Doug Ohlson Abstract Prints

Santoro, "Untitled: Lavender, Blue & Pink Serigraph (Edition 303/350)" Mid-Century Modern Serigraph/ Abstract Geometric Screenprint, Signed in Graphite lower right, marked as an Edit...

Artist: Josef Albers, German (1888 - 1976) Title: In the Water - P1, F2, I1 Year: 1972 Edition size: 1000 Medium: Screenprint on Mohawk Superfine Bristol paper Image Size: 13 x 15 in...

Jeffery Dali (American, 1929-2006) "Untitled: Abstract Perspective (Edition 26/200)", Abstract Geometric Serigraph Screen Print numbered and signed in Pencil, 14 x 18, 1970 Colors: ...

Kyohei Inukai (aka Earle Goodenow), American (1913 - 1985), "Untitled" Edition 7/75, Abstract / 3D/ Modern Serigraph signed and numbered in pencil, 23.25 x 34.50, Late 20th Century ...

Yaacov Agam Israeli (b. 1928) Hand signed, not individually numbered but from edition of 180. I can include a copy of the title sheet with the edition size and his signature if you request. sheet: 13.5 X 13.5 inches Some of these works have beautiful Hebrew calligraphy and mod imagery, animals and such that are not usually found in his work. This is a masterpiece of bold, graphic, mod design. Along with Reuven Rubin and Menashe Kadishman he is among Israel's best known artists internationally. Biographical info: The son of a rabbi, Yaacov Agam can trace his ancestry back six generations to the founder of the Chabad movement in Judaism. in 1946, he entered the Bezalel Academy of Arts and Design in Jerusalem. Studying with Mordecai Ardon, a former student at the Weimar Bauhaus. Yaakov Agam has been associated h with “abstract” artists, “hard edge” artists, and artists such as Josef Albers and Max Bill. Others find in Agam’s work an indebtedness to the masters of the Bauhaus. Agam’s approach to art, being conceptual in nature, has been likened to Marcel Duchamp’s, who expressed the need to put art “at the service of the spirit.” And, because of Agam’s employment of color and motion in his art, he has been compared to Alexander Calder, the artist who put sculpture into motion. (Motion is not an end, but a means for Agam. Calder’s mobiles are structures that are fixed, revolving at the whim of the wind. In a work by Agam, the viewer must intervene.) Agam has also been classified as an “op art” artist because he excels in playing with our visual sensitivities. Agam went to Zurich to study with Johannes Itten at the Kunstgewerbeschule. There, he met Frank Lloyd Wright and Siegfried Giedion, whose ideas on the element of time in art and architecture impressed him. In 1955, Galerie Denise René hosted a major group exhibition in connection with Vasarely's painting experiments with movement. in addition to art by Vasarely, it included works by Yaacov Agam, Pol Bury, Soto and Jean Tinguely, among others. Most Americans were first introduced to Vasarely by the groundbreaking exhibition, "The Responsive Eye," at New York's Museum of Modern Art in 1965. Josef Albers, Richard Anuszkiewicz. The show confirmed Vasarely's international reputation as the father of Op art. Agam has sought to express his ideas in a non-static form of art. In his abstract Kinetic works, which range from paintings and graphics to sculptural installations and building facades. Agam continually seeks to explore new possibilities in form and color and to involve the viewer in all aspects of the artistic process. Thus, for the past 40 years, Yaacov Agam’s pioneering ideas have impacted developments in art, (painting, monoprint, lithograph and agamograph) architecture, theatre, and public sculpture. Reflecting both his Israeli Jewish...

Victor Vasarely born in 1906 was a Hungarian-French artist, who is widely accepted as a "grandfather" and leader of the Op Art movement. Op Art is a form of abstract art that gives the illusion of movement by the precise use of pattern and color, or in which conflicting patterns emerge and overlap. Victor Vasarely and Brigit Riley are its most famous exponents. In its visual balancing act of color and movement from a flat plane to developed continuous flow “Untitled” is a complex arrangement of squares and colors that visually expand and contract. It is one of Vasarely’s most successful Op Art abstract works. The piece is signed on the lower right and number 20/150 on the lower left. The print is behind glass and matted. Vasarely was born in Pecs and grew up in Slovakia and Budapest, where in 1925, he took up medical studies. Abandoning medicine he turned to traditional academic painting at the private Podolini-Volkmann Academy. In 1928/1929, he enrolled at Sandor Bortnyik’s private art school widely recognized as Budapest's centre of Bauhaus studies. His studies concentrated on applied graphic art and typographical design. In 1929, he painted his Blue Study and Green Study. In 1930, he married his fellow student Claire Spinner (1908–1990). Together they had two sons, Andre and Jean-Pierre. Vasarely became a graphic designer and a poster artist during the 1930s combining patterns and organic images with each other. Vasarely utilized geometric shapes and colorful graphics, the artist created compelling illusions of spatial depth, as seen in his work Vega-Nor (1969). Vasarely’s method of painting borrowed from a range of influences, including Bauhaus design principles, Wassily Kandinsky, and Constructivism. In the late 1920s, Vasarely enrolled at the Muhely Academy in Budapest, where the syllabus was largely based on Walter Gropius’s Bauhaus school in Germany. After settling in Paris in 1930, Vasarely worked in advertising agencies to support himself as a graphic artist while creating many works including Zebra (1937), which is considered by some to be one of the earliest examples of Op Art. The artist experimented in a style based in Surrealism and Abstract Expressionism during the 1940s, before arriving at his hallmark checkerboard...

