Skip to main content

Color-Field Art

1
to
48
341
15
99
50
181
134
53
76
21
68
60
148
Overall Height
to
Overall Width
to
120,259
69,306
48,607
22,146
15,212
8,022
4,898
4,533
4,010
2,757
2,585
2,545
2,389
638
17
14
14
13
8
7
5
5
4
4
4
3
3
3
3
3
3
3
2
2
192
179
1
1
2
22
78
41
36
26
26
19
14
13
259
127
126
122
122
Style: Color-Field
Subtle Was Rarely An Option
Located in Santa Fe, NM
"Subtle Was Rarely An Option" is a lithograph with chine-collé elements exemplifying Calvert's exploration of the "...conversations that develop between everyday objects of comfort ...
Category

21st Century and Contemporary Color-Field Art

Materials

Lithograph

Colors within a witch hazel blossom 2 (Abstract painting)
Located in London, GB
Colors within a witch hazel blossom 2 (Abstract painting) Acrylic on polyester film - Unframed This work is part of a series whose inspiration comes from Witch Hazel, a deciduous s...
Category

2010s Color-Field Art

Materials

Polyester, Film, Acrylic

Colors within a witch hazel blossom 2 (Abstract painting)
Located in London, GB
Acrylic on polyester film - Unframed This work is part of a series whose inspiration comes from Witch Hazel, a deciduous shrub in New York City. It blooms in January with bright yel...
Category

2010s Color-Field Art

Materials

Polyester, Film, Acrylic

Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_Bottled_2004_acrylic, ink
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category

Early 2000s Color-Field Art

Materials

Acrylic, Panel, Pigment, Ink

Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_North Country_2020_
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category

2010s Color-Field Art

Materials

Acrylic, Panel, Pigment

Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_Bliss_4_2020_Color Field
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category

2010s Color-Field Art

Materials

Acrylic, Panel, Pigment

Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_Bliss_3_2020_Color Field
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category

2010s Color-Field Art

Materials

Acrylic, Panel, Pigment

Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_Bliss_1_2020_Color Field
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category

2010s Color-Field Art

Materials

Acrylic, Panel, Pigment

Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_Air Capture_2020_Color Field
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category

2010s Color-Field Art

Materials

Panel, Acrylic, Pigment

Emily Berger_Adagio_2019_oil on wood_ 40 x 30 inches_Minimalism
Located in Darien, CT
Emily Berger’s paintings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. She brushes, wipes, rubs, and scrapes, incorporatin...
Category

2010s Color-Field Art

Materials

Oil, Wood Panel

Emily Berger_Begin Again_2018_oil on wood_ 40 x 30 inches_Minimalism
Located in Darien, CT
Emily Berger’s paintings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. She brushes, wipes, rubs, and scrapes, incorporatin...
Category

2010s Color-Field Art

Materials

Oil, Wood Panel

Emily Berger_Red Ghost_2018_oil on wood_30x24 inches_Minimalism
Located in Darien, CT
Emily Berger’s paintings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. She brushes, wipes, rubs, and scrapes, incorporatin...
Category

2010s Color-Field Art

Materials

Oil, Wood Panel

Colors within a witch hazel blossom 2
Located in London, GB
Acrylic on polyester film - Unframed This work is part of a series whose inspiration comes from Witch Hazel, a deciduous shrub in New York City. It blooms in January with bright yel...
Category

2010s Color-Field Art

Materials

Polyester, Film, Acrylic

WOP 2 - 00671
Located in Phoenix, AZ
mixed media on paper; unframed full sheet 22 x 30 inches signed lower right Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create mysterious, veil...
Category

2010s Color-Field Art

Materials

Paint, Paper, Mixed Media, Archival Paper

7.5.95
Located in Phoenix, AZ
oil and wax on linen Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the,...
Category

1990s Color-Field Art

Materials

Linen, Wax, Oil

1.7.97
Located in Phoenix, AZ
oil and wax on linen Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the...
Category

1990s Color-Field Art

Materials

Linen, Wax, Oil

10.15.95
Located in Phoenix, AZ
acrylic on gessoed canvas Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attende...
Category

