James Koenig Art

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

Vintage Abstract Expressionist Standing Pensive Figurative Nude - Heavy Impasto Abstract expressionist figurative composition of a nude woman by California artist Harald "Harry" Dr...

Heavy Impasto Portrait of Chief Crazy Horse by Harald Dry Schmidt Abstract expressionist portrait of a man by California artist Harald "Harry" Dry Schmidt (American, 1933-1979). The...

Zvi Mairovich. (Poland, Israel 1911-1974) Large abstract harbor scene with boats. Vibrant colors. Oil on canvas. Hand signed lower right. Tel Aviv, Jaffa harbour. Canvas: 35.5 x 47....

"Dusseldorf, Germany" 1993, oil on canvas, hand signed and dated lower left, Canvas (unframed):18 X 48. framed: 19.5 X 49.5 Provenance: directly from the artist. Exhibited at Phyllis Kind Gallery in NYC in 1987. Archie Rand (American, born 1949) is an artist from Brooklyn, New York. Rand's work as a painter and muralist is held in the collections of the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Victoria and Albert Museum in London, the Bibliothèque Nationale de France in Paris, and the Tel Aviv Museum of Art. His graphic works and books are held by the Metropolitan Museum Of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Art Institute Of Chicago, The Brooklyn Museum, the Baltimore Museum of Art, the Smithsonian Institution, and The New York Public Library; and are owned by Harvard, Yale, Columbia, Brown, and Johns Hopkins universities. Born in Brooklyn, Rand received a Bachelor of Fine Arts in cinegraphics from the Pratt Institute, having studied previously at the Art Students League of New York. His first exhibition was in 1966, at the Tibor de Nagy Gallery in New York. He has since had over 100 solo exhibitions, and his work has been included in over 200 group exhibitions. He is currently Presidential Professor of Art at Brooklyn College which granted him the Award for Excellence in Creative Achievement in 2016. Before joining Brooklyn College, Rand was the chair of the Department of Visual Arts at Columbia University. The Italian Academy For Advanced Studies in America at Columbia University presented him with The Siena Prize in 1995. He was awarded a Guggenheim Foundation Foundation Fellowship in 1999 and was made a Laureate of the National Foundation for Jewish Culture, which awarded him the Achievement Medal for Contributions in the Visual Arts. In 2002 he received the Presidential Award for Excellence in Teaching from Columbia University. In 2002 he became the artistic advisor to film director Ang Lee for his production of The Hulk, and was asked by Milestone Films to provide a commentary track for the DVD release of Henri-Georges Clouzot’s classic 1955 film The Mystery of Picasso. Archie Rand’s earliest major works are “The Letter Paintings” (or “The Jazz Paintings”) (1968–71), a radically positioned series of technically inventive, mural-sized canvases. The Letter Paintings, by incorporating the names of mainly male and female African-American musicians, undermined prevailing aesthetic categories by conflating many contemporary movements including Conceptual Art, Color Field, Pattern and Decoration, diary entry and social commentary. In 1974 Rand received a commission from Congregation B’nai Yosef in Brooklyn. Rand was asked to paint thematic murals on the complete 16,000-square-foot (1,500 m2) interior surfaces of the synagogue. The work took three years, and completing this commission made Rand the author of the only narratively painted synagogue in the world and the only one we know of since the 2nd Century Dura-Europos. The religious legal controversy raised by placing wall paintings in a traditionally iconoclastic space was resolved by the verdict of Rabbi Moshe