Leo Gabin Abstract Paintings

Vertical composition on paper with a saturated wine red ground over which bristle brushed lines are cross hatched in black and royal blue. Layered over these central marks is a structure of stacked, collaged geometric strips of paper painted with intersecting lines and shapes of marine blue, red and white. This work is unframed. Please ask us about framing options. Titled "listening to Scarlati" the piece may certainly be a response to the structured sonatas for harpsicord and pianoforte of Domenico Scarlatti, an Italian composer and contemporary of Bach and Handel. Scarlati spent much of his life at the service of the Portugese and Spanish royalty...

Tom Holland Artists in the Spotlight: Celebrating the 50th Anniversary of San Francisco Museum of Modern Art (SFMOMA), 1985 Acrylic and mixed media with stencil on paper Signed and d...

Miriam Schapiro, "Curtain Call" 2002 Hand signed, dated and titled verso and signed and dated recto. acrylic paint, digital images, glitter and textile fabric on canvas, tooling with gold leaf embossing around self edge of painting. size: 60 x 50 in Miriam Schapiro (or Mimi Schapiro) (November 15, 1923 – June 20, 2015) was a Canadian-born artist based in America. She was a painter, sculptor and printmaker. She was a pioneer of feminist art. She was also considered a leader of the Pattern and Decoration art movement. Schapiro's artwork blurs the line between fine art and craft. Her paintings contain craft elements because crafts and decoration is associated with women and femininity. She used icons that are associated with women such as hearts, floral decorations, geometric patterns and the color pink. In the 1970s she made a small woman's object, the fan, heroic by painting it six feet by twelve feet. This bears the influence of the Pattern and Decoration movement artists such as Brad Davis, Mary Grigoriadis, Joyce Kozloff, Robert Kushner, Kim MacConnel, Sonya Rapoport, Miriam Schapiro and Valerie Jaudon. Shapiro was born in Toronto, Ontario, Canada. Her father was an industrial design artist who fostered her desire to be an artist and served as her role model and mentor. Her mother was a stay at home mother who worked part-time during the depression. As a teenager, Schapiro was taught by Victor d’Amico, her first modernist teacher at the Museum of Modern Art. In the evenings she joined WPA classes for adults to study drawing from the nude model. In 1943, Schapiro entered Hunter College in New York City, but eventually transferred to the University of Iowa. At the University of Iowa, Schapiro studied painting with Stuart Edie and James Lechay. She studied printmaking under Mauricio Lasansky and was his personal assistant, which then led her to help form the Iowa Print Group. Lasanky taught his students to use several different printing techniques in their work and to study the masters' work in order to find solutions to technical problems. At the State University of Iowa she met the artist Paul Brach, whom she married in 1946.. By 1951 they moved to New York City and befriended many of the Abstract expressionist artists of the New York School, including Joan Mitchell, Larry Rivers, Knox Martin and Michael Goldberg. Schapiro worked in the style of Abstract expressionism during this time period. Shapiro and Brach lived in New York City during the 1950s and 1960s. During this period Shapiro had a successful career as an abstract expressionist painter in the hard-edge style. In December 1957, André Emmerich selected one of her paintings for the opening of his gallery. Schapiro not only honored the craft tradition in women's art, but also paid homage to women artists of the past. In the early 1970s she made paintings and collages which included photo reproductions of Mary Cassatt's and Georgia O'keefe's paintings. Early in her career, Schapiro started looking for maternal symbols to unify her own roles as a woman. Her series, Shrines (1963), was her first artistically successful attempt at compartmentalizing her life roles. Her painting, Big Ox No. 1, from 1968, references Shrines, however no longer compartmentalized. The center O takes on the symbol of the egg which exists as the window into the maternal structure with outstretched limbs. Her series, Shrines was created in 1961–63. It is one of her earliest group of work that was also an autobiography. Each section of the work show an aspect of being a woman artist. They are also symbolic of her body and soul. In 1964 Schapiro and her husband Paul both worked at the Tamarind Lithography Workshop. One of Schapiro's biggest turning points in her art career was working at the workshop and experimenting with Josef Albers' Color-Aid paper, where she began making several new shrines and created her first collages. In the 1970s, Schapiro and Brach moved to California so that both could teach in the art department at the University of California. Subsequently, she was able to establish the Feminist Art Program at the California Institute of the Arts, in Valencia with Judy Chicago. The program set out to address the problems in the arts from an institutional position. They wanted the creation of art to be less of a private, introspective adventure and more of a public process through consciousness raising sessions, personal confessions and technical training. She participated in the Womanhouse exhibition in 1972. Schapiro's smaller piece within Womanhouse, called "Dollhouse", was constructed using various scrap pieces to create all the furniture and accessories in the house. Each room signified a particular role a woman plays in society and depicted the conflicts between them. Along with Nancy Spero, Joan Snyder, Joyce Kozloff, Audrey Flack and Judy Chicago, she is from that first generation of Jewish American feminist women artists and includes Judaica in her work. Schapiro's work from the 1970s onwards consists primarily of collages assembled from fabrics, which she called "femmages". As Schapiro traveled the United States giving lectures, she would ask the women she met for a souvenir. These souvenirs would be used in her collage like paintings. Her 1977-1978 essay Waste Not Want Not: An Inquiry into What Women Saved and Assembled - FEMMAGE (written with Melissa Meyer) describes femmage as the activities of collage, assemblage, découpage and photomontage practised by women using "traditional women's techniques - sewing, piercing, hooking, cutting, appliquéing, cooking and the like..." She was involved in Abstract expressionism, Minimalism, Computer art, and Feminist art. She worked with collage, printmaking, painting, femmage [fr] – using women's craft in her artwork, and sculpture. Schapiro not only honored the craft tradition in women's art, but also paid homage to women artists of the past. In the early 1970s she made paintings and collages which included photo reproductions of past artists such as Mary Cassatt. In the mid 1980s she painted portraits of Frida Kahlo on top of her old self-portrait paintings. In the 1990s Schapiro began to include women of the Russian Avant Garde in her work. The Russian Avant Garde was an important moment in Modern Art history for Schapiro to reflect on because women were seen as equals. Schapiro also did collaborative art projects, like her series of etchings Anonymous was a Woman from 1977. She was able to produce the series with a group of nine women studio-art graduates from the University of Oregon. Each print is an impression made from an untransformed doily that was placed in soft ground on a zinc plate, then etched and printed. Her image is included in the iconic 1972 poster Some Living American Women Artists by Mary Beth Edelson...

