Danny McCaw Abstract Paintings

Winter Shadows 33 by Eleanor Woolley [October 2021] original Oil Paint on Canvas Image size: H:15 cm x W:15 cm Complete Size of Unframed Work: H:15 cm x W:15 cm x D:3.8cm Sold Unfra...

Vintage American modernist oil painting. Oil on canvas. Unsigned. Measuring: 34 by 22 inches overall. Excellent condition, ready to hang and enjoy.

This, contemporary impressionist expressive floral painting takes new form in "Irises Dreams in Bloom", a vibrant creation by French artist Natalya Mougenot. With a signature blend...

'The Power of Words', oil on board, Berlin School, (circa 1950s-1970s). A thoroughly modern depiction clearly in the style of Italian Futurist, Fortunato Depero (1892-1960). Futurism...

Original oil painting by P. Valetti (French, second half 20th century) oil on canvas, unframed size: 21.5 x 19 inches condition: very good provenance: from the artists estate, France...

Oil painting over ink on paper. Figurative expressionist, moody, poetic nude.

Robert Tosa Mid Century Modern Abstract Portraits c.1952 Outstanding Mid Century Modern Painting. Various abstract portraits of a dancer. Original oil on board housed in a handsom...

Black Angel Abstract Expressionist Oil Painting Gestural Figurative Contemporary Artist: Nerea Caos (1993) Title: Black Angel Year: 2023 Medium: Oil on ca...

"Summer Treat" is part of a recent series of small-format oil paintings by French artist Natalya Mougenot, created as a celebration of the warmth, abundance, and sensory richness of ...

Maura Petersen (American, born 1956) "The Guest" 2026 Acrylic paint on stretched canvas The artist signed the bottom right corner of the painting. "The Guest" draws the viewer into ...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Three Abstracted Faces in Oil on Illustration Board Abstracted composition of three faces by an unknown artist (2oth Century). Each face is made from thick, gestural strokes, presen...