Yaacov Agam Israeli (b. 1928) Hand signed, not individually numbered but from edition of 180. I can include a copy of the title sheet with the edition size and his signature if you request. sheet: 13.5 X 13.5 inches Some of these works have beautiful Hebrew calligraphy and mod imagery, animals, children and such that are not usually found in his work. This is a masterpiece of bold, graphic, mod design. Along with Reuven Rubin and Menashe Kadishman he is among Israel's best known artists internationally. Biographical info: The son of a rabbi, Yaacov Agam can trace his ancestry back six generations to the founder of the Chabad movement in Judaism. in 1946, he entered the Bezalel Academy of Arts and Design in Jerusalem. Studying with Mordecai Ardon, a former student at the Weimar Bauhaus. Yaakov Agam has been associated h with “abstract” artists, “hard edge” artists, and artists such as Josef Albers and Max Bill. Others find in Agam’s work an indebtedness to the masters of the Bauhaus. Agam’s approach to art, being conceptual in nature, has been likened to Marcel Duchamp’s, who expressed the need to put art “at the service of the spirit.” And, because of Agam’s employment of color and motion in his art, he has been compared to Alexander Calder, the artist who put sculpture into motion. (Motion is not an end, but a means for Agam. Calder’s mobiles are structures that are fixed, revolving at the whim of the wind. In a work by Agam, the viewer must intervene.) Agam has also been classified as an “op art” artist because he excels in playing with our visual sensitivities. Agam went to Zurich to study with Johannes Itten at the Kunstgewerbeschule. There, he met Frank Lloyd Wright and Siegfried Giedion, whose ideas on the element of time in art and architecture impressed him. In 1955, Galerie Denise René hosted a major group exhibition in connection with Vasarely's painting experiments with movement. in addition to art by Vasarely, it included works by Yaacov Agam, Pol Bury, Soto and Jean Tinguely, among others. Most Americans were first introduced to Vasarely by the groundbreaking exhibition, "The Responsive Eye," at New York's Museum of Modern Art in 1965. Josef Albers, Richard Anuszkiewicz. The show confirmed Vasarely's international reputation as the father of Op art. Agam has sought to express his ideas in a non-static form of art. In his abstract Kinetic works, which range from paintings and graphics to sculptural installations and building facades. Agam continually seeks to explore new possibilities in form and color and to involve the viewer in all aspects of the artistic process. Thus, for the past 40 years, Yaacov Agam’s pioneering ideas have impacted developments in art, (painting, monoprint, lithograph and agamograph) architecture, theatre, and public sculpture. Reflecting both his Israeli Jewish...

Victor Vasarely (Hungarian-French, 1906-1997) Untitled, ca. 1966 Medium: Screen print on card Dimensions: 27 3/5 × 27 3/5 in (70 × 70 cm) Edition of 100: Hand-signed in pencil, not n...

The 50th Anniversary of the League of Women Voters Screenprint Poster from 1970, designed by Richard Anuszkiewicz (1930 - 2020) printed in 1969,...

Yaacov Agam Israeli (b. 1928) Hand signed, not individually numbered but from edition of 180. I can include a copy of the title sheet with the edition size and his signature if you r...

Fleditwerk Serigraph, 1970 Signed, titled, dated and numbered in pencil by the artist. Publisher: Kunstverein Braunschweig blindstamp lower left Edition: 100 (66/100) Condition: Excellent Image: 22 x 22...

Harlequin by Victor Vasarely, Hungarian (1908–1997) Date: circa 1980 Screenprint, signed and numbered in pencil Edition of 78/250 Image Size: 25.75 x 16 inches Size: 30.5 x 19.75 in....