Judith Brenner Gubbio Original Mixed Media and Acrylic Painting on Canvas Size: H 95cm x 130cm Framed (Please note that in situ images are purely an ind...

Crystal Latimer employs the method to create depth. Inspired by 16th centenary tapestry, she combines western iconography with the symmetrical design elements of medieval artisans. T...

Maria Poroy (American, born 1952) "Time Traveler" 2024 Acrylic Paint, Mixed Media, Canvas, Stretcher Bars The artist signed the bottom left and back of the painting. 'Time Traveler'...

Liane Ricci was born in Sleepy Hollow, NY in 1970, and has studied at the Art Students League, the School of Visual Arts and the Fashion Institute of Technology, and at the Hartford ...

Title: (Baseball) Mits 25.5" W x 25.5" H x 2.25" framed; canvas measures 24" W x 24" H. Provenance: The Rails Collection, Washington, DC (with their label verso) This depicts floating baseball gloves inn an abstract pattern. This is not signed on the front and might be signed verso. We have not examined out of frame. Patrick LoCicero was born in Youngstown, Ohio, in 1959. He attended Youngstown State University, Ohio, and the Columbus College of Art and Design. He completed a B.F.A. at Ohio State University in 1982 and an M.F.A. at the San Francisco Art Institute in 1986. His paintings, installations, prints, and multimedia work have been shown in California, Pennsylvania, and Ohio. LoCicero's richly layered imagery is characterized by unusual juxtapositions of everyday objects and classical motifs, which play with the viewer's perception of materials and subjects. LoCicero’s assemblage paintings combine collage with painting. The overlap and collage elements relate directly to the images he depicts, guiding him in his choice of subjects, and come from a variety of sources including the Kama Sutra, antique children’s books, letters and journals. His still life paintings resonate due to the contrast the artist sets up between the collaged surface and the painted surface, as well as the play between the actual shallow space and implied deep space. Patrick specializes in creating mixed-media collages that tell stories. Collage paintings inventively reinterpret the collage technique that developed during the Cubist Dada era, and he reinvigorates one of the most important modes of expression in the art of the 20th Century. EDUCATION 1986 M.F.A. The San Francisco Art Institute, San Francisco, CA 1982 B.F.A. The Ohio State University, Columbus, OH TEACHING 2000 to 2010 - Instructor, Drawing, Mixed Media, University of Washington Extension Program, Seattle WA 1997-present - Visiting Faculty, Painting, Drawing, Senior Advising, Cornish College of the Arts, Seattle WA 1996 - Adjunct Lecturer, Design I, 2-D Design 130, City College of New York, NY 1994 - N.E.A., Maryland State Arts Council Grant, Individual Artist Grant 1992-1994 - Adjunct Lecturer, Drawing, Printmaking, Professional Practices and Gallery Management, Modesto College, Modesto, CA 1989 - San Francisco City Location Grant, San Francisco, CA 1984-1986 - Lecturer: Drawing, Painting, Printmaking, De Young Museum School, San Francisco, CA 1985 - Instructor: Lithography, San Francisco Art Institute, San Francisco, CA 1983 - Artist-in-Residence, St. Charles School, Youngstown, OH 1982 - Tuition Scholarship, The Ohio State University, Columbus, OH 1981 - Tuition Scholarship, The Columbus College of Art and Design, Columbus, OH SOLO EXHIBITIONS 2018 - "Ephemera", Patricia Rovzar Gallery, Seattle WA "This or Maybe That", O'Reilly Hall, College of Arts and Sciences, University of Dayton 2012 - "Bird Portraits", Linda Hodges Gallery, Seattle WA "Recent Collages", Cumberland Gallery, Nashville TN 2010 - "CIRQUE", Linda Hodges Gallery, Seattle WA 2009 - "History of Collage", Linda Hodges Gallery, Seattle WA "Collaged Botanicals", Ira Wolk Gallery, St. Helena, CA 2008 - "Paper Flowers":, G2 Gallery , Scottsdale AZ "Double Versed Flowers", Madelyn Jordon Fine Art, Scarsdale NY 2006 - "The Flowered Kama Sutra", Alysia Duckler Gallery, Portland, OR 2005 - "Cigar Boxes", The Grover Thurston Gallery, Seattle, WA 2004 - "The Tourist", Alysia Duckler Gallery, Portland, OR "Holiday", "Greenwood/Chebithes Gallery, Laguna Beach ,CA 2003 - "Travels", Dolby Chadwick Gallery, San Francisco, CA "Passages", The Grover/Thurston Gallery, Seattle WA 2002 - "The Bachelor Stripped Bare", Alysia Duckler Gallery, Portland OR 2001 - "Quilts ", The Grover Thurston Gallery, Seattle, WA "Calling Cards ", The Marsha Ralls Gallery, Washington, DC 2000 - "Sideshow", Alysia Duckler Gallery, Portland, OR 1999 - "Same Language Different Words", Ira Wolk Gallery, St. Helena CA "Illusion of Memory,"Grover Thurston Gallery, Seattle WA 1997 - "Nostalgia Suite," Grover/Thurston Gallery, Seattle WA 1996 - "Symbol: Object, '' Associated American Artists, New York, NY 1995 - "The Idora Park Series," The Marsha Ralls Gallery, Washington, DC 1994 - "The Idora Park Series," Susan Cummins Gallery, Mill Valley, CA "The Fabric Paintings," The LEF Foundation, St. Helena, CA "Selective Work," The Shaklee Corporate Headquarters, San Francisco, CA 1992 - "The Stripe Paintings," Italian American Museum, San Francisco, CA "Large Scale Collages," Susan Cummins Gallery, Mill Valley, CA 1991 - "The Fabric Paintings," Owen Patrick Gallery, Philadelphia, PA 1990 - "Redeeming Dreams," Saxon Lee Gallery, Los Angeles, CA "Double Dreams," Braunstein Quay Gallery, San Francisco, CA 1989 - "Recent Work," Monsoon Restaurant, Opera Plaza, San Francisco, CA 1987 - "The Vegetable Paintings," The Janet Steinberg Gallery, San Francisco, CA SELECTED GROUP EXHIBITIONS 2017 - 25th Anniversary Exhibition, Patricia Rovzar Gallery Seattle WA 2012 - "Elastic Plastic", Yellowstone Art Museum, Billings MT "New Whimsy", Patricia Rovzar Gallery, Seattle WA 2012 - Seattle Art Fair, Seattle WA 2011 - "Transformations", Seattle Art Museum, Seattle WA "20 Years 20 Artists", The Ralls Collection , Washington DC. 2010 - "Summer Selections", Linda Hodges Gallery, Seattle, WA "Gallery Feature Artists", Cumberland Gallery, Nashville, TN "Arts Aspen", Aspen, CO "Gallery Salon", The Ralls Collection, Washington, D.C. "International Artists", United States Embassy, Tbilisi, GA 2009 - "Discoveries", Butters Gallery LTD. Portland OR 2009 - "Summer Gallery Show", Cumberland Gallery, Nashville, TN "Finds Refined", Museum Of North West Art, La Conner WA "Happenings", Alexis Hotel, Seattle WA 2006 - "Miami Art Fair", Miami, FL "Los Angeles Art Fair", Los Angeles, CA "Affordable Art Fair", New York, NY 2005 - "Gallery Artists Inaugural", Meyer/Milagros Gallery, Jackson, WY "The Red Show", Cheryl Hazan Gallery...

A Hazy Afternoon by Michael Sanders [2022] An original mixed-media painting by Michael Sanders. 90 x 90 cm deep edge canvas painted around the edges and ready to hang. "This paintin...

This piece is unframed. During these difficult times I have been finding respite and refuge in nature, once again painting outdoors, after many years of working predominantly in the...

Bright Sky Ahead by Michael Sanders [2022] An original mixed-media painting by Michael Sanders. 90 x 90 cm deep edge canvas painted around the edges and ready to hang. "This paintin...

Lynne Golob Gelfman, American (1944-2020) Abstract Composition Acrylic polymer on paper Hand signed and dated recto Sheet: 22 x 30 inches Frame dimensions: 26 x 33 frame with glazing...