1990s Color-Field Art

Materials

Canvas, Acrylic, Gesso

3.10.99
Located in Phoenix, AZ
acrylic on canvas Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the, no...
Category

1990s Color-Field Art

Materials

Canvas, Acrylic

9.77
Located in Phoenix, AZ
Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the, now, San Francisco A...
Category

1970s Color-Field Art

Materials

Canvas, Acrylic

10.11.95
Located in Phoenix, AZ
oil and wax on gessoed linen Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she att...
Category

1990s Color-Field Art

Materials

Oil, Gesso, Linen, Wax

6.15.96
Located in Phoenix, AZ
acrylic on gessoed linen Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attende...
Category

1990s Color-Field Art

Materials

Gesso, Canvas, Linen, Acrylic

from the smoke and ash - Abstract tantric stain painting, acrylic on raw canvas
Located in Philadelphia, PA
from the smoke and ash - Abstract tantric stain painting, acrylic on raw canvas by contemporary artist Elisa Niva33 inches x 29 inches. One of the main i...
Category

2010s Color-Field Art

Materials

Cotton Canvas, Acrylic

Museum of Contemporary Art Los Angeles, Limited Edition Panza Collection poster
By Mark Rothko
Located in New York, NY
Mark Rothko Museum of Contemporary Art Los Angeles Panza Collection poster, 1988 Offset lithograph poster Not signed, Edition of 1000 43 × 30 inches Unframed Published by Poster Originals No. 409, for the MOCA, Los Angeles, Third Edition unnumbered from the limited edition of 1000 the work depicted in this poster is Mark Rothko's 1953 "Brown, Blue, Brown on Blue" (oil on canvas) Mark Rothko Biography The youngest of four children, Mark Rothko was born in Dvinsk, Russia on September 25, 1903 to Jacob and Anna Goldin Rothkowitz. In 1910, his father, a pharmacist, emigrated alone to Portland, Oregon and worked for his brother, Samuel Weinstein, in the clothing business. After Jacob had established himself, he sent for his two older sons, Albert and Moise, in 1912, and for the rest of the family, his wife, his son Marcus, and his daughter, Sonia, in 1913. Seven months later, Jacob died and the children went to work to help support the family; Marcus, who was commonly known as Marc, delivered groceries and sold newspapers after school. A precocious student in high school, he completed his studies in three years, excelled in many subjects, and expressed a love for music and literature in particular. One of his Yale classmates also from Portland, Max Naimark, recalled that Rothko sketched a good deal in college but noted that he had many other interests as well. It was not until he moved to New York, Rothko later recalled, that he “happened to wander into an art class, to meet a friend”; deeply impressed by the school, the experience provoked his determination to become an artist. In January 1924, Rothko enrolled at the Art Students League and began taking anatomy courses with George Bridgman. Later that year, he interrupted his studies to visit his family in Portland. During his brief stay, Rothko joined an acting company run by Josephine Dillon, the first wife of Clark Gable, and although his career in the theater was short-lived, his interest continued. During his early years in Portland, he had taken a drama course at Lincoln High School, and after his acting experience with Dillon’s company he tried (but failed) to win a scholarship to the American Laboratory Theater in New York. Rothko’s love of the theater informed his works throughout his life; he painted theatrical scenes, admired many playwrights, and referred to his paintings as “drama”, and his forms as “performers”. His experience painting stage sets in Portland may well have influenced the murals he designed years later for the Four Seasons restaurant in the Seagram Building in 1958 and for Harvard University in 1961, and those commissioned by Dominique and John de Menil for a chapel in Houston in 1964. Early in 1925, Rothko returned to New York and took one class from Arshile Gorky at the short-lived New School of Design, located on Broadway near fifty-second Street. In the fall of that year, he reenrolled at the Art Students League, a stronghold of American realist trading during the 1920s and 1930s. Among his faculty the League counted such prominent realist painters as Thomas Hart Benton, George Luks, and John Sloan, although its fame as an art school, Sloan pointed out, derived from the fact that its teaching ranged from “the conservative to the ultra-modern”. Rothko studied with Max Weber during the fall semester of 1925 and again in the spring of 1926. Weber, a dedicated Modernist, conveyed to Rothko and his other students the passion he felt for the work of Paul Cezanne, the Fauve, and the Cubists. He had studied in Paris from 1905 to 1908, first at the Academie Julian and then with Henri Matisse. Like many progressive Americans of his time, he was disappointed in academic French art and in the closed society of conservative American artist who had banded together in Paris. Weber became part of the bohemian life of the avant-garde, frequenting artist’s studios and cafe, attending exhibitions and salons. He discovered Cezanne‘s work at the home of Gertrude, met Pablo Picasso, Marc Chagall, among others, and became close friend of Henri Rousseau. Upon returning to New York, Weber began to paint in a style that