Terrell James Art

oil on vellum 8 x 8 inches, 13.25 x 13.25 in white frame This work on paper is offered by Carrie Haddad Gallery, located in Hudson, NY. This modern, abstract blue and white painting...

An abstract oil painting, showing the edge of a blue tied table, porch or pool overlooking an abstract landscape. On the sharp edge of the foreground object sits a thickly painted va...

A rare small painting from contemporary Abstract Expressionist, Darius Yektai. Although titled "pink flowers" the hue of the painting is really more peach, or a light orange. A patte...

Bettina Mauel expresses dynamism and sensuality in her paintings: “I paint what I experience,” she articulates. “This includes landscapes, flowers, and people in motion, capturing them at a particular moment in time.” Her artworks often incorporate a sophisticated and vibrant sense of movement. The secret bond that connects everything is a combination of appearance and perception, which Mauel has devoted herself to studying during her artistic career. Whether the subject be dancers, cityscapes, landscapes, or pure expression, Mauel has exemplified herself as an expert in the acute perception of ephemeral moments. This original landscape painting immerses the viewer into the serene world of a masterful portrayal of nature's greens and sky's blues. Layers of carefully applied hues evoke the tranquility of trees, and the sun's gentle embrace in abstract form. This artwork seamlessly blends modern aesthetics with nature's beauty, embodying the allure of modern landscapes. The canvas features a delicate fusion of emerald green, forest green, and accents of blue and white, creating a sophisticated ambiance. Delicate textured layers add depth, making it perfect for modern, nature-inspired decor. Crafted in oil on canvas, this original artwork by Bettina Mauel showcases her exceptional skill, revered by art enthusiasts worldwide. This original artwork measures 24 inches high by 40 inches wide. Mauel created this one-of-a-kind painting using layered oil paint on linen canvas with a balanced subtlety. It is signed and dated by the artist on the back. It is stretched, wired, and ready to hang. Free local Los Angeles area delivery. Affordable Continental U.S. and worldwide shipping is available. A certificate of authenticity issued by the art gallery is included. Bettina Mauel was born 1959 in Wuppertal, Germany. She studied at the Düsseldorf Art Academy with Gerhard Richter, one of the most important artists of the 20th century. In 1984 Mauel was asked by the city of Wuppertal, Germany to paint scenes of the dance theater of Pina Bausch. This had a major influence on the selection of themes in her imagery. Rather than focusing on spectacular poses, she pays acute attention to the spontaneous movements in between, capturing a resonating rush of color and form. These impromptu paintings combine a long tradition of Eastern scroll painting, expressionist sketching, and fashion illustration. She lives and works as a lecturer in painting and artist in Cologne, Germany. Bettina Mauel has presented her work in numerous exhibitions throughout Europe, North America, and Asia and her art has been acquired by many notable public institutions. Representations Artspace Warehouse Los Angeles Kunstwarenhaus Zurich, Switzerland Group Exhibitions: 2020 Galerie Partout, Bergisch Gladbach, Germany Art Karlsruhe, Galerie Lauth, Germany 