Post-War Art

Philip Byrne 20th Century Tettenhall Church Yard Ink on paper, signed and titled bottom left Image size: 11 1/2 x 8 1/4 inches (29.5 x 21 cm) Hand made frame Philip Byrne, an artist...

A geometric abstract monotype on Japanese handmade paper mounted on board by Post War artist Kenneth Noland. Provenance: Experimental Workshop; Private Collection.

A mixed media, clock mechanism sculpture by Post War artist Tim Hawkinson. Signed verso, "Tim Hawkinson 1996". Over the course of his nearly two-decade career, Hawkinson has garnered a reputation as one of America’s most imaginative contemporary artists. His body of work ranges from paintings and photographs to miniature sculptures made from his own fingernail clippings, but he is best known for his large-scale kinetic...

Waterline Fine Art, Austin, TX is pleased to present the following work: Acrylic on canvas. Signed lower left; signed, titled, and dated verso. 65.75 x 50.25 in. 67.25 x 51.75 in. (framed) Custom framed in a maple floater with a matte white finish. Provenance Takis Efstathiou, PTE Fine Arts, New York Private Collection, New York Theodoros Stamos is heralded as one of the few abstract painters who bridged the New York School’s first and second generations. His age, in particular, afforded him this unique position, as he was the youngest member of the “Irascibles,” the core group of fifteen New York School painters publicized by Nina Leen...

A print by Robert Motherwell. "Frontispiece from 'A la Pintura'" is an aquatint executed in blue and brown and depicts the writing A la Pintura below a small blue rectangle by Post War artist Robert Motherwell. Signed lower right, in ink, "Robert Motherwell 1972...

Elfi Schuselka (Austrian, b. 1940), Abstract Figural Composition, Mixed Media with Collage Elements, circa 1965, apparently unsigned, wood frame. Image: 9" H x 10.5; frame: 10" H x 1...