Feinstein, then considered to be the world’s leading Talmudic scholar, who declared the paintings to be in conformity with the law. His subsequent turn to figuration may have been influenced by his friendship with Philip Guston, whose own work was transformed in the late 1960s. Like Guston, Rand "chafed at the limitations of purely abstract forms." A near-cult figure who started out as a child prodigy and whose admirers range from John Ashbery to Julian Schnabel. Rand’s paintings display a vast and savvy menu of inventive and finely executed approaches. He has completed many series after the works of Paul Celan, Moyshe-Leyb Halpern, Eugenio Montale, Yehuda Amichai, Rainer Maria Rilke, Samuel Beckett/Paul Eluard and Jack Spicer. Working often with poets, he has produced books and continues to engage in publishing collaborative projects. He maintained a correspondence with the American British Jewish painter R.B. Kitaj. In 2008, on a warehouse wall, Rand mounted the painting, “The 613”, which at 1700 square feet (17’ x 100’) is nearly twice the size of James Rosenquist’s F-111. It is one of the largest freestanding paintings ever made. Reminiscent of “The Segments” paintings it is intimidatingly enormous. Paradoxically, despite the raucous cartoony bytes that shoot colorful flashes from the manic surface, “The 613” glows warmly. Its overall effect is strangely calming and majestic. In an article on a 2011 exhibition of Rand's "Had Gadya" series, David Kaufmann wrote: Rand displayed his work in 15 solo exhibitions between 2008 and 2017, many of them showcasing paintings done after Scripture, or his workings with poets: Including “Had Gadya, 2005”, Borowsky Gallery, Philadelphia, PA (2011); “Gods Change, Prayers Are Here To Stay (after Yehuda Amichai), 2000", Katz Gallery, Atlanta, GA (2014); “Psalm 68, 1994”, Derfner Museum, Riverdale, NY (2014); “The Chapter Paintings”, Tribeca Gallery, NY (2015); “Men Who Turn Back (after Eugenio Montale), 1995", SRO Gallery, Brooklyn, NY (2016); “Sixty Paintings From the Bible” & “The Book of Judith, 2012”, Cleveland State University Galleries, Cleveland, OH (2016) & The American Jewish Museum, Pittsburgh, PA (2017); “Archie Rand: Early Works With Poetry: Jack Spicer, 1991 and Samuel Beckett/Paul Eluard, 1993”, St. Francis College, Brooklyn, NY (2017). "The 613" In 2015 Blue Rider/Penguin/Random House published The 613, allotting one color plate per page for each of the 614 units in the painting. The Wall Street Journal labeled The 613 as “dynamic…remarkable…thrilling” The New York Times selected the book as “Editors' Choice” and praised it in two separate reviews calling it “wonderfully garish” and declaring that “nothing prepared the art world for 'The 613.' Recent Activity In 2016 Rand showed two bodies of work that were done in Italy, “La Certosa Di Pontignano, 1995” and “Mount Etna, 2005,” at The Interchurch Center Galleries, New York. From 2016 to 2017 he served as the Curator and Juror for the Governor of Wyoming’s Capitol Arts Exhibition at The Wyoming State Museum, Cheyenne, WY. A 2017 exhibition, “Archie Rand: Early Works With Poetry”, featured two series of work from 1991 and 1993 after poems by Jack Spicer and Samuel Beckett/Paul Eluard. This painting was exhibited in the Phyllis Kind Gallery in NY in 1987. (Phyllis Kind was an American art dealer active in Chicago and New York. She promoted the work of the Chicago Imagists, The Monster Roster and The Hairy Who and outsider artists. Kind opened a gallery in Chicago in 1967. Called Pro Grafica Arte, the gallery dealt in master prints and drawings. In 1975, she opened a gallery on Spring Street in New York's SoHo district. She gave some of the artists in the movement their first solo shows: Jim Nutt and Gladys Nilsson...

