Albert Irvin Art

Solidly grounded in Abstract Expressionist tradition, process-oriented painter Thomas Nozkowski’s method is predicated on relinquishing the idea of an end result. To highlight this, ...

This handmade screen print depicts an imaginary spiked sphere shape in five colours including fluorescent Yellow, metallic Gold and Red. The Gold ink layer gives the abstract print an extra brilliance and shine showing off the multi layered liquid patterns on the surface of the object. Chris Keegan artist online and in Wychwood Art Gallery...

Schanker, Louis. CIRCLE IMAGE NO. 25. Relief Print in color, 1954-1955. Edition of 210 published by IGAS. Signed and numbered 17/200 (the edition included 10 artist's proofs). 14 x 1...

This silkscreen with enamel inks and flocking on 2-ply museum board was created by the artist in 2012. Signed, dated and numbered in pencil, from the edition of 50.

Stanton Macdonald-Wright Woodblock on Laid Paper 1966-67 Departing Spring Hesitates Appears to be an artist proof. The pencil text and signature a...

An original Mid Century woodblock print titled "Reflections and Images" by American artist Toma Yovanovich. Hand signed in pencil...

Composition Woodcut, c. 1935, printed 1966 Signed in the block lower left (see photo) This is the first printing of this image. Created in 1935, it was never printed during Kandinsky's lifetime. It is a POSTHUMOUS printing. Published by Gualtieri di San Lazzaro, Éditions XXe Siècle, Paris Issued in XXe Siècle, nouvelle série, no. 27, December 1966, Centenaire de Kandinsky Unsigned and unnumbered, as issued Edition commonly reported as approximately 2,000 Condition: Excellent Image size: 9 1/8 x 10 15/16 inches Reference: Roethel 24b Created in 1935 but apparently left unprinted during Kandinsky’s lifetime, Composition was first issued posthumously in December 1966 in the Kandinsky centenary number of the Parisian art review XXe Siècle. The woodcut was printed from Kandinsky’s original block rather than reproduced photographically. It is therefore properly described as an original, posthumously printed woodcut—not as a reproductive print “after” Kandinsky. Contemporary documentation identifies the composition as having been cut by the artist in 1935 and first published by Éditions XXe Siècle in 1966. Publication details and dimensions The print belongs to Kandinsky’s final period, begun after the closing of the Bauhaus and his move from Germany to Neuilly-sur-Seine, near Paris, in 1933. Its vocabulary differs markedly from the romantic landscapes, horsemen and apocalyptic subjects of his early Munich woodcuts. The forms are now self-contained and biomorphic: circles, hooks, floating linear elements and irregular organic silhouettes coexist within an open field. Although nonrepresentational, they suggest minute organisms, astronomical bodies or signs belonging to an invented visual language. The black-and-white medium gives the image unusual clarity. Solid forms function like sustained musical tones, while thin lines, dots and isolated marks provide accents and intervals. Areas of untouched paper are equally active, allowing the components to float without conventional gravity or horizon. Kandinsky organizes these elements through visual tension rather than perspective: large and small, dense and open, curved and angular forms establish a rhythmic equilibrium across the sheet. The woodcut process was fundamental to Kandinsky’s development. Its demand for simplification encouraged him to reduce images to essential contrasts of shape, line and ground. Nearly two-thirds of his approximately two hundred prints were made between 1900 and 1911, and his increasingly abstract woodcuts for Klänge played a decisive role in his movement away from representation. MoMA’s Kandinsky printmaking overview In this late composition, Kandinsky returned to the medium with the more refined geometry and organic imagery of his Paris years. The circumstances of the 1966 publication are integral to the work’s history. XXe Siècle, directed by the Italian-born critic and publisher Gualtieri di San Lazzaro, regularly included original prints by major modern artists. Issue no. 27, entitled Centenaire de Kandinsky, commemorated the hundredth anniversary of Kandinsky’s birth. It contained two original Kandinsky woodcuts...

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

Artist: Robert Kuszek Title: Untitled 1 Year: circa 1990 Medium: Lithograph and Woodcut, Signed and numbered in Pencil Edition: 35 Paper Size: 30 x 22 inches (76.2 x 55.88 cm)

screenprint Signed and numbered in pencil by the artist edition of 50 Beautifully framed! provenance: The Nevica Project Jonas Wood (American, b. 1977) is a Los Angeles based-artist. His paintings are most notable for their reconsideration of the golden era of 20th century American painting, drawing fine comparisons to artists such as Edward Hopper. Linda Yablonsky from the New York Times Style Magazine has said that, “Wood has one foot in Modernist cool and the other in vibrant Pop Art.” He paints what is around him in daily life, from basketball players to living rooms, and tries to preserve the beauty he sees in these subjects and share it with the viewer. Jonas Wood was born in 1977 in Boston, Massachusetts. He graduated in 1999 from Hobart and William Smith Colleges, New York, and received his M.F.A. in 2002 from the University of Washington, Seattle. Murals and solo exhibitions include “Primitives: Chris Caccamise and Jonas Wood,” Cereal Art...