An African village scene is characterized by bold colors and a punchy flat orange sky combined with a post-impressionist paint application for the tree and the house. In the foreground, we see an African mother with two children standing outside her "Home." The work is created by African American artist Vincent D. Smith. It is signed lower right, Vincent, showing homage to Vincent Van Gogh, from whom the art word borrows some influence. Clearly, Smith has developed his own personal style, combining an African American persona with an African subject matter. Original metal frame under glass. The uploaded video is coming up light. Use the still image as a reference for color. Vincent DaCosta Smith (December 12, 1929 – December 27, 2003) was an American artist, painter, printmaker and teacher. He was known for his depictions of black life. Early life Vincent DaCosta Smith was born on December 12, 1929, in the Bedford-Stuyvesant[1] neighborhood of Brooklyn, to Beresford Leopole Smith and Louise Etheline Todd. Both were immigrants from Barbados.[2] He was raised in Brownsville, Brooklyn and Smith drew what he saw around him.[citation needed] He attended an integrated school where he studied piano and the alto sax. worked a range of jobs before he became a full-time artist. At 16, he worked for the Lackawanna Railroad repairing tracks. At 17, Smith enlisted in the army and traveled with his brigade for a year.[3] It wasn't until after his time in the army that Smith began to paint and printmaking.[4] At the age of 22, Smith was working in a post office where he grew to be friends with fellow artist Tom Boutis.[1] Art education Tom Boutis took Smith to a Paul Cézanne show at the Museum of Modern Art in 1951. After seeing the Cézanne show, Smith resigned from his position at the post office and began reading extensively about art. He studied at the Art Students League of New York with Reginald Marsh.[citation needed] Later, he began to sit in on classes at the Brooklyn Museum Art School, where the instructors would let him join in on the lessons and the criticisms.[3] After attending classes at the Brooklyn Museum Art School and the Art Students League of New York, he was accepted and received a scholarship to the Skowhegan School of Painting and Sculpture in Maine,[4] where he studied from 1953 to 1956. Beginning in 1954,[5] he started taking official classes at the Brooklyn Museum Art School, and studied painting, etching, and woodblock printmaking.[4] Career Smith was a figurative painter who used abstractions and materiality to make something new.[6] Smith's work depicts the rhythms and intricacies of black life through his prints and paintings.[7] Many of his paintings and prints rely heavily on patterns.[6] According to Ronald Smothers, Vincent D. Smith's work "stood as an expressionistic bridge between the stark figures of Jacob Lawrence and the Cubist and Abstract strains represented by black artists like Romare Bearden and Norman Lewis."[7] Smith has described his own work as "a marriage between Africa and the West."[3] Over his life, he worked in both painting and printmaking. In 1959, Smith won the John Hay Whitney Fellowship which allowed him to travel to the Caribbean for a year.[8] During this year he was deeply inspired by the customs and lifestyle of the native people.[8] Throughout his life, Smith attended various art schools but it was not until turning 50 he returned to college to earn an official degree.[7] From 1967 until 1976 he taught at the Whitney Museum’s Art Resource Center.[2] Later in 1985, he taught printmaking at the Center for Art and Culture of Bedford Stuyvesant. Death and legacy Smith died in Manhattan on the December 27, 2003 from lymphoma and related complications.[7] Smith was aged 74.[7] His work is included in many public museum collections including Art Institute of Chicago,[9] Newark Museum of Art,[1] Museum of Modern Art (MoMA),[1] Metropolitan Museum of Art,[1] Yale University Art Gallery,[10] Davidson Art Center,[11] Fitzwilliam Museum,[12] Brooklyn Museum,[13] Albright-Knox Art Gallery,[14] Rhode Island School of Design Museum,[15] among others. Exhibitions Over the course of his career, he had over 25 one-man shows and had his work shown in over 30 group shows.[7] Vincent D. Smith had shown in a range of galleries and museums over his life-span. In 1970, he had his first individual exhibition at the Fisk University in Nashville, Tennessee. His first retrospective was in 1989 at the Schenectady Museum in Schenectady, New York.[2] Solo shows: 1974 - The Portland Museum of Art, Portland, Maine[2] 1974 - Studio Museum in Harlem, New York, New York[2] 1989 - Schenectady Museum (Retrospective 1964-1989), Schenectady, New York Awards and honors This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (May 2020) (Learn how and when to remove this template message) 1959 – John Hay Whitney Fellowship, John Hay Whitney Foundation, New York City, New York[8] 1967 – Artist in Residence, Smithsonian Conference Center 1968 – Grant, The American Academy and National Institute of Arts and Letters, New York 1971 – Creative Public Service Award for the Cultural Council Foundation, New York 1973 – National Endowment of the Arts and Humanities Travel Grant, New York 1973-1974 – Childe Hassam Purchase Award, American Academy of Arts and Letters, New York City, New York 1974 – Thomas P. Clarke Prize, National Academy of Design, New York 1981 – Windsor and Newton Award, National Society of Painters in Casein and Acrylic , New York. 1985-1986 – Artist-in-Residence, Kenkeleba House Gallery, New York. Works Below are some selected works: Study for Mural at Boys and Girls High School, 1972, Metropolitan Museum of Art, New York, New York A Moment Supreme, 1972, Metropolitan Museum of Art, New York, New York The Triumph of B.L.S., 1973, Metropolitan Museum of Art, New York, New York Jonkonnu Festival, 1996, Metropolitan Museum of Art, New York, New York Murals Mural for Crotona/Tremont Social Service Center, The Human Resource Administration, New York, New York 1980[1] Mural for Oberia D. Dempsey Multi-Service Center of Central Harlem, New York, New York 1989[1] Publications Print portfolios Impressions: Our World, Volume I (a portfolio of seven etchings - five with aquatint, two with embossing). Emma Amos, Benny Andrews, Vivian Browne, Eldzier Cortor...

An abstract screen print diptych by Post War artist Josef Albers. This work is two prints framed together.

Robert Carroll was born in 1934 and was predominantly inspired by the 1950s growing up. Abstract Expressionism prevailed in the 1950s as a primary method of painting, and explored id...

A print by Josef Albers. "Formulation: Articulation" is a geometric abstract screen print in a black and white palette by Post War artist Josef Albers. The artwork is numbered 1981.5...

A painting by Arne Heirsoux. "Mem Sahib" is an acrylic and paper on canvas, abstract painting by Post War artist Arne Hiersoux. "Mem Sahib" is depicted in deep reds, blues, blacks, t...