Signed lower left, 'R. Bowman' for Richard Irving Bowman (American, 1918-2001), titled, 'Kg. 55' (Kinetogenics 55) and dated February 1962. Additionally titled, on stretcher bar verso, 'Kg 55'. Accompanied by a first edition copy of 'Richard Bowman: Radiant Abstractions', by Patricia Watts and Stefanie De Winter, published 2018. Richard Bowman's work is featured in the July/August 2024 issue of Architectural Digest: 'Inside a 1920s LA Respite Re-envisioned by Jamie Bush. Richard Bowman received a scholarship to study at the Art Institute of Chicago, from which he received his Bachelor's degree in 1942. He subsequently attended the University of Iowa, receiving his Master's degree in 1945. Over the course of a long and distinguished career, Bowman exhibited internationally with success and was the recipient of numerous gold medals, prizes and juried awards. With the Kinetogenics Series, which he began in 1956, Bowman explored the intersection of color and light using contemporary advances in light theory and fluorescence technology. "For this series, he started using fluorescent enamel alkyd paint, which, Bowman stated, emitted an actual, measurable energy from the canvas. He combines his early concept of elemental radiants with the gestures of a mature Abstract Expressionist. Incorporating bold fluorescent strokes of orange, yellow and blue, which are activated by the ultraviolet in daylight, Bowman's new abstractions represented a synthesis of the physical and sensorial transmissions of energy. The combination of the artist's interests in nuclear physics, atoms, and dynamism with these vibrant colors reflected Bowman's increasing confidence as an unconventional artist working in an unconventional medium." (Richard Bowman: Radiant Abstractions, p. 13) "The 'kinetogenic' series which Bowman has been painting recently, are whorls of pure energy in colors from the violet edges of the spectrum in vibrant relationship to the vivid primaries of the center. These paintings have much less sense of place or landscape than Bowman paintings we have seen before. The “Environs” group accompanying the energy pictures in this exhibition, are, on the other hand, specific about place: are of flower beds and branches of trees, painted with the same brilliant color intensity. This use of vibrant colors gives an all-over electric, textural effect in contrast to the after-image jump which obtains when the vibrants are painted flat and geometric. This textural mosaic effect is close to the vision of heat and passionate rhythm which was central to pre-Columbian art, and is still present in the Mexican arts and crafts, which were one of Bowman’s formative sources. It is interesting to note that several of the painters who have influenced many others to experiment with vibrancy and glow in color, found their own impetus in this direction while painting in Mexico. Bowman was one of the painters who was working with fluorescents when the general tendency was to paint with muck. One feels that using color thus leads the artist, as it did his pre-Columbian esthetic ancestors, in the direction where the ecstatic becomes mystic." (courtesy: Artforum, April 1964) Thomas Albright writes of the artist, "Visiting Mexico on a traveling fellowship in the early 1940s, [Bowman] met Gordon Onslow-Ford, with whom he renewed a friendship after moving to San Mateo County in the early 1950s. His paintings, although gestural and abstract, were close in spirit to those of the Dynaton artists than to the mainstream of Abstract Expressionism. They constituted an intensely lyrical and metaphorical abstract Impressionism inspired by Bonnard and an intimacy with the natural environment. Bowman was also influenced by jazz improvisation and the jazz poetry of Kenneth Patchen, a close friend" (p. 263) EDUCATION Art Institute of Chicago, BFA, 1944 University of Iowa, MFA, 1949 AWARDS 1942 Edward L. Ryerson Foreign Traveling Fellowship, Art Institute of Chicago (Mexico) 1945 William M. R. French Memorial Gold Medal, Art Institute of Chicago 1952 Modern Painting Prize, Montreal Museum of Fine Arts 1972 Gift of Time Grant, Roswell Museum and Art Center, Roswell, New Mexico SOLO EXHIBITIONS 1945 The Pinacotheca Gallery (Rose Fried