Luc Hoekx Art

Lilly Muth's geometric abstractions are colourful works full figures that of space such as the distance, shape, size, and relative position of figures. Her use of colour is bold yet ...

A mid-century modern geometric abstract painting by American artist Richard Huntington. Richard Huntington (b. 1936) is an American painter, printmaker, and writer, is Critic Emerit...

Curated circles of silver, black, tangerine orange, and cherry red define the dove grey ground of this square minimalist acrylic painting on plexiglass. The areas between the shapes are completed with custard yellow and maroon. This work comes framed. Framed dimensions are approximately 20.5 x 20.5 inches. Cantine's work is a poetic and intellectual exploration of a pictorial problem, color as structure which has infinite variations. Cantine was quoted in the Alberta Biennial of Contemporary Art 2000: "For the past 26 years, I have painted essentially the same still life, which began as a pair of apples and its shadow, and evolved under pressure of color into the present imagery." Cantine may be referred to as a post-minimalist, a term coined by Robert Pincus-Witten in 1971 to describe work with a minimalist tendency but that uses modest materials and aims towards a pure formalist aesthetic. David Cantine is a senior Canadian painter who has been exploring the still life for many years. Cantine was born in Jackson...

Africana Mid-Century Modern large and impressive mixed media, sand and oil on artist board. The painting is unsigned there is a small fragment of old paper label with number #21 titl...

"Clue #4" is an abstract artwork by Stan Olthuis composed of acrylic paint on reclaimed bicycle inner tube, wrapped on torched and plain reclaimed canvas stretchers. Clue #4 measures...

Richard Andres (American, 1927-2013) Naval Occurrence, c. 1963 oil on canvas signed and titled verso 24 x 32 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

Steve Baris is interested in the interconnections of the built environment and spatial experience. His artwork is a response to a largely overlooked type of landscape that is emerg...

Seymour Fogel Untitled Oil on illustration board construction 10 x 7 1/2 inches Provenance: Estate of the artist Charles and Faith McCracken Larry and Trish Heichel Private Collection Seymour Fogel was born in New York City on August 24, 1911. He studied at the Art Students League and at the National Academy of Design under George Bridgeman and Leon Kroll. When his formal studies were concluded in the early 1930s he served as an assistant to Diego Rivera who was then at work on his controversial Rockefeller Center mural. It was from Rivera that he learned the art of mural painting. Fogel was awarded several mural commissions during the 1930s by both the Works Progress Administration (WPA) and the Treasury Section of Fine Arts, among them his earliest murals at the Abraham Lincoln High School in Brooklyn, New York in 1936, a mural in the WPA Building at the 1939-1940 New York World's Fair, a highly controversial mural at the U.S. Post Office in Safford, Arizona (due to his focus on Apache culture) in 1941 and two murals in what was then the Social Security Building in Washington, D.C., also in 1941. Fogel's artistic circle at this time included Phillip Guston, Ben Shahn, Franz Kline, Rockwell Kent and Willem de Kooning. In 1946 Fogel accepted a teaching position at the University of Texas at Austin and became one of the founding artists of the Texas Modernist Movement. At this time he began to devote himself solely to abstract, non-representational art and executed what many consider to be the very first abstract mural in the State of Texas at the American National Bank in Austin in 1953. He pioneered the use of Ethyl Silicate as a mural medium. Other murals and public works of art done during this time (the late 1940s and 1950s) include the Baptist Student Center at the University of Texas (1949), the Petroleum Club in Houston (1951) and the First Christian Church, also in Houston (1956), whose innovative use of stained glass panels incorporated into the mural won Fogel a Silver Medal from the Architectural League of New York in 1958. Fogel relocated to the Connecticut-New York area in 1959. He continued the Abstract Expressionism he had begun exploring in Texas, and began experimenting with various texturing media for his paintings, the most enduring of which was sand. In 1966 he was awarded a mural at the U.S. Federal Building in Fort Worth, Texas. The work, entitled "The Challenge of Space", was a milestone in his artistic career and ushered in what has been termed the Transcendental/Atavistic period of his art, a style he pursued up to his death in 1984. Painted and raw wood sculpture...

