Thomas V Field

Surely you’ll find the exact thomas v field you’re seeking on 1stDibs — we’ve got a vast assortment for sale. You’re likely to find the perfect thomas v field among the distinctive items we have available, which includes versions made as long ago as the 20th Century as well as those made as recently as the 21st Century. Adding a thomas v field to a room that is mostly decorated in warm neutral tones can yield a welcome change — find a piece on 1stDibs that incorporates elements of gray, brown, purple, beige and more. There have been many interesting thomas v field examples over the years, but those made by Thomas Sarrantonio, Thomas Downing, Thomas Slate and Larry Thomas are often thought to be among the most thought-provoking. Artworks like these of any era or style can make for thoughtful decor in any space, but a selection from our variety of those made in paint, oil paint and panel can add an especially memorable touch.

A thomas v field can differ in price owing to various characteristics — the average selling price for items in our inventory is $900, while the lowest priced sells for $900 and the highest can go for as much as $40,000.

Thomas Downing was born in Suffolk, Virginia. In 1950, after graduating from Pratt Institute in New York City, he received a grant from the Virginia Museum of Fine Art to study in Europe. Upon returning from Europe, he settled in Washington, DC to teach at Catholic University. In 1954 Downing became a friend of Kenneth Noland, whose life drawing course he attended. From 1955 to 1956 Downing shared a studio with Howard Mehring, another artist who came to be identified with the Washington Color School. Downing had his first one-man show at the Washington Workshop Center for the Arts in 1959. In 1959 Downing first began using the small dot in his work, a motif he explored fully into the 1970s. Downing’s position in the Washington Color School came from his consistent approach to color. The canvas was the receptacle of color, on which Downing often worked in tonal modulations of a hue. Downing developed shaped canvases in 1966 as a structural solution to his deeper consideration of the “spatial definition” of color. After first working in a parallelogram shape, Downing next worked in chevron-shaped canvases that examined the illusionistic qualities of color. He exhibited these works in a solo exhibition at the Corcoran Gallery in 1966-1967 and later at the Allan Stone Gallery in New York in 1967. Downing’s second series of shaped canvases titled Folds were created in 1968. In the Fold series he discovered a new effect of relief and spatial depth within a flat work that could be enhanced by color. The projections and folding in the Fold paintings suggest the paintings exist in a world without gravity. Downing exhibited in a group show at Jefferson Place Gallery in 1960 and had his first solo exhibition there in the spring of 1961. Downing had solo exhibitions in New York at Allan Stone Gallery in 1962, 1967, and 1968. He also had solo exhibition in New York at Stable Gallery in September 1963 and January 1965. In the early 1970s Downing had regular solo exhibitions at the Pyramid Galleries in DC. Downing taught at the Corcoran School of Art and Design, Washington, DC from 1965 to 1968. There he was influential for the next generation of DC color artists including Sam Gilliam. He moved to New York in 1970 and taught at the School of Visual Arts. He then accepted a position at the University of Houston, Texas in 1975. Around 1976, Downing moved to Provincetown where he continued to paint until his death in 1985. In 2007 Thomas Downing was included in Optic Nerve: Perceptual Art in the 1960s at the Columbus Museum of Art, Ohio and Lyrical Color: Morris Louis, Gene Davis, Kenneth Noland and the Washington Color School at the Phillips Collection, Washington, DC.

Bring audacious experiments with color and textures to your living room, dining room or home office. Abstract paintings, large or small, will stand out in your space, encouraging conversation and introducing a museum-like atmosphere that’s welcoming and conducive to creating memorable gatherings.

Abstract art has origins in 19th-century Europe, but it came into its own as a significant movement during the 20th century. Early practitioners of abstraction included Wassily Kandinsky, although painters were exploring nonfigurative art prior to the influential Russian artist’s efforts, which were inspired by music and religion. Abstract painters endeavored to create works that didn’t focus on the outside world’s conventional subjects, and even when artists depicted realistic subjects, they worked in an abstract mode to do so.

In 1940s-era New York City, a group of painters working in the abstract mode created radical work that looked to European avant-garde artists as well as to the art of ancient cultures, prioritizing improvisation, immediacy and direct personal expression. While they were never formally affiliated with one another, we know them today as Abstract Expressionists.

The male contingent of the Abstract Expressionists, which includes Jackson Pollock, Willem de Kooning and Robert Motherwell, is frequently cited in discussing leading figures of this internationally influential postwar art movement. However, the women of Abstract Expressionism, such as Helen Frankenthaler, Lee Krasner, Joan Mitchell and others, were equally involved in the art world of the time. Sexism, family obligations and societal pressures contributed to a long history of their being overlooked, but the female Abstract Expressionists experimented vigorously, developed their own style and produced significant bodies of work.

Draw your guests into abstract oil paintings across different eras and countries of origin. On 1stDibs, you’ll find an expansive range of abstract paintings along with a guide on how to arrange your wonderful new wall art.

If you’re working with a small living space, a colorful, oversize work can create depth in a given room, but there isn’t any need to overwhelm your interior with a sprawling pièce de résistance. Colorful abstractions of any size can pop against a white wall in your living room, but if you’re working with a colored backdrop, you may wish to stick to colors that complement the decor that is already in the space. Alternatively, let your painting make a statement on its own, regardless of its surroundings, or group it, gallery-style, with other works.