Gallery) New York 1946 Milwaukee Art Institute, Wisconsin 1949 Swetzoff Gallery, Boston 1949 Bern Porter Gallery, Sausalito, CA 1950 Kinetic ... A commentary on the relationship of SCIENCE and ART. Stanford Art Gallery, Stanford University, Palo Alto, CA 1956 Stanford University, Palo Alto, CA 1957-1977 (every 18 months) Rose Rabow Galleries, San Francisco 1961 Richard Bowman: Paintings and Reflections.1943-1961. San Francisco Museum of Art 1970 Richard Bowman: Paintings from 1966-1970. San Francisco Museum of Art 1972 Richard Bowman: Paintings, 1943-1972. Roswell Museum and Art Center, New Mexico. Traveled to the Museum of Texas Tech University, Lubbock, 1972; and Sacred Heart Convent Gallery, Menlo Park, 1972 1986 Richard Bowman: Forty Years of Abstract Painting. Harcourts Modern Gallery, San Francisco 2000 Rock and Sun: Richard Bowman's Pioneer Abstractions of the 1940s. Steven Wolf Fine Arts, San Francisco 2019 Radiant Abstractions, Curated by Patricia Watts. the Landing Gallery, Los Angeles TWO-PERSON EXHIBITIONS 1945 Room of Chicago Art: Paintings by Richard Bowman and Russell Woeltz. Art Institute of Chicago. 1947 Joan Mitchell and Richard Bowman: Oil Paintings. Harry and Della Burpee Art Gallery, Rockford, Illinois. Traveled to University of Illinois. Sponsored by Rockford Art Association. 1959 Gordon Onslow Ford and Richard Bowman. San Francisco Museum of Art 1990 Independent Abstraction: A Survey of Paintings by Richard Bowman and Emerson Woelffer. Harcourts Modern & Contemporary Art, San Francisco. SELECT GROUP EXHIBITIONS 1943 Ras-Martin Gallery, Mexico City 1945 56th Annual American Exhibition of Oil Paintings. Art Institute of Chicago 1945 Art of This Century Gallery, New York 1947–48 Abstract and Surrealist American Art: Fifty-Eighth Annual Exhibition of American Paintings and Sculpture. Art Institute of Chicago. Curators: Daniel Catton Rich, Frederick A. Sweet, and Katherine Kuh. Catalogue. 1948 Fourth Summer Exhibition of Contemporary Art. State University of Iowa, Iowa City. Organized by Lester D. Longman. Included Milton Avery, Max Beckmann, Leonora Carrington, Max Ernst, Hans Hofmann, and others. Brochure. 1948 Joslyn Memorial Art Museum, Omaha, NE 1949 2nd Biennial Exhibition of Paintings and Prints. Walker Art Center, juried show, Minneapolis, 1949. Brooklyn Museum. 1951 [Group exhibition of University of Manitoba, Winnipeg, artists.] Montreal Museum of Fine Arts. Included William McCloy, Robert Gadbois, John Kacere, and other instructors from the School or Art, University of Manitoba. 1952 Sixty-ninth Annual Spring Show. Montreal Museum of Fine Arts. Bowman awarded Modern Painting Prize. 1953 Annual Exhibition of Canadian Painting. The National Gallery of Canada, Ottawa. Included John Kacere, William McCloy, Roland Wise, and Takao Tanabe. 1953 Winnipeg Group. Vancouver Art Gallery. Included William McCloy, John Kacere, Cecil Richards, Roland Wise. 1953–54 São Paulo Biennial of Modern Art, Second edition. Canadian section. Traveled to Caracas, Venezuela, and the Palacio de Bellas Artes, Mexico City. Catalogue. 1954 [Group exhibition of Winnipeg artists.] Art Gallery of Ontario, Toronto. Included Oscar Cah n, William McCloy, and Cecil Richards. 1954 Royal Ontario Museum, Toronto 1958 Esther Robles Gallery, Los Angeles 1959 Rabow Galleries, San Francisco. Included Julius Wasserstein, Gordon Onslow Ford, and Fred Reichman. June 18, 1960 David Cole Gallery, Inverness, CA. Included Ruth Awasa, John Baxter, Nankoku Hidai, Onslow Ford, Fritz Rauh, David Simpson, and Jean Varda. 1961 Paintings from the Pacific: Japan, America, Australia, & New Zealand. Auckland City Art Gallery, New Zealand. Catalogue. 1961–62. Pittsburgh International Exhibition of Contemporary Paintings and Sculpture. Fine Arts Gallery, Carnegie Institute. 1962 50 California Artists. Whitney Museum of American Art, New York. Organized by the San Francisco Museum of Art, with assistance of the Los Angeles County Museum of Art. Traveled to Walker Art Center, Minneapolis, MN; Albright-Knox Gallery, Buffalo, NY; and Des Moines Art Center, IA. Catalogue. February 1966 Contrasts. San Francisco Art Institute. Included Hassel Smith, Gordon Onslow Ford, and Ruth Asawa. October 1967 Arleigh Gallery, San Francisco. Included Lee Mullican, Fred Reichman, Amalia Schulthess, and John Baxter. 