Jeanick Bouys Art

"Untitled" is an oil on canvas painting made by Ray Parker in 1965. The piece is signed verso, "R. Parker, 30 x 24, 1965". The art size is 30 1/8 x 23 1/4 inches. The framed size is ...

City Drive Abstract Expressionist Painting - a rare early work from Leading British Urban Artist, Angela Wakefield. Entitled 'City Drive', this moody and atmospheric artwork is from ...

A painting by Roland Petersen. This Untitled, oil on canvas, abstract painting is executed in thick and lush impasto, in colors primarily of greens, blues, teals, white, red, ochre a...

Alan Fenton (1927 - 2000) Untitled, 1958-1960 Oil on canvas 90 x 84 inches Fenton's quiet and contemplative nonobjective paintings and drawings were widely recognized for their demanding yet understated means of revealing a serious and sober essence. He identified greatly with Mark Rothko, a friend, as well as Adolph Gottlieb and Jack Tworkov, with whom he had studied privately. Fenton painted in New York City in the late 50's as the explosion of Abstract Expressionism turned into a rebellion against gestural, emotional painting. More concerned about his art than his posture, he expanded upon a tradition in painting with influences as diverse as Whistler and Turner as well as Ad Reinhardt and Joseph Albers. Alan Fenton was born in Cleveland in 1927, studied at the Cleveland School of Art, The Arts Students League, The New School, and at NYU, earning his BFA at Pratt Institute, where he later taught painting for many years. At seventeen, Fenton served in the Merchant Marines where he began a career as a professional boxer, a skill he had honed on the streets. He moved successfully through the graphic design business en route to becoming a painter in New York at the height of the art revolution of the fifties and sixties. Fenton enjoyed success with his subtle washes and pencil drawings as well as large abstract...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

" Arroyo 14" is 72” x 60”. A rich sienna and ochre figure centered on a textured field of light yellows and beige. Frank Arnold’s paintings exhibit the highest quality materials for ...

Alan Fenton (1927 - 2000) Untitled, 1958-1960 Oil on canvas 96 x 78 inches Fenton's quiet and contemplative nonobjective paintings and drawings were widel...

"Your former reality Was nothing like this Nothing like this It's a good thing Don't be afraid Nothing like this Better than you ever imagined Better than your thoughts" 'like this' is a reminder that your life is about to change for the better, for good. Get ready to receive abundance of health, wealth, love and success in this lifetime, loving the way you live and surrendering to your glorious destiny. Emmi Granlund...

Mindy Weisel Not Everything is Black and White , 2017 oil on canvas 91 x 91 cm 36 x 36 in Exhibited Mindy Weisel "Meditations on Love", Rosenbach Conte...

Large Scale Mid-Century Earth-tone Horizontal Abstract by Joseph Vasica Very large scale (70"H x 160"W) (5.8'H x 13.3'L) mid-century abstract with soft edge, grey and burnt sienna...

In "Shattered Atlas: The Modern Burden," the artist Masri presents a 40" x 30" mixed media canvas that epitomizes 'Shattered Cubism,' a style that fragments reality into geometric fo...

Alan Fenton (1927 - 2000) Untitled, 1958-1960 Oil on canvas 88 x 82 1/2 inches Signed on the stretcher Fenton's quiet and contemplative nonobjective paintings and drawings were widely recognized for their demanding yet understated means of revealing a serious and sober essence. He identified greatly with Mark Rothko, a friend, as well as Adolph Gottlieb and Jack Tworkov, with whom he had studied privately. Fenton painted in New York City in the late 50's as the explosion of Abstract Expressionism turned into a rebellion against gestural, emotional painting. More concerned about his art than his posture, he expanded upon a tradition in painting with influences as diverse as Whistler and Turner as well as Ad Reinhardt and Joseph Albers. Alan Fenton was born in Cleveland in 1927, studied at the Cleveland School of Art, The Arts Students League, The New School, and at NYU, earning his BFA at Pratt Institute, where he later taught painting for many years. At seventeen, Fenton served in the Merchant Marines where he began a career as a professional boxer, a skill he had honed on the streets. He moved successfully through the graphic design business en route to becoming a painter in New York at the height of the art revolution of the fifties and sixties. Fenton enjoyed success with his subtle washes and pencil drawings as well as large abstract canvases...