A painting by Irving Norman. "Bacchanal" is a macabre social surrealism painting, oil on canvas in a dark palette of reds, blues, and blacks by artist Irving Norman. The artwork is u...

A drawing by Irving Norman. "Night Life 2" is a social surrealist drawing, graphite on paper in black and white by Post-War artist Irving Norman. The...

Giovanni Costantini (Rome 1872 - 1947), THE TRINCEA COLMATA Oil painting on canvas 113 x 203 cm, signed lower left, titled on back. In the years between 1915 and 1921 he painted 45...

Giovanni Costantini (Rome 1872 - 1947), THE LETTER Oil painting on canvas 93 x 88 cm, signed lower left, titled on back. In the years between 1915 and 1921 he painted 45 paintings ...

A painting by Jae Kon Park. "Untitled" is an abstract painting, oil on canvas in blues, oranges, and greens by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lowe...

An abstract screen print by Post War artist Josef Albers. Signed lower right, "Albers '72". Editioned lower left, "LC 134/144".

Peter Klasen, WET Table Original work of 8 copies + 4 EA. Signed, dated and numbered by the artist. Plexiglas and glass. Work screen printed on Dibond plateau and completed with obje...

Edition 72/75 Lawrence Schiller only remembers the 60s in this way: Fast. As in: Blur. Which is, for those who lived through it, as accurate a description as one is likely to find...

A painting by Jae Kon Park. "Untitled" is an abstract painting, oil on canvas by Korean artist Jae Kon Park. The artwork is signed in the lower right, "Jae Kon Park, 1993". Born in South Korea, Park Jae Kon (1937 – 1993) attended Seoul National University of Fine Art. Not long after graduating, Park Jae Kon left Korea with his wife and two daughters. He and his family traveled widely, eventually settling in Argentina. He spent the rest of his life in South America, traveling to various regions and using the landscape and cultural history as inspiration for his artworks. As an artist, his output spanned various media, styles, and subject matter, producing work that ranged from gestural abstract...

A drawing by Irving Norman. "Shrapnel" is a social surrealist drawing, pen and ink on artists board in black and white by Post-War artist Irving Norm...

Galina Vasilevna Pshenitsina was born in 1940 in the town of Gorky (now Nizhny Novgorod). She began her studies at the Art School named after Johanson in St. Petersburg. In 1959, she...

A painting by Jae Kon Park. "Untitled" is an abstract painting, oil on canvas in blues, oranges, and greens by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower left, "JE Kon Park. 93". Born in South Korea, Park Jae Kon...

A photograph by Lawrence Schiller. “Barbra Streisand (photo session)” is a figurative photograph, vintage silver gelatin photograph in black and white by American artist Lawrence Sch...

A painting by Alexander Calder. "Tracks" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks, and yellows by artist Alexander Calder. The artwork...

A work by Carl Andre. "Five Hundred Terms for Charles A. Lindbergh" is an ink on paper on board and a classic text piece from the early 1960's by Post War artist Carl Andre. Andre’s poem "500 Terms for Charles A Lindbergh" is typical of his works which are composed by selecting individual words from source texts, and then ordering them on the page according to simple and self-evident criteria, which, in this case, is by alphabetical listing. Signed verso, "Five Hundred Terms for Charles Lindberg (Carbon) 1962 Carl Andre." Provenance: Collection of Hollis Frampton...

Street Photographer Mitchell Funk breaks with tradition and shoots street photography in color. Today in 2022, this does not seem like a big deal. But 50 years ago, in 1972, it was q...

A painting by Jae Kon Park. "Untitled" is an abstract painting, oil on canvas in a reds and greens by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower left, "Jae Kon P. 1991". Born in South Korea, Park Jae Kon (1937 – 1993) attended Seoul National University of Fine Art. Not long after graduating, Park Jae Kon left Korea with his wife and two daughters. He and his family traveled widely, eventually settling in Argentina. He spent the rest of his life in South America, traveling to various regions and using the landscape and cultural history as inspiration for his artworks. As an artist, his output spanned various media, styles, and subject matter, producing work that ranged from gestural abstract expressionism...

A print by Josef Albers. "Formulation: Articulation" is a geometric abstract screen print in an orange palette by Post War artist Josef Albers. The artwork is numbered 1981.524.1.31 ...