2019 Discovery art fair, Frankfurt Artspace Warehouse Los Angeles, CA, USA 2018 AAF Hong Kong AAF New York, NY, USA Artspace Warehouse Los Angeles, CA, USA Kunstverein Worth eV, Worth, Germany 2017 AAF Hong Kong AAF Battersea, London, UK Artspace Warehouse Los Angeles, CA, USA Kunstwarenhaus Zurich, Switzerland 2016 AAF New York, NY, USA AAF Hong Kong Art Hamptons, NY 2015 Los Angeles Art Show, CA, USA AAF New York, NY, USA Love Art Fair Toronto, Canada AAF Singapore 2014 AAF New York (Artspace Warehouse), NY, USA Love Art Fair Toronto (Artspace Warehouse), Canada Houston Fine Art Fair, TX, USA Red Dot Art Fair Miami, FL, USA 2013 Kunstwarenhaus, Zürich, Switzerland Artspace Warehouse, Los Angeles, USA 2011 Messmer Kunsthalle, Riegel, Germany 2009 Badisches Kunstforum, Ebringen, Germany 2007 Künstler der Galerie, Galerie Nordmann, Bad Kreuznach 2006 Galerie Kunstturm e. v, Ratingen 2004 Galerie, Schloss Oberhausen, Germany 2003 Galerie Peveling, Köln, Germany 2002 Wissenschaftspark, Gelsenkirchen, Germany 2001 Galerie Vostry, Erfurt, Germany 1999 Hans-Thoma-Museum, Bernau, Germany 1995 le rhin de waal, rheinisches Landesmuseum, Bonn 1993 Galerie Michele Hensel, Agrippawerft Köln, Germany 1991 Kunsthalle Barmen, Wuppertal, Germany Frauenmuseum Bonn, Germany 1990 Gut Opherdicke, Unna, Germany Baukunst-Galerie, Köln, Germany 1988 Goethe-Institut, London, UK Goethe-Institut, Sofia, Bulgaria 1986 Famagusta Gate, Nicosia, Cyprus 1984 Charlottenburger Schloß, Berlin, Germany Hannover - Herrenhausen, Germany Stadthausgalerie, Münster, Germany 1983 Akademie München, Germany Museum Abtei, Liesborn, Germany Solo Exhibitions 2020 alles bewegt, Galerie Berghout, Frankfurt 2019 Galerie K, Bad Kreuznach, Germany 2018 Galerie van Almsik, Epe- Gronau, Germany 2017 Alte Pumpstation, Haan, Germany 2016 Palmengarten Frankfurt, Germany 2015 Schloss Paffendorf, Galerie Bergheim, Germany 2013 Galerie Lauth, Ludwigshafen, Germany 2012 Kunst in der Villa, Waldshut-Tiengen, Germany 2010 Oberlandesgericht, Köln, Germany 2008 ces Wasserprojekt, Damaskus, Syria tanzhaus nrw, Düsseldorf, Germany Wasserturm, Meerbusch, Germany 2007 kleine Rathausgalerie Odenthal, Germany Kulturverein Schloss Eulenbroich, Ratingen, Germany Alte Synagoge, Meschede, Germany 2006 tanzende Bilder, Galerie Peveling, Köln cultur and dance boise, Illinois, USA 2005 Icon-Institut, Köln, Germany Culturclub Vancouver, sunshine coast Vancouver, Canada 2004 Ferme Heremance, Switzerland Galerie drei Eichen, Uelzen, Germany artrium art gallery, Luxemburg 2003 Fishhall, Chicago, USA Galerie Peveling, Köln, Germany 2002 Galerie der Universität Köln, Germany 2000 Galerie Luley, Wuppertal, Germany Kulturhaus Llyz, Siegen , Germany 1999 Stadtwerke Troisdorf, Germany 1998 Ingenieurkammer– Bau NRW, Essen, Germany 1997 Ka De We, Berlin, Germany Markgrafenhaus, Berlin, Germany 1996 Art Frankfurt, Galerie Peveling, Germany Kloster Pfaffen-Schwabenheim, Germany 1995 Galerie Hensel und Wiegers, Köln, Germany Castello di Rossignano, German-Italian Culture Institute, Italy Abtei Brauweiler, Köln, Germany 1994 Galerie Peveling, Vence, France Galerie Ricarda Fox, Essen, Germany 1993 Galerie Grashey, Konstanz, Germany 1992 Kunstverein Wuppertal, Wuppertal, Germany Bayer AG, Hochhaus w1, Leverkusen, Germany 1990 Kunstverein Schwelm, Schloß Martfeld , Germany 1989 Galerie Ruth Leuchter, Düsseldorf, Germany 1988 Galerie 2 well, Holland Friedrich...