1975 Gallery 865, San Francisco 1976 Painting and Sculpture in California: The Modern Era. San Francisco Museum of Modern Art. 1978 Creation. Galerie Schreiner, Basel, Switzerland. Included Joan Mir , Fritz Rauh, John Anderson, Ruth Asawa, J.B. Blunk, Roberto Matta, Lee Mullican, Gordon Onslow Ford, Wolfgang Paalen, Fritz Rauh, Yves Tanguy, and others. Accompanying book by Onslow Ford. 1984 A Personal Selection/Collection. David Cole Gallery, Inverness, CA. Forty-eight artists including Richard Diebenkorn, Claire Falkenstein, Richard Faralla, Sam Francis, Arthur Holman, Frank Lobdell, Ed Moses, Gordon Onslow Ford, Fritz Rauh, David Simpson, Amalia Schulthess, Jean Varda, Jack Wright, J.B. Blunk. 1987 Visions of Inner Space: Gestural Painting in Modern American Art. Wight Gallery, UCLA. Fifteen artists including Sam Francis, Morris Graves, John Anderson, Lee Mullican, Gordon Onslow Ford, Mark Tobey, and Ed Moses. Co-curated by Merle Schipper and Lee Mullican. Catalogue. Traveled to National Gallery of Modern Art, New Delhi, India, 1988 1997 Through the Light: An Exploration into Consciousness. Arts and Consciousness Gallery, John F. Kennedy University, Berkeley, California. Curated by Farbiba Bogzaran. Catalogue. 1998 Lee Mullican Memorial Exhibtion. Herbert Palmer Gallery, Los Angeles. 2007 The Rose Rabow Galleries Retrospective: 1959-1977. The 8 Gallery, San Franicsco. 2008 Landscapes of Consciousness: A Circle of Artists at the Beginning of Lucid Art. Weinstein Gallery, San Francisco. Included Gordon Onslow Ford, Fritz Rauh, John Anderson, and Jack Wright. Catalogue. 2016 Palm Springs Fine Art Fair, the Landing Gallery, Palm Springs, CA 2018 Ship of Dreams: Artists, Poets, and Visionaries of the S.S. Vallejo. Sonoma Valley Museum of Art, Sonoma, CA. Catalogue. 2019 FOG Design+Art. the Landing Gallery, San Francisco, CA 2020 FOG Design+Art. the Landing Gallery, San Francisco, CA 2022 FOG Design+Art. the Landing Gallery, San Francisco, CA MUSEUM COLLECTIONS Nora Eccles Harrison Museum of Art, Utah State University, Logan Oakland Museum of California San Francisco Museum of Modern Art Santa Barbara Museum of Art, California The Smart Museum of Art, University of Chicago Taubman Museum of Art, Roanoke, Virginia BOOKS AND CATALOGUES 1947 Rich, Daniel Catton. Abstract and Surrealist American Art: Fifty-Eighth Annual Exhibition of American Paintings and Sculpture. Chicago: Art Institute of Chicago. 1948 Fourth Summer Exhibition of Contemporary Art. Iowa City: State University of Iowa. 1956 Porter, Bern. Kinetic: A commentary on the relation of Science and Art in conjunction with a retrospective exhibition of paintings by Richard Bowman. Palo Alto: Stanford University Art Gallery. 1986 Kim Eagles-Smith, ed. Richard Bowman: Forty Years of Abstract Painting. San Francisco: Harold Parker in association with Harcourts Modern Gallery, Inc. 1961 Culler, George D. Richard Bowman, Paintings and Reflections, 1943-1901. San Francisco: San Francisco Museum of Art. 1962 Culler, George D. 50 California Artists. New York: Whitney Museum of American Art. 1972 Nordland, Gerald. Richard Bowman, Paintings, 1943-1972, Roswell, NM: Roswell Museum and Art Center. 1978 Onslow Ford, Gordon. Creation. Basel: Galerie Schreiner. 1987 Schipper, Merle. Visions of Inner Space: Gestural Painting in Modern American Art. Los Angeles: Frederick S. Wight Art Gallery, UCLA. With introduction by Lee Mullican. 1997 Bogzaran, Fariba. Through the Light: An Exploration into Consciousness. San Francisco: Dream Creations. 2008 Bogzaran, Fariba. Landscapes of Consciousness: A Circle of Artists at the Beginning of Lucid Art. San Francisco: Weinstein Gallery. 