Adam Bartlett Abstract Paintings

The paint is made in the author's technique of painting by Vasili Zianko based acrylic painting on canvas using a variety of textures, washes, the finest glazing, volumetric contours...

In "The Artist's Universe," Sophie Dumont transcends the boundaries of traditional representation to delve deeply into the very essence of art and literature. With an impressive mast...

Louise Delorme (b. 1928). Vase of Flowers, 1969. 26 x 36 inches; 27 x 37 inches framed. Signed lower left. Titled and dated on verso. Excellent condition.

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

This depicts civil rights icon MLK, the Statue of Liberty, Iwo Jima, an assemblage of mixed media photographic images and painted collaged elements. A powerful, moving work, an ode to the black civil rights movement. John M. Mitchell is originally from North Carolina, and as an art student at North Carolina Central University, he was involved with the Civil Rights movement including participating and getting arrested at a sit-in protest in Durham in 1963. After graduating, he was one of the first art teachers to take a position at the newly integrated schools in his home state. Mitchell continued his education in the 1990s and earned an MFA in painting from the Savannah College of Art and Design in 1993. He later served as a professor there from 1998-2006. Of his inspiration to create, Mitchell says: "A lot of my work is based on my experiences during the Civil Rights movement," he says. "I see art making as a 'record' of experiences. My bittersweet past, growing up in the segregated South, inspires the content, focus and narrative of my work." Savannah-based artist John Mitchell believes that a home is more than a simple edifice. Rather, he argues that the sociological, psychological, architectural, and historical associations embedded in the structure “tell us about our culture, our lives. It tells us about where we come from.” Mitchell's signature shotgun house constructions, crafted from found materials and scraps of newspaper headlines, reference his childhood in North Carolina, where such modest architectural structures were once commonplace. In "ALA 1963," he uses the shotgun shape to create a heartfelt memorial to a group of African-American girls killed in a racially motivated church bombing in Alabama nearly 50 years ago. He also incorporates the shotgun symbol in "Victims," a powerful reflection upon crime in Savannah in the early 1990s, which reveals how little has changed over the past two decades. Mitchell's mixed media constructions operate, in many ways, like memory itself. Scraps, fragments and pieces loosely cohere around a central idea, making symbolic and metaphorical connections. In these richly narrative and boldly stream-of-conscious assemblages, the whole truly is greater than the sum of its parts. Mitchell's jazz collages - carefully crafted from scraps of newspaper, sheet music, magazines and tissue paper - celebrate key players in Savannah's jazz scene, from sultry female vocalists to wiry male saxophone players. A tribute to the late jazz bassist Ben Tucker, a true Savannah legend, is especially moving, incorporating a pencil sketch of the standing bass player as well as newspaper clippings of other Savannah jazz musicians. Mitchell grew up in a shotgun house in North Carolina, a style of vernacular architecture that is particularly prevalent in the South. Mitchell fills his sculptural homes with objects of metaphorical and symbolic, iconic, importance. In Home Sweet Home he includes the American flag, a photograph of Martin Luther King Jr. and Malcolm X, and a china plate depicting The Last Supper, among other items that convey a personal and historical narrative. He notes that making art acts “as a ‘record’ of experiences. My bittersweet past, growing up in the segregated South, inspires the content, focus, and narrative of my work.” While this contains elements reminiscent of folk art and outsider art this is a quite sophisticated tour de force. He was included in the show Complex Uncertainties, Telfair Museum: Modern and contemporary art comprise painting, prints, drawing, photograph, sculpture, and works in new media, representing American artistic achievement from 1945 to the present day. The exhibition includes works by artists such as Bruce Davidson, Elaine de Kooning, Carrie Mae Weems, Sam Gilliam, Ethel Schwabacher, Radcliffe Bailey...

Bold floral abstract expressionist still life by Allie Bill Skelton (American, 1942-1986). Unsigned but was acquired with a collection of other Skelton pieces. Unframed. 30"H x 24"W. Allie William “Bill” Skelton (American, 1942-1986) was a painter and sculptor active in San Francisco who was involved in the gay art scene of the 1960s and 1970s. "Transition" Bronze sculpture, 1984, on permanent display at Grower's Square, Downtown, Walnut Creek...

Sophisticated, chic, worldly--call it what you wish--but abstract expressionist flowers by Sonia Grineva, shown here freshly cut and placed in an emerald green glass vase, is what br...

The vivid, expressive abstraction with the tiger portrait. Acrylic colours of ultramarine, light sky blue, pink, magenta, alizarin, yellow ochre, yellow cadmium and fluorescent yello...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a sal...

A rare small painting from contemporary Abstract Expressionist, Darius Yektai. Although titled "pink flowers" the hue of the painting is really more peach, or a light orange. A patte...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

IT'S NOT TRUE 2022 Paris, France Primarily matte and satin finish black paint, mixed with plaster and oil stick on canvas. An abstract and surreal painting with accents of pinks, reds, purples, and gold. A very faint profile of a leopard walking into the darkness is situated on the lower left side of the canvas. In the upper right "MDCCCXCIV" (1894) is hand painted in gold serif font. Vertical movement is incorporated through the use of subtle colors. Evans Deventer...