Todd Boppel Art

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed lower right, titled and inventoried verso. 19.75 x 21 in. 23.25 x 24.25 in. (framed) ...

"Divine Spontaneity II" 2023, 48" H x 36" W. An original vertical abstract painting consisting of acrylics, house paint, oil pastels, color pencils, and carbon pencils on canvas by ...

"Adagio in Burnt Umber" 2025, 72" H x 60" W. Abstract, mixed media painting consisting of acrylic, pencils, and oil pastels on canvas by Argentine-born artist Karina Gentinetta (feat...

"Untitled" 2019, 25" x 31" horizontal drawing on paper by Argentine-born artist Karina Gentinetta (featured in Architectural Digest, Elle Decor, the...

This original painting by Sigismond Kolos-Vary, dated 1982, reflects the artist’s distinctive abstract visual language. The composition is built around a dynamic interplay of geometr...

Beautiful muted tone abstract by a highly sought after artist Meredith Pardue’s abstract, botanic forms are based on images she finds in nature, but, according to Pardue, are ultima...

HOLY SPLIT I 2026 Paris, France HOLY SPLIT I is an ethereal mixed medium painting on canvas depicting a surreal dreamlike rift in a serene landscape. Abstract fuchsia forms suggesti...

"Turandot," 2026, 60" H x 72" W. "Turandot" is a large-scale original abstract painting by contemporary artist Karina Gentinetta, distinguished by expressive gestures, richly laye...

Frederick Conway (1900-1973) was a painter, educator, and lecturer. Conway was born in Saint Louis, Missouri, and studied at the Saint Louis School of...

This abstract acrylic portrait painting is inspired by the mid-century masters. Framed in a vintage black wood frame, wired and ready to hang, 11 in. wide x 14 in. high

A richly colored abstraction by Japanese artist Naohiko Inukai. This early work demonstrates the artist's fluidity and expression with paint prior to wh...

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...

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...

“Sand City” presents a softly structured, abstracted urban grid built from warm ochres, saturated golden yellows, dusty blue-greys, pale blush pinks, and muted olive greens. Block-li...

Steven H. Rehfeld (American, born 1954) "Orange Colors" 2018 Oil paint, Paper, Glue, Canvas, Stretcher bars The artist signed the back of the painting. In "Orange Colors," Rehfeld o...