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Neltje Art

American, b. 1934

Neltje Doubleday Kings was born in New York City and raised in style on Long Island and a South Carolina plantation.

At the age of 32, as a single mother of two, Neltje moved from Park Avenue to a ranch in Wyoming in the shadows of the Big Horn Mountains. Since then she has become one of the West’s preeminent artists. Like the openness of the West, Neltje likes to do things on a big scale, and many of her paintings are 10 to 12 feet wide. She considers herself “an Abstract Expressionist painter.” Her works are in a wide range of museums and private collections, including the Smithsonian Institution, Yellowstone Art Museum, Buffalo Bill Center of the West and the IBM Corporation, along with solo exhibitions at the University of Wyoming and the University of Montana.

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Artist: Neltje
Tamp Down Memories 48 x48
By Neltje
Located in West Palm Beach, FL
Acrylic on canvas 48 X 48 Vivid blasts of color is a trademark of Neltje. Neither standard art descriptors nor derivative comparisons can properly describe Neltje’s work. Neltje ...
Category

2010s Contemporary Neltje Art

Materials

Canvas, Acrylic Polymer, Acrylic

Open Your Window - Rich Reds and Yellow 72 X 72
By Neltje
Located in West Palm Beach, FL
Open your window - Rich Redsm and Yellow 72 X72 Neltje's signature rich colors appear in this acrylic on canvas Vivid blasts of color is a trademark of Neltje...
Category

2010s Contemporary Neltje Art

Materials

Canvas, Acrylic

Time Sweep II- Blue monotype 30 X 30
By Neltje
Located in West Palm Beach, FL
Time Sweep II , Blue monotype 30 X 30 Matted and framed.
Category

2010s Contemporary Neltje Art

Materials

Monotype

Return to The Meadow- Vivid colors 60 X 60
By Neltje
Located in West Palm Beach, FL
Return to the Meadow-Vivid colors 60 X 60 Acrylic on canvas Neltje was born in New York City and raised in style on Long Island and a South Carolina plantation. At the age of 32, as a single mother of two, she moved from Park Avenue to a ranch in Wyoming in the shadows of the Big Horn Mountains. Since then she has become one of the West’s preeminent artists. Like the openness of the West, Neltje likes to do things on a big scale and many of her works are ten to twelve feet wide. She considers herself “an abstract expressionist painter.” Her works are in a wide range of museums and private collections including The Smithsonian Institution, the Yellowstone Art...
Category

2010s Contemporary Neltje Art

Materials

Canvas, Acrylic

Glad You Asked -Rich Vibrant Palette 60 X 60
By Neltje
Located in West Palm Beach, FL
Glad You Asked -Rich vibrant palette 60 X 60 Acrylic on canvas Neltje was born in New York City and raised in style on Long Island and a South Carolina plantation. At the age of 32, ...
Category

2010s Contemporary Neltje Art

Materials

Canvas, Acrylic

Since When- Gold Purple Red Energy Strokes 60 X 72"
By Neltje
Located in West Palm Beach, FL
Since When- Gold Purple Red Energy Strokes 60" X 72" Acrylic on canvas. Neltje was born in New York City and raised in style on Long Island and a South Carolina plantation. At the a...
Category

2010s Contemporary Neltje Art

Materials

Canvas, Acrylic

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"Paricutin (Volcano in Michoacan, Mexico)" Woodcut & Monotype signed by Summers
By Carol Summers
Located in Milwaukee, WI
"Paricutin (Volcano in Michoacan, Mexico)" is a woodcut and monotype signed by Carol Summers. In the image, an abstracted volcano erupts in a joyous burst of purples and oranges. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Art: 8 x 11 in Frame: 17 x 19 in Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MoMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and non-western as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...
Category

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Tablet - vivid, colourful, blue, red, pink, orange, abstract triptych on panel
By Alice Teichert
Located in Bloomfield, ON
This triptych evokes an ancient manuscript or perhaps a music score. Rich and vibrant hues of red, yellow and blue. Multidisciplinary artist Alice...
Category