Signed lower right: "Jason Berger". From the estate of the artist.

LI-15 Size 24″X24″X2" Light Installation Art. Materials: acrylic, silver acrylic frames, epoxy, natural stones, LED light. Year of Creation: 2022 This art is installation of plexig...

WILL LUSTENADER Education Courtauld Institute of Art, University of London, M.A. 1981 Vassar College, Poughkeepsie, New York, B.A. 1979 Selected Exhibitions 2015 65 Art of the Northeast, Silvermine Gallery, New Canaan, CT, June-July, 2015, Michelle Grabner and Brad Killam curators Remythologies: New Inventions of Old Stories, Housatonic Museum of Art, June 11 – July 24, 2015 2014 Fred. Giampietro Gallery, New Haven, CT Group exhibition: “Self-Absorbed” June, 2014 Paul Mellon Arts Center, Choate Rosemary Hall, Wallingford, CT, “Manufactured Realities” Will Lustenader and Blinn Jacobs, Sept. – Oct. 2014 Artspace, New Haven, CT, City-Wide Open Studios, October Fred. Giampietro Gallery, New Haven, CT Solo exhibition: “Approximating Continuity” April 25- May 24 Artspace, New haven, CT “Something Blue” benefit auction exhib. April 2013 The Gallery at Whitney Center, Hamden , CT “Vibrant, A Look at Contemporary Lyricism Curated by Debbie Hesse and Insook Hwang, Presented by The Arts Council of Greater New Haven Nov. 2013 – Feb. 2014 Artspace, City-WideOpen Studios, Oct. 2013 John Slade Eli House Center for Contemporary Art, New Haven, CT “Handful of Art” Group Show June 2013 Artspace, New Haven, CT “Domestic Spaces” Flatfile selections. July – Sept. 2013 2012 Fred. Giampietro Gallery, New Haven, CT “Look Out / Out Look” Nov. 16 – Dec. 21 2011 Giampietro Gallery, New Haven, CT “Areas of Refuge” Solo exhibition June 2011 Artspace, New Haven, CT “Out of Line” work on paper curated by Leslie Nolan, Dir. Center of Contemporary Printmaking, Norwalk, CT Manifest Gallery, Cincinnati, OH group show “ ARCH., Exploring Made Space” Mar. 2011 Flinn Gallery, Greenwich Public Library, Greenwich, CT “Three Visions: Perry Burns, Willard Lustenader and Karen Santry” Feb 3 – March16, 2011 2010 Silvermine Galleries,“61st Art of the Northeast”, New Canaan, CT Katie Rashid, director Jack Shainman Gallery, NY, juror International Juried Show 2010, Visual Arts Center of New Jersey, Summit, NJ Jan. – Mar. 2010 Artspace “Conspectus I” flat file exhib. New Haven, CT curated by Liza Statton 195 Gallery, New Alliance Bank Exec. Suite, New Haven, CT 2009 San Diego Art Institute, “50th Annual Awards Exhibition”, San Diego, CA Manifest Gallery , “Monochrome”, Cincinnati, OH Artspace, “Refurbished Means”, New Haven, CT Bachelier Cardonski Gallery, “Open House, David Eddy, Willard Lustenader, Kathryn McAuliffe, Melissa Stern and Luari Zarin” Kent, CT Artspace, “ Index II”, New Haven, CT Member’s Exh. City Wide Open Studios, artSPACE, New Haven, CT John Slade Ely House Center for Contemporary Art, “Inviting Abstraction, W. Lustenader, Megan Craig and Levni Sinanoglu, New Haven, CT 2008 Wesport Arts Center,” Willard Lustenader” Westport , CT . Solo Exhib. Creative Arts Workshop, “Painting as Presence”, New Haven, CT William Bailey juror, Honorable Mention Silvermine Galleries, “59th Art of the Northeast” New Canaan, CT Thom Collins , Dir. Neuberger Museum, Purchase, NY juror. Honorable