Curtis Ripley Art

Not the visual expected of a painting carrying the title “Maine Farmer.” But this abstract composition manages to convey the flinty resolve of men who support their families on the output of demanding and “generally infertile” soils, as described by the University of Maine. Thank the Lord for blueberries. Artist Abraham Elterman bestrides two countries. He was born in Mexico City and spent much of his education in the sciences, here in sequence: a B.Sc. in Physics at the nearly 475-year-old Universidad Nacional Autonoma de Mexico in his home town; a stint at Hebrew University of Jerusalem; a Ph.D. in Biophysics at the University of California, Berkeley; and then, taking a new direction with a residency in The Skowhegan School of Painting and Sculpture located in Madison, Maine. Ah-ha, Maine! Elterman’s website lists 22 exhibitions in both Mexico and California, starting in 1986, and inclusion in group shows at the Monterey Museum of Art, Monterey, California and the Crocker Art Museum, Sacramento...

Harrison Gilman's large original artworks begin with a layer of fast-paced gestural abstraction followed by organic shapes and geometric structures. Some of his paintings remain in t...

Martha Lloyd (American, 1927-2018) Thaw, 1997 Oil and wax (encaustic) on canvas 20 x 20 in. Framed: 21 1/4 x 21 1/4 x 1 3/4 in. Inscribed verso Provenance: Carrie Haddad Gallery, Hudson, NY Martha Anne Lloyd...

Ekaterina Ermilkina’s original, abstract fine art paintings are created using a skillful combination of applying and removing oil paint with a palette knife on canvas. Her inspiratio...

A luminous 60 x 60 inch abstract painting by contemporary artist Chris Brandell. This mixed-media canvas radiates atmosphere and movement, with layers of soft whites, warm neutrals, ...

Discover a captivating original abstract oil on canvas by German-American modernist Henriette Yetti Stolz. This untitled composition exemplifies Stolz’s expressive, postwar abstraction, featuring a rich interplay of deep browns, bold reds, and glowing oranges that evoke intensity, movement, and emotional depth. Built through textured brushwork and layered pigment, the painting reveals a dynamic surface alive with gesture and tonal variation. Stolz’s confident handling of color and form creates a sense of atmospheric depth, while the earthy yet dramatic palette lends warmth and sophistication. The result is a visually compelling work that balances structure and spontaneity—hallmarks of her mature abstract style. The artwork is presented in a newly crafted, custom hand-carved wood frame that enhances both its visual presence and long-term preservation. Framed dimensions measure 31 ¼ x 36 ¼ inches, with the canvas itself measuring 34 x 28 inches, offering substantial wall presence suited to modern and contemporary interiors. Provenance: Estate of the artist...

The Bridge No3 (Abstract painting) Earth and oil on canvas — Unframed This artwork is exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resistant tube. This metho...

Frederick Conway (1900-1973) was a painter, educator, and lecturer. From 1929 to 1970, Conway was a member of the faculty of the Washington University Art School. When Max Beckmann was in residence at Washington University, he and Conway became close associates. Conway was one of the first to realize the importance and seriousness of Beckmann's teaching. In 1949, Beckmann painted Conway's portrait. Conway was born in Saint Louis, Missouri, and studied at the Saint Louis School of Fine Arts and in Paris at the Academie Julian, the Academy Moderne, and the Academy Grande Chaumiere. He painted murals for the WPA (Works Progress Administration...

"Ghosts of the Gardens" is a mysterious and captivating abstract painting, evoking the untamed beauty of wild gardens and chaotic floral motifs with its energetic and loose movement....

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed lower right, signed and dated verso. 62.25 x 56.25 in. 64 x 58 in. (framed) Custom framed in a natural cherry wood floater. Provenance Washburn Gallery, New York Behnke Doherty Gallery, Washington Depot, CT Born in 1908 in Chicago, John Opper moved with his family to Cleveland, Ohio, in 1916. In high school, he began studying art and attending classes at the Cleveland Museum of Art. After graduation, he enrolled in the Cleveland School of Art (now Cleveland Institute of Art), only to withdraw after a year and move to Chicago, where he took classes at the Art Institute of Chicago. He eventually returned to Cleveland, enrolling at Western Reserve University (now Case Western Reserve), receiving his bachelor’s degree in 1931. The Depression has taken hold during this period, so Opper found work by teaching metalworking and sketching classes at the Karamu Settlement House, the oldest African American theater in the United States. In 1933, Opper traveled to Gloucester, Massachusetts, eventually connecting with the artist Hans Hofmann, who was teaching at the school run by Ernest Thurn. Hofmann encouraged Opper to work “in a more modern vein and start finding what it’s all about.” Heeding this advice, Opper relocated to New York, co-founding a mail-order club of American and British prints for dissemination to schools and museums. By the mid-1930s, he joined the Works Progress Administration (WPA) Easel Division, and also began attending the 57th Street school that Hans Hofmann had established after leaving the Art Students League. Looking back at his time at the school, Opper felt that beyond Hofmann’s teaching, most advantageous was his contact with fellow artists, including Byron Browne, Rosalind Bengelsdorf, and George McNeil. At the time, he also met Giorgio Cavallon and the sculptor Wilfrid Zogbaum. In 1936, Opper became a founding member of the American Abstract Artists, along with Balcomb and Gertrude Greene. The organization was formed to provide an opportunity for artists to show abstract works at a time when such opportunities were scarce. This led to his first solo show in 1937 at the Artists’ Gallery in New York. During his summer in Gloucester in 1933, Opper came to know Milton Avery. Painting in Avery’s informal studio in New York City the following winter, he became acquainted with Adolph Gottlieb and Mark Rothko. Opper participated in a couple of shows during the 1930s of the American Artists Congress Against War and Fascism, whose president was Stuart Davis. About the same period, Opper joined the Artists’ Union and served as the business manager of its publication, Art Front. During World War II, Opper worked for a ship design company creating drawings for piping systems used in PT boats...

Paysage (Ref 21186) (Abstract painting) Oil on canvas - Unframed. Reyna works with ink, acrylics and oils on canvas or paper. One of his signature techniques is to dilute his mediu...

Jardin d'Hiver Series is Shizico Yi's latest collection, created in her winter studio while longing for the summer left behind. Reflecting on the vibrant days spent painting en plein...