Petra Schott Art

I blended abstract and realistic elements to capture the raw energy of a mountain’s slope, a natural expression of memory. I was born surrounded by mountains, steep imposing rocks o...

American, b. 1934 Born in 1934 in Brooklyn, New York, Ira Barkoff’s paintings feature empty, Zen-like landscapes whose stillness reflects a location’s essence. Barkoff seeks to “por...

Jason Craighead (b.1971) is an abstract artist based in Raleigh, North Carolina. In his mixed-media works, drawing, painting, and writing fuse seamlessly together His surprising com...

Ira Barkoff Biography American, b. 1934 Born in 1934 in Brooklyn, New York, Ira Barkoff’s paintings feature empty, Zen-like landscapes whose stillness reflects a location’s essence....

This abstract bright colorful painting is by Brooklyn artist, John Platt who studied at the Boston Museum of Fine Arts and has exhibited exten...

Harrison Gilman's large original artworks begin with a layer of fast-paced gestural abstraction followed by organic shapes and geometric structures. Some of his paintings remain in t...

This is an oil on canvas. it is unsigned. Yona Lotan (1926-1998) Engineer and Painter. Yona Lotan was born in Lithuania. The family moved to Tel-Aviv, Palestine in 1936. He served as...

Hyde Solomon Snow Field (Poindexter Gallery), 1974 Oil on Canvas (Signed, Dated & Framed) Hand-signed by artist, "Hyde Solomon 74", upper left on the front and on the back. Poindexte...

RAYMOND JOHN MACMAHON (1913–2023) #11, 1957. Oil on linen canvas, 24 x 32 inches. Unframed. Signed , titled and dated on verso. Minor craquelure and flaking. Raymond John MacMa...

Signed lower right. The composition is a tightly organized geometric abstraction on a deep blue ground. A large, centrally placed triangular form asserts the vertical axis and is an...

Phoebe Brunner’s original oil paintings transform the American West and the California coast into luminous landscapes shaped by memory, atmosphere, and imagination. Her works draw fr...

Signed & dated Verso. 1965 Paul Reed in 1970. He favored “staining” untreated canvas. Paul Reed, the last surviving member of the Washington Color School, who explored the complexities of color and form in vibrant bio-morphic and hard-edge abstract paintings, died on Sept. 26 at his home in Phoenix. He was 96. His death was confirmed by his daughter, Jean Reed Roberts. Mr. Reed acquired his public identity as an artist when he was included, along with Gene Davis, Kenneth Noland, Morris Louis, Thomas Downing and Howard Mehring, in “The Washington Color Painters,” a landmark traveling exhibition that began at the Washington Gallery of Modern Art in 1965. All of the other painters had been shown, the year before, in “Post-Painterly Abstraction,” a 31-artist exhibition at the Los Angeles County Museum of Art organized by the critic Clement Greenberg in an effort to write a new chapter in the historic march of abstract art. Like his fellow Washington artists, Mr. Reed rejected the hot, gestural approach of Abstract Expressionism and explored color and abstract forms in a cooler mode. Working with diluted acrylic paint, in discrete series that methodically explored formal issues, he created luminous fields of color by letting the paint bleed into, or stain, untreated canvas. “I have a saying: Pollock dripped, Frankenthaler poured,” he told The Washington Post in 2011, referring to the artist Helen Frankenthaler. “Morris Louis poured. Howard Mehring sprinkled. I blot.” In his first stained series, “Mandala,” color radiated from a circular central image. The nearly 100 paintings in his “Disk” series, which he called “a matrix for exploiting color,” consisted of a central circle and two triangles positioned at the corners of the canvas. Over the next decade he moved to hard-edge geometric zigzags and stripes in the vertical “Upstart” series, color grids and shaped canvases that allowed for more complex experiments in form and color relations. He also made welded steel sculptures and, in the “Quad” series of the 1980s, collaged photographs. “Reed was, in a sense, the ‘little master’ of that first batch of Washington colorists,” the critic Benjamin Forgey wrote in The Washington Post in 1997. “He was a latecomer — he didn’t turn seriously to painting until he was in his mid-30s — but he never considered becoming anything other than an abstract painter. And when he was ready to show, in his early 40s, he was a very good abstract painter indeed.” Mr. Reed gave himself a more modest assessment in an interview with NPR last year. “I’m sort of low man on the totem pole of that group of six,” he said. Paul Allen...