Mention Hygienic Gallery, New London, CT “Third Crossing” Jeffery Anderson, Dir. F. Griswold Museum, Old Lyme, CT juror, Best in Show. Brad Cooper Gallery, Tampa, FL “Co-Existence” 23rd Anniversary Exhib. Dec. 2007 – Feb. 2008 Seton Art Gallery, Sacred Heart University, Faculty Show, Fairfield, CT 2007 Hoorn-Ashby Gallery, New York, NY “The Unexpected” Luchsinger Gallery, Wallace Performing Arts Center, Greenwich Acad., Greenwich, CT Solo Exhib. Haskins Laboratories, New Haven , CT “Table Tops” ,Debbie Hesse curator Seton Gallery, Uni. of New Haven, CT Faculty Show Nov./ Dec. Brad Cooper Gallery Group Show, Tampa, FL Hoorn Ashby Summer group, Nantucket, MA Artspace, New Haven, CT 2006 Brad Cooper Gallery, Tampa, FL “Conventional Wisdom” Solo Exhib. Chase Freedman Gallery, JCC Greater Hartford, West Hartford, CT “Four Years of Space” Solo Exhib. Vanbrundt Gallery, Beacon, NY Artspace, Open Studios, New Haven, CT Hoorn-Ashby Gallery, Nantucket, MA Brad Cooper Gallery, Tampa, FL Greenwich Art Soc. Members Exh. Greenwich, CT Dede Young juror Stamford Art Assoc. Winter Exhibition, Stamford, CT 2005 Longstreth Goldberg Gallery, Naples FL Artspace, Open Studios, New Haven, CT Bachelier Cardonsky Gallery, Carol Anthony, Willard Lustenader and Melissa Stern . Kent, CT Hoorn-Ashby Gallery, Summer Group, New York, NY Hoorn-Ashby Gallery, Nantucket, MA Brad Cooper Gallery, Tampa , FL 2004 Brad Cooper Gallery, Tampa, FL “20 Years, 20 Artists” Gallery North, Setauket, NY Cooley Gallery, Old Lyme , CT “Annual Group Exhibition” Hoorn-Ashby Gallery, New York, NY “City Life” Artspace, New Haven, CT “Open Studios1 Louisiana State University Art Gallery, Baton Rouge, LA “20x20x20” 1st prize. Hoorn-Ashby Gallery, Nantucket, MA summer group Artspace, New Haven, CT benefit auction New Britain Museum of American Art, New Britain , CT benefit Brad Cooper Gallery, Tampa, FL summer show, gallery artists 2003 Brad Cooper Gallery, Tampa, FL “Painting and Drawing” Solo Exhib. Melvin Gallery, Florida Southern College, Lakeland, FL “Painting and Drawing” Solo Exhib. Stephen F. Austin State University, Art Center, Nacogdoches, TX Kathryn Schultz Gallery, Cambridge Art Association, Cambridge, MA Kauffman Gallery, Shippensburg University, Shippensburg, PA Louisiana State University Art Gallery, Baton Rouge, LA “20 x 20 x 20” Brad Cooper Gallery, Tampa, FL “Realist Arrangements” Artspace, New Haven, CT “Open Studios” Cooley Gallery, Old Lyme, CT “Annual Group Exhibition” 2002 Premier Etage Galleries, Newport, RI “Recent Paintings” Solo Exhib. Hartford Steam Boiler, Polytechnic Club, Hartford, CT Solo Exhib. Brad Cooper Gallery, Tampa, FL “Nude in the Postmodern”, Best in Show. John Slade Ely House, Center for Contemporary Art, New Haven, CT “Portraits” Artspace, New Haven, CT “City Wide Open Studios” New Britain Museum of American Art, New Britain, CT “The Body Revealed, 200 Years of the American Nude”, Douglas Hyland, curator Cooley Gallery, Old Lyme, CT “Annual Group Exhibition” Premier Etage Gallery, Newport, RI “Gallery Artists” 2001 Cooley Gallery, Old Lyme, CT “Annual Group Exhibition” New Britain Museum of American Art, New Britain ,CT “Recent Acquisitions” Premier Etage Galleries, Newport, RI “Figures and Still Life” Solo Exhib. artSPACE, Citywide Open Studios, New Haven, CT New Britain Museum of American Art, New Britain, CT “Art for the Cure”, Honorable Mention. 