Bettina Mauel expresses dynamism and sensuality in her paintings: “I paint what I experience,” she articulates. “This includes landscapes, flowers, and people in motion, capturing th...

Nathan Oliveira's "Female Sleeping Nude" is a captivating artwork that elegantly combines style, technique, and layered interpretation, offering a rich and multifaceted experience to...

"Orchid" is a Neo Abstract Expressionist colorful still life with thick impasto. Yektai displays his fearlessness as an artist in the three-dimensional flower he constructs out of ju...

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...

Bettina Mauel expresses dynamism and sensuality in her contemporary landscape paintings: “I paint what I experience,” she articulates. “This includes landscapes, flowers, and people ...

An abstracted landscape of the artist's local pond.

Simon Samsonian (1912 - 2003) Colorful Geometric Abstraction, 1981 Oil on paper 16 x 22 inches Signed and dated lower right Provenance: Estate of the artist This survivor of the Armenian genocide wound up in a Cairo orphanage in 1927. He rose to fame as one of Egypt’s great modernists, but after moving to Long Island late in life he withdrew into anonymity. Now his compelling story is being told. Art historians are finally beginning to realize that the power of abstraction in its early years was a zeitgeist not limited to the major European centers of the avant-garde — Paris, Munich, and Moscow — but one that quickly rippled to major cities throughout the world. Within a few decades that original shock of a new vision had inspired thousands of artists from different cultures — particularly those the Middle East — whose translations were not slavish imitations of works by seminal figures like Picasso, Braque, Malevich, and Kandinsky but creative variants colored by their respective cultures. This essay focuses on an extraordinary Armenian artist, his harrowing survival of the genocide, his rise to fame in Cairo, and his creation of a unique style of abstraction. Art historians have typically formed a chorus that teaches the history of abstraction like this: Just before and during the World War I era, several avant-garde artists emerged to create shockingly different new forms by which artists could express themselves. In Paris, Picasso and Braque broke out with cubism, quickly followed by Mondrian. In Moscow, Malevich created Suprematism, the ultimate hard-edge geometric abstraction. And in Munich, Kandinsky emerged as the father of Abstract Expressionism. Within these few short years a zeitgeist was sensed throughout the art world. American pioneers, too — particularly Stanton Macdonald-Wright and Morgan Russell — felt this explosive freedom of expression. When Europe was recovering after World War I it became clear that Paris would retain its title as capitol of the art world, lasting through the Roaring Twenties and even through the Great Depression. But the end of World War II changed everything. A parallel war had been won by a group of irascible young Abstract Expressionists in New York — led by Pollock, Rothko, DeKooning, and Kline. No sooner had Paris been liberated from the Germans than Picasso, Matisse, Breton, and Duchamp surrendered to the Americans. From that point on New York would be the epicenter of the art world. But a lens that focuses myopically on the war between the avant-garde of Paris and New York misses the wider narrative of multiple aesthetic modernities that developed in the several decades following World War I. For Armenian artists the matter is even more complex owing to the genocide of 1915 where more than 1.5 million people — seventy-five percent of Armenians in the Ottoman Empire — were massacred. Those not shot on the spot were sent on death marches through the Mesopotamian desert without food or water. Frequently, the marchers were stripped and forced to walk naked under the scorching sun until they dropped dead. As a child Samsonian witnessed the murder of his parents and most of the members of his family. Soon thereafter, his older sister, Anahid, quickly shepherded him into a line of children being rescued by Greek nuns. But they became separated and he lost her, too. He was sent to a Greek orphanage in Smyrna (now Izmir), on Turkey’s west coast. Because he only knew his first name, the orphanage gave him a last name based on the place where they found him — Samsun — a major port on Turkey’s north coast on the Black Sea. His birth date was unknown, too. According to Samsonian’s vague recollections he assumed he was about three or four years old at the onset of the genocide, which would place his birth year in 1911 or 1912. In 1922, when Samsonian was about 10, the Turks ended their war with the Greeks by putting Smyrna to the torch in what has been called the “Catastrophe of Smyrna.” Once again, the child was on the run, escaping the fire and slaughter. He found temporary refuge in Constantinople, but within a year that major port would fall to the Turks, too, and become renamed as Istanbul. This time, Samsonian was whisked away to an orphanage in Greece founded by the American charity, Near East Relief — which is credited with saving so many Armenian orphans that the American historian Howard M. Sachar said it “quite literally kept an entire nation alive. Any understanding of Samsonian’s approach to modernism requires careful consideration of the impact of his early years because his art is inseparable from the anguish he experienced. In 1927, when he was a teenager, he was transferred to Cairo, Egypt, then a cosmopolitan city hosting a sizable portion of the Armenian diaspora. There he lived with thirty-two other children on the top floor of the Kalousdian Armenian School. Upon graduating in 1932 he won a scholarship to attend the Leonardo da Vinci Art Institute — an Italian art school in Cairo — where he won first prize in final examinations among one hundred students. He found work with an Armenian lithographic printer and he returned to the Kalousdian Armenian School to teach drawing. In 1939 he married one of his students, Lucy Guendimian. The Cairo in which Samsonian matured as an artist was home to many prominent art collectors after World War I. In this receptive environment Samsonian exhibited widely and won many awards. Beginning in 1937 and for the next thirty years he exhibited annually at the prestigious Le Salon du Caire hosted by the Société les Amis de l’Art (founded in 1921). After World War II he hit his stride as a modernist in Cairo, counting among his peers other artists of the Armenian diaspora such as Onnig Avedissian, Achod Zorian, Gregoire Meguerdichian, Hagop Hagopian...

Bettina Mauel expresses vitality and sensuality in her abstract contemporary landscape and seascape paintings. “I paint what I experience,” she articulates. “This includes landscapes...