Ludovic Dervillez Art

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil, pastel, and paper collage on canvas. Signed and dated verso. 52.75 x 47.75 in. 54 x 49 in. (framed) Gilded floater frame. Provenance Compass Rose, Chicago Born Sylvan Irwin Goldberg in 1924 and raised in the Bronx, Michael Goldberg was an important figure in American Abstract Expressionism, who began taking art classes at the Art Students League in 1938. A gifted student, Goldberg finished high school at the age of 14 and enrolled in City College. He soon found New York’s jazz scene to be a more compelling environment, and he began skipping classes in favor of the Harlem jazz clubs near campus. Goldberg’s love of jazz would become a lifelong passion and a key component to his approach to composition in his paintings. From 1940 to 1942, like many of the leading artists of the New York School, Goldberg studied with Hans Hofmann. In 1943, he put his pursuit of painting on hold and enlisted in the U.S. Army. Serving in North Africa, Burma, and India, Goldberg received a Purple Heart and a Bronze Star before being discharged in 1946. After his service, he traveled and worked in Venezuela before returning to the United States, settling back in New York and resuming studies with Hofmann and at the Art Students League. Living downtown and frequenting the Cedar Bar, Goldberg befriended many of the artists of the New York School. In 1951, his work was included in the groundbreaking Ninth Street Show, co-organized by Leo Castelli, Conrad Marca-Relli, and the Eighth Street Club, and featuring the work of - among others - Hofmann, Jackson Pollock, Willem de Kooning, and Franz Kline. In 1953, the Tibor de Nagy...

Abstract expressionist work of art by Joseph Hicks. Joseph Hicks’s works are bright and colorful, full of life and creativity. His canvases are full of energy and dynamism due to t...

Solitary Journey, Original Contemporary Abstract Coastal Landscape Painting 14" x 11" x 1.5" (HxWxD), Mixed Media on Canvas A lovely abstract seascape study by artist Julia Di Sano...

FROLIC, Original Contemporary Blue Green Abstract Expressionist Painting, 2021 30" x 24" x 1.5" (HxWxD) Acrylic, Watercolor, Pastel, Marker, and Pencil on Canvas Hand-signed and dated by the artist in verso. This contemporary mixed-media abstract painting by artist Julia Di Sano...

Represented by George Billis Gallery, NYC & LA --Steven Kinder talks a lot about energy, form and movement and getting at the essence of something. Getting to the middle of it. He wa...

Jordan Barker is a New York City based mixed media artist. Initially inspired by found objects, his first piece was a coffee table that was created from a wooden palate found in the ...

Abstract geometric artwork by a contemporary artist Gerald Wolfe. Gerald Wolfe’s wall pieces have a three-dimensional, architectural feel. The artist’s approach to his paintings is intuitive. He meticulously creates his works step by step, imbuing shapes and lines with energy. The interplay of forms, color, and texture creates tension between flatness and depth. His work can become a unique gift and will be a wonderful addition to any space, be it a living room of a modern home or a lobby of a commercial building. Gerald Wolfe received a Bachelor of Arts degree in history from the University of Maryland in 1972, discovered his interest in art and went on to study fine arts at the School of Visual Arts in New York City. In the summer of 1974, he also studied at Skowhegan School of Painting and Sculpture in Maine. From his first show in 1979, a summer invitational at OK Harris Gallery, Gerald has shown his work on a consistent basis in New York, including such galleries as Denise Bibro Fine Art, NYC, and Kim Foster Gallery, NYC . In addition, he has had solo exhibits at the Paterson Museum in Paterson, New Jersey...

Steven Kinder (b. 1956, Queens, NY) was trained at Cooper Union and has been making drawings, paintings, and large-scale installation for over 40 years. His recent work advances his interest in various forms of dynamic tension and movement found in nature, specifically tidal bores, surges or whirlpools. In his new work, the artist further explores tension and balance between the intuitive, gestural mark and the intellectual organization of form. His 9 inch square drawing series, a format he has been using for years, have now become templates for his paintings. In the drawings Kinder works out how form and color can come together and break apart while maintaining a compositional integrity inside a small space. His habit of placing ¾ inch blue painter’s tape around the edges of his designated area to serve as a border has now become part of the picture plane. The tape’s slightly elevated hard edge creates a physical barrier for the paint but adds a beautiful collage dimension as well. Its rough textured surface catches and slows the end of the brush stroke, softening the color and extending its energy over the intended border. Like a tidal pool at the base of a waterfall, the tape is both an extension of the thing, and a separate thing itself. When Kinder translates the small drawings onto larger canvas, there is a palpable and necessary shift of pressure, color intensity and rhythm. He does not project the drawing on the canvas, nor does he use graphs. Instead he simply places it next to the canvas and refers to the drawing as an architectural blue print...