2000 Cooley Gallery, Old Lyme, CT “Annual Group Exhibition” artSPACE, Citywide Open Studios, New Haven,CT 1999 Cooley Gallery, Old Lyme, CT Solo Exhibi. Yale University, Ezra Stiles College Master’s House, New Haven, CT Solo Exhib. Silvermine Galleries, 50th Art of the Northeast, New Canaan, CT Cooley Gallery, Old Lyme, CT “Annual Group Exhibition” 1998 Cooley Gallery, Old Lyme, Connecticut Lyme Art Association, Old Lyme, CT 1997 Nassau Club, Pinceton, N J Solo Exhib. New Britain Museum of American Art, New Britain, CT “Art for the Cure” Honorable Mention. Gregory Gallery, Darien, CT Cooley Gallery, Old Lyme, CT 1996 Ward Center for the Arts, St. Paul’s School, Baltimore, MD Paul Mellon Arts Center, Wallingford, CT Cooley Gallery, Old Lyme , CT Gregory Gallery, Darien, CT Artspace, New Haven, CT John Slade Ely House, Center for Contemporary Art, New Haven, CT, Award Solo Exhib. Greenwich Art Society, Greenwich, CT E.C. Potter Award for Best in show. Silvermine Guild Galleries, 46th Art of the Northeast, New Canaan, CT Erector Square Gallery, New Haven, CT 1995 Paul Mellon Arts Center, Wallingford, CT "Portraits, Figures and Landscapes" Solo Exhib. John Slade Ely House, Center for Contemporary Art, New Haven, CT Greene Art Gallery, Guilford, CT Cooley Gallery, Old Lyme, CT 1994 Cooley Gallery, Old Lyme, CT John Slade Ely House, Center for Contemporary Art, New Haven, CT 1993 Wallace Library Gallery, Stony Creek, CT "Selected Paintings 1986-1993" Solo Exhib. Artspace, New Haven, CT "New Work/New Haven, Juror's Choice" Willard Lustenader, Linda Lindroth and Bryan Nash Gill curated by Charlotta Kotik, Curator of Contemporary Art, Brooklyn Museum of Art. 1992 Artspace, New Haven, CT New Art/New Haven, curated by Charlotta Kotik CB's Gallery, New York, NY "American Art Since 1992", curated by Margaret Bodell 1990 Hotel de Ville de Montrouge, Paris, France 1989 Madison Gallery, Madison ,CT Erector Square Gallery, New Haven, CT 1988 Erector Square Gallery, New Haven, CT 1987 Erector Square Gallery, New Haven, CT Erector Square Gallery, New Haven, CT "XXXVe Salon de Montrouge" 1986 Paul Mellon Arts Center, Wallingford, CT "New Paintings" Solo Exhib. Sarah Rentschler Gallery, New York, NY 3 person exhib. Greene Art Gallery, Guilford, CT Southern Massachusettes University Gallery, North Dartmouth, MA "Evils of Power", catalogue 1985 Showplace Gallery, New Haven, CT "Recent Paintings" Solo Exhib. New Haven Foundation, New Haven, CT "Works on Paper" Solo Exhib. Slater Memorial Museum, Norwich, CT juried show. Showplace Gallery, New Haven, CT Group show. Richardson-Vicks Corp. Gallery, Wilton, CT, Alice Neal juror Stamford Art Association, Stamford, CT "Faber-Birren Color Award Show" 2nd prize Erector Square Gallery, New Haven, CT Silvermine Gallery, New Members Show, New Canaan, CT 1984 "New Work" Solo Exhib. group Shoreline Alliance for the Arts, Guilford, CT Richardson-Vicks Corp. Gallery, Wilton, CT , Robert Motherwell juror 1983 Wilton Gallery, Wilton, CT Fox Hill Gallery, Ridgefield, CT 1979 Palmer Gallery, Vassar College, Poughkeepsie, NY