2010s Contemporary Neltje Art

Materials

Canvas, Acrylic Polymer, Crayon, Acrylic, Wood Panel

Abstract Modernist Colorful Bold Monoprint Monotype Painting Print Pierre Obando
By Pierre Obando
Located in Surfside, FL
Pierre Andre Obando creates process oriented abstract paintings. He was born in Belize City, Belize and grew up in the Caribbean, the U.S. Virgin Islands, Miami, Fl and Jackson, MS. ...
Category

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Materials

Monoprint, Monotype

A Glass of Red Wine /// Contemporary Pop Art Modern Alcohol The Rolling Stones
By Kazuhide Yamazaki
Located in Saint Augustine, FL
Artist: Kazuhide Yamazaki (Japanese-American, 1951-) Title: "A Glass of Red Wine" *Signed and dated by Yamazaki in pencil lower right Year: 1981 Medium: Original Monotype on Arches paper Limited edition: (1/1) Printer: Perma Press, New York, NY Publisher: Perma Press, New York, NY Sheet size: 30" x 22.5" Image size: 24" x 18" Condition: Never framed, has been professionally stored away for decades. In mint condition Rare Notes: Provenance: acquired directly from the publisher Perma Press, New York, NY in the 1980's. Titled lower center and the medium inscribed lower left by Yamazaki in pencil. Perma Press chop mark/blind stamp lower left. Arches France watermark lower right. Kazuhide Yamazaki was commissioned to create elaborate and colorful stage artwork by The Rolling Stones for their 1981 American tour from September 25 - December 19, 1981, (see final photo for reference). Also known as the most painterly method among the printmaking techniques , a monotype is essentially a printed painting. The characteristic of this method is that no two prints are alike; although images can be similar, editioning is not possible. Biography: Kazuhide Yamazaki is a Japanese born artist who studied printmaking in San Francisco now living in New York City. The artist is best known for his work for The Rolling Stones. On their 1981 American tour, he designed the sets, tour poster, t-shirts, and record cover of the tour album. His unique hand painted monotypes can be found in many important collections including The Brooklyn Museum and the J.P. Morgan Chase Art Collection. From an article by Rolling Stone magazine on Yamazaki and his artistic contribution to The Rolling Stones' 1981 Tour: "Designed by Japanese artist Kazuhide Yamazaki, the stage was the largest mobile concert set ever built: sixty-four feet wide, with eighty-foot ramps stretching out from the right and left sides, and another 150 feet of fluttering silk strips streaming into the bleachers. The massive scrims surrounding the stage — painted with post-modernist pastel...
Category

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Materials

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Abstract Modernist Colorful Bold Monoprint Monotype Painting Print Pierre Obando
By Pierre Obando
Located in Surfside, FL
Pierre Andre Obando creates process oriented abstract paintings. He was born in Belize City, Belize and grew up in the Caribbean, the U.S. Virgin Islands, Miami, Fl and Jackson, MS. ...
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1990s Contemporary Neltje Art

Materials

Monoprint, Monotype

Harbinger - Handmade Linocut-Monotype Limited Edition Print Unique 3/5
By Aneta Szoltis-Mencina
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Neltje art for sale on 1stDibs.

Find a wide variety of authentic Neltje art available for sale on 1stDibs. You can also browse by medium to find art by Neltje in acrylic paint, acrylic polymer, canvas and more. Much of the original work by this artist or collective was created during the 21st century and contemporary and is mostly associated with the abstract style. Not every interior allows for large Neltje art, so small editions measuring 48 inches across are available. Customers who are interested in this artist might also find the work of Harald Marinius Olson, Liz Tran, and Fred Mitchell. Neltje art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $4,500 and tops out at $4,500, while the average work can sell for $4,500.

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