A painting by Kumi Sugai. "3 Heures D'Après Midi" is a geometric abstract, acrylic on canvas in a palette of blues, pinks, and reds by Japanese Minimalist artist Kumi Sugai. The artw...

Maxwell Doig was born in Huddersfield. He graduated from Manchester School of Art in 1988 with a BA in Fine Art and went on to pursue his postgraduate stu...

Maxwell Doig was born in Huddersfield. He graduated from Manchester School of Art in 1988 with a BA in Fine Art and went on to pursue his postgraduate stu...

Maxwell Doig was born in Huddersfield. He graduated from Manchester School of Art in 1988 with a BA in Fine Art and went on to pursue his postgraduate stu...

A painting by Jae Kon Park. "Untitled" is an abstract painting, oil on canvas in green and gold by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower middle, "1...

A photograph by Lawrence Schiller. “Robert Kennedy, San Diego” is a figurative photograph, vintage silver gelatin photograph in black and white by American artist Lawrence Schiller. The artwork is signed on the verso. Lawrence Schiller only remembers the 60s in this way: Fast. As in: Blur. Which is, for those who lived through it, as accurate a description as one is likely to find about the decade that began with optimism and ended in chaos. It was ten years of turmoil and exploration. And through this turbulent and tumultuous decade, it often seemed that whenever a headline-making news event occurred, Lawrence Schiller was there. Schiller was not just lucky to be in the right place at the right time; he was prescient. He was there to cover the event, to add to it, to help us see it, to aid its meaning and its depth. "It was a time in which things happened awfully fast," Schiller says of the decade. "It was a wild, wild period; an uncontrolled period. I don’t think you had any sense of perspective in the 60s. You had to wait and look back at it, because it was a period in which things were happening that had no rhyme or reason to it. But by the end of the ‘60s I had covered so many stories, had so many magazine covers, I had somehow become part of that decade’s history. And I already had my eye on the future." When Lawrence Schiller got the assignment from the French magazine, Paris Match to photograph Marilyn Monroe on the 20th Century Fox set of Something’s Got to Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, or use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May, 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

A print by Josef Albers. "Formulation: Articulation 1981.524.1.1" is a screen print, executed in shades of blue and depicting abstracted, folded ...

Marilyn Monroe (splash), Something's Got To Give, May 23, 1962 Edition 6 of 15

A painting by Jae Kon Park. "Untitled" is an abstract painting, oil on canvas by Korean artist Jae Kon Park. The artwork is signed in the lower right, "Je Kon park 92". Born in South...

Silver Gelatin Photograph Signed lower right. Edition: 1/35

A painting by Jae Kon Park. ""Untitled"" is an abstract painting, oil on canvas in grays and blues by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower right, ...

An abstract acrylic and paper on canvas painting by Post War artist Arne Hiersoux. "Yonder Cisco" is executed in bold strokes, splashes and drips of violet, blue, green, yellow, whit...

A photograph by Lawrence Schiller. “Barbra Streisand (in her hotel room)” is a figurative photograph, vintage silver gelatin photograph in black and white by American artist Lawrence Schiller. The artwork is signed on the verso. Lawrence Schiller only remembers the 60s in this way: Fast. As in: Blur. Which is, for those who lived through it, as accurate a description as one is likely to find about the decade that began with optimism and ended in chaos. It was ten years of turmoil and exploration. And through this turbulent and tumultuous decade, it often seemed that whenever a headline-making news event occurred, Lawrence Schiller was there. Schiller was not just lucky to be in the right place at the right time; he was prescient. He was there to cover the event, to add to it, to help us see it, to aid its meaning and its depth. "It was a time in which things happened awfully fast," Schiller says of the decade. "It was a wild, wild period; an uncontrolled period. I don’t think you had any sense of perspective in the 60s. You had to wait and look back at it, because it was a period in which things were happening that had no rhyme or reason to it. But by the end of the ‘60s I had covered so many stories, had so many magazine covers, I had somehow become part of that decade’s history. And I already had my eye on the future." When Lawrence Schiller got the assignment from the French magazine, Paris Match to photograph Marilyn Monroe on the 20th Century Fox set of Something’s Got to Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, or use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May, 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

Robert Carroll was born in 1934 and was predominantly inspired by the 1950s growing up. Abstract Expressionism prevailed in the 1950s as a primary method of painting, and explored id...