reflected the influence of many of these artists. He experimented with Fauvism, Cubism, and Futurism and formulated his own unique Cubo-Futurist style, and in the 1920s he turned to Expressionism. Like many other modernists, Weber was an avid student of the classic works of European art. The teacher’s appreciation of European art manifested itself despite the dominance of American realism at the Art Students League, at the galleries, and at the Whitney Studio Club. He also collected African sculpture, pre-Columbian works, and totems of Northwestern Native American tribes. Weber eviently shared his firsthand encounters of the Moderns and his love of European masters like El Greco, Goya with his students, because such influences are readily apparent in Rothko’s early work. By the onset of the Depression in October 1929, the first wave of American Modernism, largely centered around the well-known photographer Alfred Stieglitz and his pioneering art galleries had ebbed. It was replaced by a group of artists for whom the traditions of American realism were more cogent mean of expression than the European Modernism exemplified by the School of Paris. The political and economic crisis in America during the late 1920s and early 1930s gave rise to an increase in nationalism and a renewed interest in social and political narrative in art, as it did in Europe. Conspicuously American themes – the squalid life of the rural poor, the plight of the urban worker, and other genre subjects conveying the sense of hopelessness that followed in the wake of the Depression – dominated art everywhere. During the late 1920s, Rothko supported himself by doing odd jobs, which included toiling in New York’s garment center and working as a bookkeeper for a relative, Samuel Nichtberger, an accountant and tax attorney. In 1929, he took a part-time job teaching children at the Center Academy of the Brooklyn Jewish Center, a position he retained until 1952. Rothko often maintained that teaching children enabled him to understand their ability to communicate their perceptions of reality in terms of simple visual images. He believed in this gift so deeply that he looked to children as a basis for his own search for truth. Teaching at the center, along with stints at Brooklyn College from 1951 through 1954 and other institutions, became his primary means of support until he achieved independence as an artist in the late 1950s. In July 1932, Rothko met Edith Sachar, and they married in November of that year, living first in Rothko’s West Seventy-fifth Street apartment and the4n moving frequently, to 313 East Sixth Street and to other flats in Manhattan and Brooklyn. The made a precarious living from Mark’s salary as a teacher and Edith’s earnings from various jobs and later from her jewelry designs. Their apartments served both as his studio and her shop. Despite Weber’s impact on his early development, Rothko was later to state that was largely self-taught and had “leaned painting from his contemporaries in their studios.” At the outbreak of World War II, Rothko was virtually unknown as a painter although he had exhibited his work for over a decade. His financial situation was still difficult, but he kept himself going through black humor and an absolute belief in himself as a painter. Despite these hardships, the late 1930s and early 1940s were years of tremendous significance for Rothko, and his art underwent a dramatic evolution. Earlier, he had struggled with the figure, unwilling to abandon it yet unable to find a new form to express the ideas that he had already begun to formulate in his writings. The intellectual turmoil in which he was now engaged led him to reject the figure in favor of a mythological imagery that dominated his work from 1938 to the mid-1940s. Rothko himself later admitted, “It was with the utmost reluctance that I found the figure could not serve my purpose… But a time coma when none of us could use the figure without mutilating it.” According to Rothko’s friends, his marriage to Edith began to fall apart when she became frustrated by his lack of success and started to pressure him to join her in her business. The photographer Aaron Siskin introduced Rothko to Mary Alice Beistle in 1944, and Rothko divorced Edith shortly before he married Biestle in the spring of 1945. This was a significant year, because in January Rothko had his most important solo show todate, at Art of This Century, where he exhibited a number of important paintings that, as the exhibition brochure indicated, occupied the “middle ground between abstraction and surrealism.” Among the canvases on view were Slow Swirl by the Edge of the Sea, a symbolic self-portrait with Beistle the artist painted during their courtship. In this and related works fo the mid-1940s, Rothko created a series of animated revolving forms vaguely suggestive of plants or animals, whereas the flat and heraldic images in other paintings suggest sources in primitive and archaic art. Rothko’s Surrealist-inspired imagery and his use of automatism is evident here, as is his awareness of the work of other Surrealist-inspired contemporaries Rothko’s interest in luminosity impelled him to paint in watercolor, and in the mid-1940s he produced some extraordinary works using a palette of grays and earth tones, colors he would later use in a powerful series of works executed