1950s Painters

Mirrored palette with painter's paint splotches hanging light from Paris. Accommodates one bulb.

Watercolor on paper realized by Mino Maccarin in the 1950s. It depicts the painter and Master of

), a French painter in the 1950s. Hand-signed on the lower. Numbered, edition of 99/150 prints

mirror and a pink basket. Unidentified painter from the 1950s.

Brazil's Modernist movement during the 1950s. Having initially been a painter close to the European avant

(1923-1998) was one of the key players of the Modernist movement in Brazil in the 1950's. Originally a

Angeles painters who matured during the late 1950’s and the 1960’s, painters such as John Altoon, Sam

key player in Brazil's Modernist movement during the 1950s. Having initially been a painter close to

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract Expressionist’ or

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

. Andres described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

. Andres described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract

. Andres described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

. Andres described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract

. Andres described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract

as a 1950’s painter, not fully accepting the designation of ‘Abstract Expressionist’ or ‘Abstract’ he

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

. Andres described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract

as a 1950’s painter, not fully accepting the designation of ‘Abstract Expressionist’ or ‘Abstract’ he

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

. Andres described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract

described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract Expressionist’ or

described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract Expressionist’ or

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

. Andres described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

. Andres described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract

. Andres described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract

. Andres described himself as a 1950’s painter, not fully accepting the designation of ‘Abstract

Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s painter, not fully

Brazil's Modernist movement during the 1950s. Having initially been a painter close to the European avant

in the 1950s and 1960s. As a painter, he worked primarily with abstract expression, strong colour

Helen Frankenthaler. In the 1950s, Dzubas painted with broad, painterly swirls that were associated with

Helen Frankenthaler. In the 1950s, Dzubas painted with broad, painterly swirls that were associated with

studio with Helen Frankenthaler. In the 1950s, Dzubas painted with broad, painterly swirls that were

studio with Helen Frankenthaler. In the 1950s, Dzubas painted with broad, painterly swirls that were

inspiration from the New York Expressionists of the 1950s and the British landscape painter J.M.W. Turner. His

inspiration from the New York Expressionists of the 1950s and the British landscape painter J.M.W. Turner. His

: Chris Masoure draws inspiration from the New York Expressionists of the 1950s and the British landscape

Helen Frankenthaler. In the 1950s, Dzubas painted with broad, painterly swirls that were associated with

The Knight in Shining Armour French Modernist painter, circa 1950's oil on board unframed board

art journal. This period saw a breakthrough in her development as a painter. From the 1950s through

graphic immediacy that hints at the evolving taste of the 1950s, when painters sought to reconnect with

discourse. Morris began his career in the 1950s as a painter of gestural, Abstract Expressionist-style

of theoretical and social discourse. Morris began his career in the 1950s as a painter of

Libraire Bergamesque in 1949. By the mid 1950s Mouly was an established painter with his own unique style

. From the mid-1950's, she cultivated an increasingly painterly and colorful style, usually working

of the key players of the Modernist movement in Brazil in the 1950s. Originally a painter close to

the 1950's. Originally a painter close to the European avant-garde and the pioneer of abstract

Graham Vivian Sutherland 🏴󠁧󠁢󠁥󠁮󠁧󠁿 (1903-1980) was a British painter. Since the 1950s