Robert Baribeau Drawings and Watercolor Paintings

(Comes framed in a maple floater frame, ready to hang.) This is one of a series we have posted on 1stDibs. The first got more clicks and saves on its first day than any of the many hundreds of artworks we have ever posted. If you search on "G. Campbell Lyman" on 1stDibs you can see others in this series. Here's a recent message from a 1stDibs buyer of a painting in this series, a seasoned collector: "Love your work. We collect colorists like Wolf Kahn and Jennifer Bartlett, whom I commissioned a piece from that is in the entrance of Mayo Clinic. We are old fans...

Interior design paintings. The artwork was done with acrylic, watercolor and white felt pen on black watercolor paper 360g. The works are 11,5 by 16,5 inches in size, framed (black) ...

The paper of the work is not yellowed, there is a applied yellowed primer under the drawing Krzysztof Gliszczyński is Professor for painting o...

Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...

Interior design paintings. The work was done with india ink and acrylic in black and white color on Yupo paper. The work is 11 by 14 inches in size, framed with a styrene face on a m...

(Comes framed in a maple floater frame, ready to hang.) This is one of a series we have posted on 1stDibs. The first got more clicks and saves on its first day than any of the many hundreds of artworks we have ever posted. If you search on "G. Campbell Lyman" on 1stDibs you can see others in this series. Here's a recent message from a 1stDibs buyer of a painting in this series, a seasoned collector: "Love your work. We collect colorists like Wolf Kahn and Jennifer Bartlett, whom I commissioned a piece from that is in the entrance of Mayo Clinic. We are old fans...

Interior design paintings. The work was done with acrylic in violet, black, beige, pale pink, rose color on Yupo paper. The work is 20 by 26 inches in size, framed in fine-quality so...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. The artwork is unframed and will be shipped rolled in a tube Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Interior design paintings. The work was done with india ink and acrylic in black, gold-silver, grey, brown, pale pink color on Yupo paper. The work is 11 by 14 inches in size, framed...

Shape 29 (2019) by Ryan Park of Shapes Only. Abstract geometric art, acrylic on 300gsm archival paper. Abstract green shape innovated by the artist. Fr...

Richard Snyder (American, born 1951) Untitled Mixed media painting including charcoal and watercolor Hand signed to lower right Dimensions: 30.0" W x 22.5" H x 0.1" D Richard Snyder is particularly known for his large-scale abstract expressionist paintings exhibiting vibrant colors, often applied in an irregular manner with large gestural brushstrokes. He also was an accomplished sculptor and was amongst the downtown New York art-furniture scene spawned in the 1980s by the Soho gallery ‘Art et Industrie’ founded by Rick Kaufmann. Downtown New York, circa 1977-1980 was a hothouse of creative impulses that flew in the face of restrictions and ran headlong toward riotous expression. Punk, hip-hop, graffiti or neo-expressionism, Kaufmann looked around for new talent that could create a new kind of art furniture. He felt the design of the day was so standardised, and he wanted to give voice to young artists and bring new ideas to market. After receiving a BFA from the School of the Museum of Fine Arts in Boston, Snyder made his career in the fields of art and design, practicing sculpture, painting, furniture design and fabrication, interior design, cabinetmaking, construction and industrial design. Along with extensive experience in a wide variety of materials and processes, Snyder also possesses a wide range of visual and experiential vocabulary acquired in his many travels through the Americas, Africa, the Middle East and Central and Southeast Asia. Snyder considers his objects to be not just about form, function, color, material and process, but rather to be fantasies with spirit, magic and story. During his seventeen years with the Art et Industrie gallery, Snyder participated in five solo shows and more than twenty group shows, which established him as a major player in the American Art Furniture movement. His pieces have appeared in numerous publications and media around the world; and they are included in numerous private collections worldwide as well as in the permanent collection of The Art Institute of Chicago. Snyder guest-lectures at the Rhode Island School of Design in Providence, the New School in New York, and SUNY Purchase. He was included in the seminal Magen H Gallery retrospective of Art et Industrie—a New York Movement. Art et Industrie was the first to exhibit Studio Alchemia, Shiro Takahama, and Ron Arad. The retrospective included artists such as Forrest Myers, Terence Main...