in the last years of his life. Untitled No. 10; Baptismal Scene, Untitled N. 16; entombment I; and Magic are a few examples from a prolific body of watercolors. In some of these works, Rothko added tempera, gouache, or pen and ink, or left portions of the paper untouched, and, although his palette is subdued, there are occasional hits of color, including subtle tints of red, yellow, and blue. The overriding effect of these fanciful, curvilinear forms is that of a newly found freedom of expression, which stands in striking contrast to the dramatic but ponderous mythological personae that characterize the works of the late 1930s and early 1940s. Rothko’s 1940s experiments with Surrealist automatism freed him from the more rigid hieratic order that dominate his work of the previous decade. Although he continued to make use of that period’s zones or registers, the images are no longer confined to separate compartments but move freely within the surrounding space. The element of play, which is missing from his earlier mythological subjects, and the graceful movement of his forms suggest comparisons with his European contemporaries Masson and Matta, both of whom had a pronounced influence on their American colleagues, particularly through their presence in New York. By the winter of 1949-50, Rothko had arrived at his mature style, one in which two or three luminous color rectangles arranged one above another appeared to float within a radiant color field. The residual biomorphic forms, cursory automatic gestures, and flickering strokes of color that characterize such otherwise disparate paintings as Untitled (No. 17); Number 24; Untitled (No. 22) are all that remain of his mythical and Surrealist vocabulary of the mid-to-late 1940s. Indeed, Number 22 may be seen as marking the end of one era and the beginning of another. The linear elements that dominate the midsection of the canvas are all that remain of the concept of automatism so central to the Surrealist ethic, and which played such a prominent role in the work of so many artists of the New York School. The painting is equally notable for its ungainly size and its use of horizontal bands of color set against a yellow ground. On the other hand, such magnificent paintings as Untitled (No. 26), and Magenta, Black, Green on Orange offer hits at the direction that Rothko’s painting would take. These canvases are notable for their stunning array of brilliant horizontal color bands set within a rectangular field, and, although certain marks in each canvas suggest a kind of abstract shorthand for Surrealist calligraphy, they are divorced from any of Surrealism’s references. By 1950, this format of rectangles of color within a larger color field had become one of the most important features of Rothko’s work. To achieve the effect of light emanating from the very core of his paintings, Rothko began to stain pigments into his canvas by applying numerous thin layers of color one over the other, often allowing portions of these layers to appear through the top coat of paint. This enabled him to re-create, in a contemporary manner, the resonant light of Rembrandt, whom he very much admired. Rothko could also make color statements rivaling those of Henri Matisse, arguably the single greatest influence on his work of this period. Like Matisse, Rothko often enhanced one intense color by placing it next to another equally brilliant, as in Untitled (Violet, Black, Orange, Yellow on White and Red), luminous touches of white paint surround the central rectangles of violet, orange and yellow; the painting reveals one of Rothko’s greatest accomplishments: his ability to contain a vast array of colors of differing hues in differing proportions on the same plane. Although the violet form is indeed the largest of the group and dominates the yellow and orange, it is held in check by two vertical red bars at either side and by a narrow band of black adjacent to its bottom edge. In addition, the soft yellow and white field surrounding the central forms anchors the floating rectangles to the canvas support. Many of Rothko’s canvases were monumental in size in the late 1950s and early 1960s. He was quoted as saying that he wanted to express “basic human emotions – tragedy, ecstasy, doom…The people who weep before my pictures are having the same religious experience I had when I painted them.” Rothko’s desire to create this exalted experience, which he shared with contemporaries like Jackson Pollock, de Kooning, for whom the process of painting was an event and the canvas a reflection of that act. Collectively, they were beginning to supersede the likes of Edward Hopper and the earlier Franz Marc. Rothko’s approach to painting was less physical, less engaged in the relationship between painter, act, and event. Indeed, he often spent hours sitting near a blank canvas in quiet contemplation before proceeding to paint. In 1958, Rothko was invited to paint four murals for the Four Seasons restaurant by Philip Johnson, eminent architect and art collect, who had already been a vital force in the New York art world for several decades. Johnson was director of the architecture department at the Museum of Modern Art from 1930 to 1936, and again from 1946 to 1954. Rothko was naturally excited at that was to be his first commission, and his canvases of the late 1950s bear a striking