Steven Kinder (b. 1956, Queens, NY) was trained at Cooper Union and has been making drawings, paintings, and large-scale installation for over 40 years. His recent work advances his interest in various forms of dynamic tension and movement found in nature, specifically tidal bores, surges or whirlpools. In his new work, the artist further explores tension and balance between the intuitive, gestural mark and the intellectual organization of form. His 9 inch square drawing series, a format he has been using for years, have now become templates for his paintings. In the drawings Kinder works out how form and color can come together and break apart while maintaining a compositional integrity inside a small space. His habit of placing ¾ inch blue painter’s tape around the edges of his designated area to serve as a border has now become part of the picture plane. The tape’s slightly elevated hard edge creates a physical barrier for the paint but adds a beautiful collage dimension as well. Its rough textured surface catches and slows the end of the brush stroke, softening the color and extending its energy over the intended border. Like a tidal pool at the base of a waterfall, the tape is both an extension of the thing, and a separate thing itself. When Kinder translates the small drawings onto larger canvas, there is a palpable and necessary shift of pressure, color intensity and rhythm. He does not project the drawing on the canvas, nor does he use graphs. Instead he simply places it next to the canvas and refers to the drawing as an architectural blue print...

Steven Kinder (b. 1956, Queens, NY) was trained at Cooper Union and has been making drawings, paintings, and large-scale installation for over 40 years. His recent work advances his interest in various forms of dynamic tension and movement found in nature, specifically tidal bores, surges or whirlpools. In his new work, the artist further explores tension and balance between the intuitive, gestural mark and the intellectual organization of form. His 9 inch square drawing series, a format he has been using for years, have now become templates for his paintings. In the drawings Kinder works out how form and color can come together and break apart while maintaining a compositional integrity inside a small space. His habit of placing ¾ inch blue painter’s tape around the edges of his designated area to serve as a border has now become part of the picture plane. The tape’s slightly elevated hard edge creates a physical barrier for the paint but adds a beautiful collage dimension as well. Its rough textured surface catches and slows the end of the brush stroke, softening the color and extending its energy over the intended border. Like a tidal pool at the base of a waterfall, the tape is both an extension of the thing, and a separate thing itself. When Kinder translates the small drawings onto larger canvas, there is a palpable and necessary shift of pressure, color intensity and rhythm. He does not project the drawing on the canvas, nor does he use graphs. Instead he simply places it next to the canvas and refers to the drawing as an architectural blue print...

Steven Kinder (b. 1956, Queens, NY) was trained at Cooper Union and has been making drawings, paintings, and large-scale installation for over 40 years. His recent work advances his interest in various forms of dynamic tension and movement found in nature, specifically tidal bores, surges or whirlpools. In his new work, the artist further explores tension and balance between the intuitive, gestural mark and the intellectual organization of form. His 9 inch square drawing series, a format he has been using for years, have now become templates for his paintings. In the drawings Kinder works out how form and color can come together and break apart while maintaining a compositional integrity inside a small space. His habit of placing ¾ inch blue painter’s tape around the edges of his designated area to serve as a border has now become part of the picture plane. The tape’s slightly elevated hard edge creates a physical barrier for the paint but adds a beautiful collage dimension as well. Its rough textured surface catches and slows the end of the brush stroke, softening the color and extending its energy over the intended border. Like a tidal pool at the base of a waterfall, the tape is both an extension of the thing, and a separate thing itself. When Kinder translates the small drawings onto larger canvas, there is a palpable and necessary shift of pressure, color intensity and rhythm. He does not project the drawing on the canvas, nor does he use graphs. Instead he simply places it next to the canvas and refers to the drawing as an architectural blue print...