Visage dans un ovale, Multiple, Picasso, 1950's, Portrait, Abstract, Design Visage dans un ovale Ed. 100 pcs 08.04.1955 White earthenware clay, engobe ground engraved by knife under...

A monotype on Japanese handmade paper by Kenneth Noland. “Stripes” is an abstract, unique monotype print, in a palette of pastel colors by American abstract artist, Kenneth Noland. T...

A painting by Jae Kon Park. ""Untitled"" is an abstract painting, oil on canvas in reds, yellows, and blues by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower right, ""Jaw Kon Park, 92"". Born in South Korea, Park Jae Kon...

Peter Klasen, SY 1 Table Original work of 8 copies + 4 EA. Signed, dated and numbered by the artist. Plexiglas and glass. Work screen printed on Dibond plateau and completed with obj...

A painting by Carl Morris. This Untitled, abstract, acrylic on canvas painting is executed in a deep and lush palette of orange reds, blues, white and browns by Post War artist Carl ...

A painting by Jae Kon Park. ""Untitled"" is an abstract painting, oil on canvas in greens and oranges by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower left, ""Jae Kon Park, 92"". Born in South Korea, Park Jae Kon (1937 – 1993) attended Seoul National University of Fine Art. Not long after graduating, Park Jae Kon left Korea with his wife and two daughters. He and his family traveled widely, eventually settling in Argentina. He spent the rest of his life in South America, traveling to various regions and using the landscape and cultural history as inspiration for his artworks. As an artist, his output spanned various media, styles, and subject matter, producing work that ranged from gestural abstract expressionism and typographic woodcuts. Throughout his career, travel continued to inspire him. Park Jae Kon created abstract landscapes that reflect the colors and light of the Andes Mountains and geometric abstractions that incorporate iconography from the South America’s ancient civilizations. Park Jae Kon himself found a deep spiritual resonance with South American and Indian cultural history, and his work captures this personal connection to Aztec, Incan, and Hindu iconography. In his later work, Park Jae Kon attempted to reconcile his Korean identity with his adopted homeland of South America. These works often combine the colors and patterns of ancient Incan and Aztec art...

Maxwell Doig was born in Huddersfield. He graduated from Manchester School of Art in 1988 with a BA in Fine Art and went on to pursue his postgraduate stu...

Maxwell Doig was born in Huddersfield. He graduated from Manchester School of Art in 1988 with a BA in Fine Art and went on to pursue his postgraduate stu...

Maxwell Doig was born in Huddersfield. He graduated from Manchester School of Art in 1988 with a BA in Fine Art and went on to pursue his postgraduate stu...

A silver gelatin print by Post War artist Lawrence Schiller. ""Let's Make Love", Marilyn Monroe" is a black and white photograph of Marilyn Monroe...

Philip Byrne 20th Century The Quarry Ink on paper, signed and dated bottom left Image size: 11 1/2 x 8 1/4 inches (29.5 x 21 cm) Hand made frame Philip Byr...

A painting by Jae Kon Park. "Untitled" is an abstract painting, oil on canvas in cream and gold by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower right, "Ja...

A painting by Jae Kon Park. ""Untitled"" is an abstract painting, oil on canvas in greens by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower right, ""Jae Kon Park 92"". Born in South Korea, Park Jae Kon...

Maxwell Doig was born in Huddersfield. He graduated from Manchester School of Art in 1988 with a BA in Fine Art and went on to pursue his postgraduate stu...

"Untitled No. 7" is an abstract Post War acrylic, pencil and gesso on canvas by Agnes Martin in 1974. The artwork is 72 x 72 inches and, with the frame, is 72 3/8 x 72 3/8 x 1 1/2 in...

Turkish Beach Scene, 1966 - Euan Uglow (Oil on Panel) Twentieth Century Painting Euan Uglow (1932-2000) Turkish Beach Scene, 1966 Inscribed ‘Euan Uglow, Oil’ on label on reverse Oil...

Colour Lithograph "Théière grise" (Gray Tea Pot) by Georges Braque from 1947. The total edition comprises approx. 80 copies. The present copy is signed and numbered below the ima...