resemblance to the murals he designed for Johnson. In the summer of 1958, he rented a former YMCA gymnasium at 22 Bowery and began to work on them. that same year, he was represented in the XXIX Biennale in Venice. In the fall, he gave a talk at Pratt Institute, and in the spring of 1959 he left for Europe with Mell and his daughter Kathy Lynn, who had been born in 1950. Among the many ancient sites and monuments he saw in Italy, Paestum and Pompeii affected him the most, partly because of his frequent visit to the Metropolitan Museum, where he had been deeply moved by the wall paintings of Boscoreals, as had so many of his New York School colleagues. In Florence, he was particularly impressed by Michelangelo‘s Medici Library at the cloister of San Lorenzo; he also felt an instant connection with Fra Angelico’s frescoes for the Convent of San Marco. Then, he returned to New York to continue his work for Johnson. He labored for nearly two years on the project before he was satisfied. He completed three sets of murals, each them progressively darker, ranging in color from orange and brown to maroon and black. For these works, he created a new series of forms, substituting open rectangles resembling doorways for the closed rectangles he used in his paintings. Rothko place these vertical configurations within a horizontal format and restricted his palette to two colors for each panel. Rothko’s mural are imbued with a new sense of majesty and mystery that undoubtedly resulted from his experience at the Italian sites. For the first time, his work is brooding, forbidding, tragic, and as he completed the task it became clear to him that the murals did not belong in a commercial setting, so he rejected the commission and returned the money he had been paid. Panels from the first set of murals were sold individually. the second series was probably abandoned and never sold, and the third, completed in 1959, was given to the Tate Gallery in London in 1969. Because Rothko’s intensely meditative paintings speak to the nature of human emotion and concern, they were totally incompatible with the setting for which they were intended. As attracted as he must have been by the idea of his first commission, Rothko would allow nothing to interfere with his concern for moral and ethical issues in art. His actions no doubt stemmed from deep-seated attitudes derived from his youth, which were reinforced as he grew older. But his need to purge his art of all but the “essence of the essential” was a costly one, because every step he took to fulfil a successful career as an artist only put him at odds with his own inner beliefs. Friends have testified that Rothko’s success brought him at least as much torment as comfort. He was able to travel extensively with his family (in 1963 his son Christopher was born) and visit the cities and monuments he yearned to see. Yet as his fame grew, so did his uneasiness, and he became increasingly depressed as the years passed. Despite his acclaim as a leader of the New York School, Rothko still felt misunderstood and isolated from an art world he came increasingly to disdain. He spoke of feeling trapped and feared that his work had reached a dead end. In 1961, Rothko was given his first important solo museum exhibition by the Museum of Modern Art, for which he insisted on eliminating everything executed before 1945. He installed the work in dense clusters and decided on low lighting for all of the paintings, even those he had shown earlier under more intense light. The installation probably reflected the new direction his work had taken at the time of the Seagram murals, because the work that follows bears a decided shift in emphasis from his paintings of the early and mid-1950s. The exhibition, which took place in the winter, received generally enthusiastic review, and then traveled extensively in Europe. Perhaps its most notable aspect was the fact that it was the museum’s first solo exhibition devoted to an artist of his generation from the New York School. It also validated Rothko’s decades-long struggle to find acceptance as a mainstream New York artist. Although he had long criticized the museum’s failure to accord contemporary art a place in its program, he quickly accepted its proposal. The recognition he then received led to other offers, including one from Professor Wassily Leontief, head of the Society of Fellows of Harvard University, to create a group of murals for the penthouse of Holyoke Center, designed by Josep Lluis Sert. The murals, finished in 1962, were eventually placed on permanent view in the faculty dining room at the center. The series consisted of five monumental panels intended to be hung in two distinct but interrelated groups. Before they were sent to Harvard, they were installed at the Guggenheim Museum in late spring 1963. For that installation, Rothko created a triptych from one large panel surrounded by two narrower ones. The two remaining panels, one wide, one narrow, were hung on separate walls adjoining the triptych wall. In the paintings, Rothko employed a post and lintel structure linked at top and bottom by narrow bands and by discrete rectangles. In contrast to the colors he chose for the Seagram mural, he used a dark plum/purple field against which he positioned his black and deep alizarin-crimson shapes and creamy yellow pillars...
Category

