Peter Kinley Abstract Paintings

Richard Garrison collects information from typically overlooked aspects of daily life. Observed data from places like big box stores and parking lots are systematically transformed i...

Artist: Vahagn Ghaltaghchyan Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Style: Abstract Art Year: 2023 Ti...

Acrylic paint with water-soluble Art Graf and graphite heightens the directness of marking in this diptych series on paper. Art Graf comes in tailor’s squares, easily fitting into th...

Artist: Vahagn Ghaltaghchyan Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Style: Abstract Art Year: 2023 Title: Woman by the Sea Size: 36" x 24...

Acrylic paint with water-soluble Art Graf and graphite heightens the directness of marking in this diptych series on paper. Art Graf comes in tailor’s squares, easily fitting into th...

THREE PAINTED FORMS II Graphite and oil pastel on paper Size: 32 x 39 cm (including frame) An engaging and powerful abstract composition by British contemporary artist Lloyd Durling...

Acrylic paint with water-soluble Art Graf and graphite heightens the directness of marking in this diptych series on paper. Art Graf comes in tailor’s squares, easily fitting into th...

STILL LIFE BLUE PALE Graphite and oil pastel on paper Size: 39 x 46.5 cm (including frame) An engaging and powerful abstract composition by British contemporary artist Lloyd Durling...

STILL LIFE CORAL OCHRE Graphite and oil pastel on paper Size: 39 x 46.5 cm (including frame) An engaging and powerful abstract composition by British contemporary artist Lloyd Durli...

STILL LIFE ANTIQUE WHITE Graphite and oil pastel on paper Size: 39 x 46.5 cm (including frame) An engaging and powerful abstract composition by British contemporary artist Lloyd Dur...

David Hare Cronus Dining, 1968 Graphite, acrylic, paper collage on board 44 x 34 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

There are a lot of people in the art world today who dismiss illustrators are being commercial solely because the artists identified as being commercial artists and that the work was done on assignment. Sadly these art world people have limited imagination and a restricted sense of curiosity. This boxing illustration/painting was done for Sports Illustrated...