19th century ceramics...

"The Man Without a Rod №3" Bronze Sculpture 26x20x9in Ed. 3/8 by Sergii Shaulis Limited Edition 3/8 From "The man without a rod" series Approximate weight 77 lbs. The artist spent almost ten years of his life in the making of this eight-piece series. It is an introspective representation of what he calls absolute hopelessness. “It's about the emptiness of the soul, but it's also about starting anew; when you feel nothing but finding the power inside of you to stand up and move.” ABOUT ARTIST Born on 27 May 1985 in Kharkiv, Ukraine. From 2005 to 2011 studied at the Kharkiv State Academy of Design and Arts, at the Faculty of "Fine Arts" specialty "Easel and monumental sculpture." Now studying postgraduate at Kharkiv State Academy of Design and Arts. Works are in private collections in Ukraine, Israel, Germany, USA, Australia, Finland, Holland, Spain, Belgium, England. Education 2002‑2005 Faculty of Engineering and Physics (NTU KhPI) 2005‑2011 Easel and monumental sculpture (KSADA) 2012-2016 postgraduate education (KSADA) Exhibitions 2007-15 City exhibition HONSKHU. Kharkiv. 2007-14 Ukrainian Exhibition KONSKHU. Kyiv. 2008-11 "The maestro and his students", KSADA. Kharkiv (Audience Award 2009) 2008 11 International Triennial of sculpture. Kyiv . 2009 “Male portrait”, gallery KSADA. Kharkiv . 2009 "You get SMS ", Kharkiv ( Grand Prix "The best sculpture project "). 2009 “Gogol-fest”, Museum Arsenal. Kyiv. 2016 "Corpus", Come in gallery, Kharkiv. 2016 KSADA "Loft", Kharkiv. 2017 “Art seasons”, M17. Kyiv. 2017 Gallery "Semiradskiy", Kharkiv. 2017 "Mundi contraria", M17. Kyiv. 2018 "More than sculpture", ArtUkraineGallery. Kyiv. 2018 “Auguste Rodin. "Premonition of the future...

William King (1925-2015). Reclining figure, ca. 1965. Cast and welded bronze, 7 x 9.5 x 5 inches. Unsigned. William King, a sculptor in a variety of materials whose human figures traced social attitudes through the last half of the 20th century, often poking sly and poignant fun at human follies and foibles, died on March 4 at his home in East Hampton, N.Y. He was 90. His death was confirmed by Scott Chaskey, who is married to Mr. King's stepdaughter, Megan Chaskey. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses -- a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. But for all its variation, what unified his work was a wry observer's arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. Mr. King's work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. But the comic element of his work probably caused his reputation to suffer. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder. and Elie Nadelman. The critic Hilton Kramer, one of Mr. King's most ardent advocates, wrote in a 1970 essay accompanying a New York gallery exhibit that he was, "among other things, an amusing artist, and nowadays this can, at times, be almost as much a liability as an asset." A "preoccupation with gesture is the focus of King's sculptural imagination," Mr. Kramer wrote. "Everything that one admires in his work - the virtuoso carving, the deft handling of a wide variety of materials, the shrewd observation and resourceful invention - all this is secondary to the concentration on gesture. The physical stance of the human animal as it negotiates the social arena, the unconscious gait that the body assumes in making its way in the social medium, the emotion traced by the course of a limb, a torso, a head, the features of a face, a coiffure or a costume - from a keen observation of these materials King has garnered a large stock of sculptural images notable for their wit, empathy, simplicity and psychological precision." William Dickey King...

"Green Seapod", Ceramic Sculpture Dimensions: 7 H × 6 W × 6 D Medium: Hand-built ceramic, glazed stoneware Hand-built ceramic sculpture finished in a green glaze. Adrienne Fierman’s...

This abstract figurative sculpture by Gal Melnick is from here latest body of works. It is a laser cut metal sculpture which is painted with automotive pai...

Hand-pitched chrome metallic glazed ceramic sculpture vessel by Jessamyn Go. Jessamyn Go's work is deeply rooted in the visceral, meditative experience of working with clay. Drawn t...

Decorative plate "Interaction" porcelain h 5 cm; w 35 cm; d 21 cm Elegant white decorative plate from porcelain

"The man without a rod Nr 1" Sculpture 34.6x13x10 in Ed 2/5 by Sergii Shaulis From "The man without a rod" series Approximate weight 40 lbs The artist spent almost ten years of...

Frank Arnold is viewed as one of the foremost abstract figurative painters and sculptors of our time. He is a living master guided by a personal mission to “turn on a light in the human soul,” through his passionate creation of “Messengers” from his deeper mind connection with Carl Jung's archetypal images, the collective unconscious, and Jungian Synchronicity. These unconscious forms from his deeper mind resonate as personal messages of universal acceptance, reaching out to the viewer. Arnold has been honored as IAD Artist of the year 2018 by International Artist Day, and 2013 FAC Horizon Artist Award. He has exhibited his artwork in numerous galleries, museums, and is in collections worldwide. Arnold divides his working days between oil painting in San Jose del Cabo, Baja Sur...