1980s Color-Field Art

Materials

Lithograph, Offset

Danish Mid-Century Colourfield Oil on Board of Houses in a Coastal Scene.
Located in Cotignac, FR
Danish oil on board covered in a coarse canvas. A painting of houses in a coastal landscape by Poul Møller. The painting is signed PM and dated 76 to the bottom right and to the reve...
Category

Mid-20th Century Color-Field Art

Materials

Board, Oil

Untitled
Located in Lawrence, NY
Provenance: Fischbach Gallery, New York Collection of A. Aladar Marberger Ray Parker, a New York School Abstract Expressionist, was a colorist influenced by Cubism in his early wor...
Category

1970s Color-Field Art

Materials

Acrylic

Business partners
Located in Sempach, LU
"Recreation of business partners in the city park of a big city... • Linen canvas, high-quality oil paints. • Two coats of protective gloss varnish were applied that protect the pai...
Category

2010s Color-Field Art

Materials

Linen, Oil

Danish Mid-Century Colourfield Oil on Board of Houses and People in a Landscape.
Located in Cotignac, FR
Danish oil on board painting of couples making their way in a landscape, by Poul Møller. Though not signed the painting has a dated artist's label to the side of the frame. Presented...
Category

Mid-20th Century Color-Field Art

Materials

Oil, Board

The garden VI
Located in Sempach, LU
"Original painting, inspired by summery feelings, Andrei Sitsko has painted a picture with red, magenta, pink, blue, as well and white colors on his palette that has a lively and rel...
Category

2010s Color-Field Art

Materials

Linen, Oil

Lime Green Oval Wall Sculpture
Located in New York, NY
Introducing a new series including a captivating oval lime green wall sculpture, a harmonious blend of modern design and vibrant color. Crafted with meticulous attention to detail, t...
Category

2010s Color-Field Art

Materials

Plaster, Acrylic Polymer, Acrylic

Danish Mid-Century Colourfield Oil on Board of People and Houses by the Coast.
Located in Cotignac, FR
Danish oil on board painting of two women making their way home in a coastal landscape, by Poul Møller. The painting is signed PM and dated 76 to the bottom right corner. To the reve...
Category

Mid-20th Century Color-Field Art

Materials

Oil, Board

Malinke
Located in Lawrence, NY
Among America’s leading abstract artists, Dan Christensen (1942-2007) was devoted over the course of forty years to exploring the limits, range, and possibilities of paint and pictor...
Category

1970s Color-Field Art

Materials

Canvas, Acrylic

Rascals in Paradise - Figurative Print - Woodcut Print By Marc Zimmerman
Located in Carmel, CA
Various surfing gestures and rad moves are the subject matter here, in which the negative space becomes the subject. Printed on buff paper. Rascals in Paradise - Figurative Print -...
Category

2010s Color-Field Art

Materials

Woodcut

Mid Century Danish Colourfield Buildings in a Landscape
Located in Cotignac, FR
Danish oil on board painting of buildings in a landscape by Poul Møller. Though not signed the painting has a dated artists label to the back of the frame. Presented in a plain gold ...
Category

Mid-20th Century Color-Field Art

Materials

Oil, Board

Rare original poster for Morris Louis at Andre Emmerich Gallery, 1967
By Morris Louis
Located in New York, NY
Morris Louis Poster for Morris Louis at Andre Emmerich Gallery, 1967, 1975 Offset lithograph poster Bears copyright stamp and date (1975) from Poster Originals, not signed 28 × 22 in...
Category

1970s Color-Field Art

Materials

Lithograph, Offset

"Burnt Orange Seams" Gerome Kamrowski, Color Field, Abstract Expressionism
Located in New York, NY
Gerome Kamrowski Burnt Orange Seams, 1979 Acrylic on canvas 30 x 24 inches Gerome Kamrowski was born in Warren, Minnesota, on January 19, 1914. In 1932 he enrolled in the Saint Paul...
Category