Collections: New Britain Museum of American Art, New Britain, CT General Electric Corporation, New York, NY Warburg Pincus, New York, NY Surdna Foundation, New York, NY Stephen Hood, Sao Paulo, Brazil Robert and Maureen Rothchild Collection, New York, NY Horace Irvine, II Collection, Boston, MA Suida-Manning,Dolnier Collection, Watertown, CT and Newport, RI Housatonic Technical College, Bridgeport, CT Stoke, Stoke & Lanar LLC. Miami, FL J. Skagen, Chicago, IL Patrick and Carol Cardon, Pontlevoy, FR and Camden, ME Burt and Elena Prohaska Glinn, Southampton, NY B. and M. Cohen, Greenwich,CT D. and K. Keegan, Greenwich, CT Choate Rosemary Hall, Wallingford, CT F. and K. Giampietro,, New Haven, CT H. Greene and M. Kluger, Redding, CT Day Pitney LLP, New Haven, CT Smilow Cancer Hospital, Yale New Haven Hospital, New Haven, CT Bibliography: Areas of Refuge review Ct Art Scene New review for "Areas of Refuge" at Giampietro Gallery by Hank Hoffman for CT ART SCENE Greenwich Time, Willard Lustenader in ‘Three Visions’ exhibition...” Jan. 13, 2011 New Haven Magazine, “The Family Home” by Duo Dickinson, Aug. / Sept., 2010 , p. 28 Manifest vol.39,” Monochrome” catalog Fine Arts Fund pub. 2009 , vol. 39, pp. 9-10 Cincinnati Art Snob, blogspot “Manifest” review posted Sunday, Sept. 27, 2009 Garage Noir, blogspot by Karl Stephan. June 6, 2009 vol. 2, issue 6 New Haven Register, “Paean to Painting” by Judy Burke, Sunday, May 18, 2008 Shoreline Times, “Painting as Presence” by Leah Lopez Schmalz, May 2008 Tampa Review 31/32, “Home Movie” p.11, Uni. of Tampa Pub., 2007 Greenwich Academy Gets Glimpse of Great Art, Greenwich Post, Nov. 15, 2007 Connecticut Art Scene, “Open Studios” by Hank Hoffman, Oct. 19, 2006 New Haven Independent, by Lesha Daley, “From ‘Swimsuit Girl’ to.....” Oct. 16, 2006 New Haven Advocate, Oct. 9, 2006, p.3 New Haven Register, City-wide Open Studios, Oct. 9, 2005 New York Times, CT section, p.13 June 19, 2005 The Ledger, Tampa, FL regional, review Emotion Flows from Realism in FSC Show”, Sept. 19, 2003, p. 4 St. Petersburg Times, Tampa, FL review “Feel the Tension in the Room” by L. Bennett, May 17, 2003 “The Introspective Realism of Willard Lustenader”, by Dr. S. Salamone, Brad Cooper Gallery publication, May 5, 2003 Newport This Week, Newport, RI review “Much to Ponder at Lustenader Show” May 30, 2002, P. 13 New Britain Museum of American Art, cat. The Body Revealed, April-June 2002 The Hartford Courant, Owen McNally, Oct. 7, 1999, p. 37 Antiques and the Arts Weekly, review “Cooley Gallery To Exibit Works by Contemporary Artist Bill Lustenader” Oct. 1, 1999, p. 80 Optimist, Northampton, MA cover and article by Mark Auerbach, “Light in the ....Art of Willard Lusternader” Oct.3, 1996 New Haven Register, May 3, 1987 New Haven Independent, review by Christopher Arnott, Revisionist History” vol. 1, no. 35, May7, 1987 Connecticut’s Finest Magazine, “People and Places”, Charotte Libov, Winter 1986 issue, p.18 Record-Journal, Wallingford, CT “Artist Expresses Images, Feelings...” interview by Martin Glasser...

This vibrant abstract oil painting by Paul Kauvar Smith (1893-1977) features a striking composition in blue, pink, yellow, green, and black. The work is oil on board and has been fra...