2018 Bogzaran, Fariba, ed. Artists, Poets, and Visionaries of the S.S. Vallejo: 1949-1969. Inverness, CA: Lucid Art Foundation. ARTICLES AND REVIEWS [Review of Solo Exhibition at The Pinacotheca Gallery.] Art News. March 1945. “Joan Mitchell, Richard Bowman Open TwoMan Show Tomorrow at Art Association Meeting.” Rockford Morning Star (IL). January 1947. Robert Ayre. [Review of Exhibition, Montreal Mu-seum of Fine Arts.] Montreal Daily Star. 1951. Ben Metcalfe. "Varsity Art Shock —A Morbid Hoax?" Winnipeg Tribune, December 3, 1951. Beverly Wright. "Richard Bowman, abstract painter, has one-man show at Stanford Gallery." Palo Alto Times. February 17, 1956. "Atomic Art Show at Stanford." San Francisco Chronicle. February, 19, 1956. "P.A. Artist Portrays Energy in Oils." San Jose Mercury News. July 25, 1958. Neita Crain Farmer. "A Solitary Voice: Richard Bowman's Paintings Say Something, In A New Way." Palo Alto Times. May 30, 1959. Barbara Bladen. "Dick Bowman's Paintings Show Atomic Awareness," San Mateo Times. July 18, 1959. Arthur Bloomfield. "Two Top Painters at San Francisco Museum." San Francisco Call Bulletin. July 31, 1959. Alfred Frankenstein. "Slow and Fast Sculpture and Kinetogenics." San Francisco Chronicle. May 24, 1959. "Paintings on Display: Bowman and Onslow Ford Show." San Francisco Weekly. July 1959. Herman Wong. "Bowman's Art Seen At Show, Artist Builds Studio Near Hillside House." Red-wood City Tribune, September 15, 1960. Dean Wallace. "Four Bring Their Art to Perfec-tion." San Francisco Chronicle. September 30, 1960. Dean Wallace. "A Painter Looks at the Atom." San Francisco Chronicle. May 29, 1961. Alfred Frankenstein. [Review of retrospective at San Francisco Museum of Art.] San Francisco Chronicle. November 12, 1961. "International Art." Pittsburgh Post-Gazette, Sunday Magazine. October 29, 1961. "Pacific Paintings Show Common Character-istics." The Press (Auckland, New Zealand). August 5, 1961. Naomi Baker. "San Francisco's Art Is Viewed." San Diego Evening Tribune. January 26, 1962. John Canaday. "Visitors From the West." New York Times. October 28, 1962. Arthur Bloomfield. "Lost in a World They Were Never Made For." San Francisco News-Call Bulletin. August 3, 1963. Arthur Bloomfield. "Bowman Paints His Own Path." San Francisco News-Call Bulletin. February 11, 1964. "The Rockford Fifty States of Art Exhibition." Palo Alto Times. October 5, 1965. Alfred Frankenstein. "Bowman's Radiant Ab-stract Art." San Francisco Chronicle. November 12, 1965. Thomas Albright. "A Kind of Non-Art Show: Brilliant Work by Bowman." San Francisco Chronicle, February 14, 1970. Paul Emerson, "Menlo Gallery Shows Bow-man Art: Major Retrospective Show." Palo Alto Times. October 6, 1972. Arthur Bloomfield. "A Luxuriant Impact to Bowman Paintings." San Francisco Examiner. November 20, 1972. Thomas Albright. "Two Artists Views of Na-ture." San Francisco Chronicle. October 9, 1974. Arthur Bloomfield. "All But the Kitchen Sink." San Francisco Examiner. September 24, 1974. Thomas Albright. "Realism Moves In." San Francisco Chronicle. Thursday, September 4, 1975. Suzanne Muchnic. "Inspired Visions of Inner Worlds at UCLA." Los Angeles Times. January 10, 1988. Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 1, page 404; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 2, page 701; Art in the San Francisco Bay Area: 1945-1980, Thomas Albright, University of California Press, 1985, page 263; A Dictionary of Contemporary American Artists, Paul Cummings, St. Martin’s Press: New York 1966, page 66-67; Mallett’s Index of Artists, Supplement, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1940, page 31; Richard Bowman: Radiant Abstractions, essays by Patricia Watts and Stefanie De Winter, published by Watts...

Stunning and expressive large scale oil painting by mid-century San Francisco artist Louis Earnest Nadalini (American, 1927-1995). Signed "Nadalini" lower right. Unframed. Image size...

Cecilia studied Social Studies and Literature at Universidad Catolica del Peru, Drawing with Cristina Galvez, and Watercolors with Juan Pastorelli. She then worked with Leslie Lee, p...

"Sunflowers" oil on canvas original painting by Steve McElroy. 16 x 20 inches. This is the original painting! Beautiful archival quality limited edit...

John McCaw's (US based) "Sunlit" (2023) is a beautiful original expressionist painting, which depicts a park pathway during the sunset. A park bench rests along the path which leads...

Colorful Samurai, Large-Scale Modern Figural Geometric Abstract Colorful modern figural abstract of a samurai figure fractured into fields of color and pattern by S. Baker (Susan Baker...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...