1970s Color-Field Art

Materials

Foam, Mixed Media, Acrylic, Board

Toronto 20
Located in Toronto, Ontario
Jack Bush (1909-1977) is known as one of Canada’s most successful abstract artists of the 20th century. In the 1960's he achieved international recognition for his works that positio...
Category

1960s Color-Field Art

Materials

Screen

Handmade Papers - Circle II Series: II-34
Located in Toronto, Ontario
As a leading figure of the Color Field movement in the 1960s, Kenneth Noland (1924–2010) made an essential contribution to American abstraction. His iconic works feature signature fo...
Category

1970s Color-Field Art

Materials

Handmade Paper, Lithograph, Monotype

High Green, Version I
Located in Palm Desert, CA
"High Green, Version I" is an aquatint print by Richard Diebenkorn, made in 1992. It is number 46 from an edition of 65. The work is signed in pencil, lower right, "RD 92". The artwo...
Category

Late 20th Century Color-Field Art

Materials

Aquatint

Brattleboro Seen as a Flugstadt (unique work acquired from Brattleboro Museum)
Located in New York, NY
Wolf Kahn Brattleboro Seen as a "Flugstadt" (European river town), 1980 Pastel on paper painting. Framed with handwritten label by the artist and Grace Borgenicht label Hand-signed by artist, hand signed front; bears the artist's handwritten label as well as label from Grace Borgenicht verso and a sticker from original collector Frame included This work was acquired from the Brattleboro Museum in Vermont, which sold it to raise funds for their ongoing programming. As its title notes, it depicts the "Brattleboro Seen as a Flugstadt (European River Town)" - which has important autobiographical images. Wolf Kahn was born in Germany but he and his wife spent summers in Brattleboro Vermont...
Category

1980s Color-Field Art

Materials

Pastel

Untitled mid 1960s abstraction
Located in New York, NY
Natvar Bhavsar Untitled mid 1960s abstraction, 1967 Silkscreen Pencil signed, dated and numbered 10/30 by Natvar Bhavsar on the front Frame included: Elegantly framed in a museum qua...
Category

1960s Color-Field Art

Materials

Screen, Pencil

Monograph titled Themes and Variations 1958-2000 (hand signed by Kenneth Noland)
Located in New York, NY
Kenneth Noland Themes and Variations 1958-2000 (hand signed by Kenneth Noland), 2002 Softback monograph with stiff wraps (hand signed and dated by Kenneth Noland) Official hand signe...
Category

Early 2000s Color-Field Art

Materials

Paper, Ink, Mixed Media, Lithograph, Offset

Abstract Expressionist poster (Hand signed and inscribed by Henen Frankenthaler)
Located in New York, NY
Helen Frankenthaler Frankenthaler (Hand signed and inscribed), 1988 Offset lithograph (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...
Category

1980s Color-Field Art

Materials

Offset, Ballpoint Pen, Lithograph

Provincelands
Located in Lawrence, NY
As a student of Hans Hofmann (one biographer says she was one of his star pupils), Rothschild’s works reflect a woman who was immersed in the vanguard of abstraction in America at a...
Category

1960s Color-Field Art

Materials

Oil, Canvas

Ojai Festival print (Deluxe hand signed limited edition)
Located in New York, NY
Kenneth Noland Ojai Festival print (Deluxe signed limited edition), 1986 Offset Lithograph Hand signed and numbered 6/100 by Kenneth Noland on lower front Frame included: framed in ...
Category

1980s Color-Field Art

Materials

Lithograph, Offset

Luminous Dawn (dramatic sunrise landscape silkscreen by top color field painter)
Located in New York, NY
Jules Olistki Luminous Dawn (from Vera List Print Program, Mostly Mozart, Lincoln Center), 1997 Silkscreen on wove paper 24 1/2 × 35 inches Signed and dated in pencil and numbered 'A...
Category

1990s Color-Field Art

Materials

Screen

Untitled #31, original pastel by Washington Color School and Color Field painter
Located in New York, NY
Paul Allen Reed Untitled #31, 1982 Oil pastel on paper Pencil signed dated and annotated "7 10 79 1" by Paul Reed on the lower front Frame included: Th...
Category

