Prunella Clough Drawings and Watercolor Paintings

This framed 42" x 34" landscape painting by Mark Gilmore features a rural scene of a hillside field and an emerging tornado hidden behind a moving rainsto...

The Summer Bloom Series is an ongoing project that Shizico Yi returns to each summer, painting en plein air in her garden. She began gardening in 2015 to create a healing space for h...

Larry Zox Dexter's Choice, State II, ca. 1990 Mixed media, Watercolor pochoir, and Oil stick Wax, Water-Based Crayons, on heavy Arches museum watercolor rag paper with deckled edges 40 × 60 in 101.6 × 152.4 cm Edition 8/30 (unique variant) Frame included Measurements: Sheet: 40 inches (vertical) by 60 inches (horizontal) Frame: 42 inches x 62 inches x 1 inch Dexter's Choice, State # II is a unique, mixed media work from an edition of 30 unique variants done in pochoir, (25 stencils, 14 colors). Here, Zox uses watercolor instead of inks, which is applied to heavy 300 lb. watercolor paper. Although it is a multiple signed and numbered from the edition of 30, each work of art is unique because of how the paper receives the watercolor brush. In addition, this work is created like a mixed media painting because it has 11 lines added by hand with wax and water based crayons and oil sticks. The unique watercolor technique that Zox employed in making "Dexter's Choice" is documented in the textbook, "Screen Printing: Water Based Techniques,Roni Henning, NYIT ". Dexter's Choice was published by Images Gallery, and this work was acquired directly from the publisher before they sold out. This work is elegantly floated and framed in a white wood frame. Accompanied by gallery issued Certificate of Guarantee Larry Zox Biography: A PAINTER who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions that question and violate symmetry.1 Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using
a mechanical format with X number of possibilities.”2 What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–1974 solo exhibition at the Whitney Museum of American Art.3 Zox’s robust paintings reveal
a celebrated artist and master of composition who is explored and challenged the possibilities of Post-Painterly Abstraction and Minimalist pictorial conventions. Zox began to receive attention in the 1960s when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Solomon R. Guggenheim Museum, New York. In 1973–1974, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum and Sculpture Garden, Wahsington, DC, which acquired fourteen of his works.
 Zox was born in Des Moines, Iowa in 1937. He attended the University of Oklahoma and Drake University, Des Moines, Iowa, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers, and he occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. In his earliest works, such as Banner (1962) Zox created
collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. In paintings such as For Jean (1963), he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times in 1964 wrote of the works in show such as Rotation B (1964) and of the artist: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.”4 In 1965, he began the Scissor Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of the vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

Lux on the 5th (Abstract painting) Acrylic, charcoal and graphite on paper - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a profound sense of drama ...

1980s abstract expressionist biomorphic coloured pencil drawing on paper by Belgian artist André Pierret, signed bottom right. André Pierret was born ...

This detailed artwork on paper puts emphasis on design and composition. A navajo inspired pattern is created using traditional design elements. The high contrasting, geometric patter...

This detailed artwork on paper puts emphasis on design and composition. A Navajo inspired rug motif is created using traditional design elements with a contemporary outcome. Symmetry...

Intricate and layered two-part composition by notable collage artist Graham Moody (American, b. 19XX). Two vertical panels are composed primarily of handwritten musical scores and notations, mounted on maps. Layered atop the sheet music art sections of technical illustrations, topographic maps, magazine cutouts, and books. Exhibited: “Two Decades of Collage” - Morris Graves Museum of Art - Eureka, California Each piece is signed and dated "Moody 1990" in the lower right. Titled "From Grief" and "I Cannot Measure" in the lower left of each piece. Each piece measures: 25.75"H x 11"W Graham Moody (American, b.1948) studied art history and political science at Humboldt State University, graduating in 1980. While maintaining a career as an artist, Moody also worked as the Art Program Director for Pelican Bay State Prison, bringing art instruction to incarcerated individuals. Moody lives and works in Eureka, California. Moody’s artwork is held in various collections, including: Hewlett Packard Corporation - Palo Alto, California Fresno Museum of Art - Fresno, California Morris Graves Museum of Art - Eureka, California Boston Edison - Boston, Massachusetts Intertael Books - Amsterdam, Holland Kintetsu - Nara, Japan Sun Bank - Jacksonville, Florida Yokohama Royal Park Hotel - Yokohama, Japan Four Seasons Hotel - Las Vegas, Nevada Ontogeny - Potomac, Maryland Fidelity Investments - Boston, Massachusetts New Saint Andrews College - Moscow, Idaho Ken Houldsworth Financial Planner - Arcata, California Bank of America World Headquarters - San Francisco, California Kaiser Permanente Hyatt Regency Hotel Chicago, Illinois Hyatt Hotel - New York, New York La Playa Beach Resort - Naples, Florida Stanford University Hospital - Palo Alto, California Selected Exhibitions: “Two Decades of Collage” - Morris Graves Museum of Art - Eureka, California “Celebration of the Arts” - Robert Allen Fine Art - San Francisco, California Butters Gallery - Portland, Oregon Art LA - Los Angeles, California The Allrich Gallery - San Francisco, California Theatres d'Ermont - Val d'Oise, France Galerie Kunsthaar - Amsterdam, Nederlands Galerie Yurn - Paris, France Galerie Tagliana - Auvers-sur-Oise, France Humboldt Cultural Center - Eureka, California Group Shows: Humboldt Arts Council - Eureka, California “Collecting Ourselves: Works from the Permanent Collection” - Morris Graves Museum of Art - Eureka, California “Persistence: Collage” - Butters Gallery - Portland, Oregon Exposition 'Alcools' - Galerie L'Autre - Paris, France Exposition 'Ars Longa...

Emotional color chart 56 – Spring (Abstract Painting) Pencil and acrylic on Fabriano-pittura paper - Unframed. This series expresses Kyong Lee's personal emotions and experience ab...

Lux on the 5th (Abstract painting) Acrylic, charcoal and graphite on paper - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a profound sense of drama ...

Emotional color chart 092 (Abstract Painting) Pencil and acrylic on Fabriano-pittura paper - Unframed. This series, started in 2016 conveys a color and emotional language and is in...

Robert Ruello Switch-It #7, 2016 graphite, watercolor, and colored pencil on paper 20 x 15 inches Energetic and charged with visual power, the Switch-It series is movement and transition visualized. Ruello’s formal investigation of how we move through and disrupt various environments (digital, analog, and in-between) is rendered through these graphic elements. As he notes, “As a result of this disruption, the array is no longer stable or predictable — visual illusions and shifting figure/ground relationships begin to emerge.” Ruello’s work stems from an enjoyment in the tension between the stable and the unpredictable. Though not figural, his work presents elements that are recognizable from our visual vernacular. Digital screens, popular science...