1980s Color-Field Art

Materials

Oil Pastel

Monotype with hand painting geometric abstraction by renowned color field artist
Located in New York, NY
Kenneth Noland Untitled, 1987 Monotype with hand painting on wove paper Hand signed and dated with artist's copyright in pencil on the back; also with the blind stamp/chop mark lower...
Category

1980s Color-Field Art

Materials

Acrylic, Monotype, Pencil, Screen

Holt's Ledge
Located in New York, NY
2022, Acrylic on canvas
Category

2010s Color-Field Art

Materials

Acrylic

Telephone Poles and Wires
Located in New York, NY
2022, Acrylic on canvas
Category

2010s Color-Field Art

Materials

Acrylic

Riis Beach
Located in New York, NY
2022, Acrylic on canvas
Category

2010s Color-Field Art

Materials

Acrylic

1960s Paul Feeley School Color Field Painting
Located in Larchmont, NY
School of Paul Feeley Untitled, c. 1960s Oil on canvas 20 x 59 5/8 in. Signed lower right Primarily a painter, Paul Feeley (American, 1910 - 1966) favored canvases with simple geome...
Category

1970s Color-Field Art

Materials

Canvas, Oil

Jack Bush at Andre Emmerich (Exhibition invitation postmarked to McNay director)
Located in New York, NY
Jack Bush Jack Bush at Andre Emmerich, 1966 Offset lithograph exhibition poster. Postmarked to McNay Art institute director 22 1/2 × 17 3/4 inches Unframed This special mid century modern exhibition...
Category

1960s Color-Field Art

Materials

Lithograph, Offset

Wolf Kahn's America (Hand signed and inscribed illustrated hardback monograph)
Located in New York, NY
Wolf Kahn Wolf Kahn's America (Hand signed and inscribed), 2003 Hand signed and dedicated hardback monograph with dust jacket Boldly signed in ink with heartfelt personal dedication ...
Category

Early 2000s Color-Field Art

Materials

Mixed Media, Lithograph, Offset

Color Field Light Blue Gradient Painting
Located in New York, NY
Light Blue gradient, abstract color field painting, in shadow box, white frame. A color field gradient abstract acrylic painting features smooth transitions of colors, often blending from one hue to another. The painting showcases a sense of depth and movement through the variations in color, creating a visually captivating experience. The color transitions are usually seamless, without sharp contrasts or defined shapes, allowing the viewer to interpret and immerse themselves in the soothing and harmonious composition. A light blue gradient painting...
Category

2010s Color-Field Art

Materials

Canvas, Acrylic

Red Barns
Located in New York, NY
Wolf Kahn Red Barns, 1980 Color Lithograph on wove paper Hand signed, dated, and numbered 45/50 by the artist on the front Original vintage wood frame included Classic 1980 Wolf Kahn...
Category

1980s Color-Field Art

Materials

Lithograph

Earthen Tantric Painting #3- tantric soak stain meditation painting
Located in Philadelphia, PA
Earthen Tantric Painting #3- tantric soak stain meditation painting by abstract artist Elisa Niva 30”x40” Acrylic on cotton canvas. One of the main inspirations of this soak-stain ...
Category

2010s Color-Field Art

Materials

Cotton Canvas, Acrylic

Moon Rising - Abstract stain painting acrylic on raw canvas
Located in Philadelphia, PA
'Moon Rising' acrylic painting by contemporary artist Elisa Niva, Acrylic on raw canvas 42 inches x 30 inches. This moon rise painting uses the soak- method created by Helen Franke...
Category

2010s Color-Field Art

Materials

Cotton Canvas, Acrylic

Glow Tantra painting #2- soak stain color-field abstract meditation painting
Located in Philadelphia, PA
Glow Tantra painting #2- soak stain color-field abstract meditation painting by contemporary painter Elisa Niva. 32"x40" acrylic on raw canvas. One of the main inspirations of this...
Category

2010s Color-Field Art

Materials

Cotton Canvas, Acrylic

Color-field art for sale on 1stDibs.

Find a wide variety of authentic Color-Field art available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add art created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, red, purple, orange and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Mala Breuer, Mitchell Funk, Wolf Kahn, and Anne Russinof. Frequently made by artists working with Paint, and Fabric and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Color-Field art, so small editions measuring 5.5 inches across are also available. Prices for art made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $350 and tops out at $295,000, while the average work sells for $5,000.

Recently Viewed

View All