Canvas Contemporary Art

This stunning example of Art Deco-Mid Century American surrealism was painted by Erwin Kummer, a widely-known Chicago painter who exhibited widely in the 1940s at the Art Institute o...

British artist Grace Watts (b. 1990) works on hand-stretched linen in her east London studio. With its expressive mark-making, this piece in oil and graphite on a beige background is...

A large and captivating unsigned painting featuring sinuous abstract leafy vine- like interlaced organic elements in orange, red and black on a soft mottled green and cream ground. U...

Large multi colored abstract wall painting titled "For Saturday" by American Artist Jim Condron, signed and dated 2015. “For Saturday,” 2015 was made durin...

Vivid color and movement to this original acrylic on canvas. Signed and dated on the verso. Shelley Herman 1970 "June Breath".

Original oil painting on canvas by Douglas Perez Castro, Cuban, circa 2005. Castro’s works often focus on controversial issues within the Latin Am...

A fabulous modern abstract by wonderfully talented Arnold Weber (1931-2010). Tremendous mood, energy and range of color. This Killer piece succinctly captures the feeling of the earl...

A mixed media of acrylic paint applied by hand with acrylic spray paint and alcohol ink on a wood framed canvas. Inspired by the great Graffiti artist of m...

Sculptural canvas with a 17th century Italian giltwood fragment and 24k gold leaf. The sculpted canvas is molded together with gesso, gilding wax, marble paste, green earth, Italian dark ochre, and ash on board. The original 17th century Italian fragment is molded into the sculptural canvas to create a dynamic relief sculpture. It is painted with 24 karat gold leaf. The piece was created by the artist Elena Rousseau for Interi. Together all the elements create a romantic, elegant, and contemporary yet classic work...

August Sandberg, a rising star in the contemporary Norwegian art scene, is currently honing his craft at the prestigious Faculty of Art, Music and Design at the University of Bergen....

A fantastic, large, decorative painting by Robert Moskowitz, titled "The Family", circa 1977. It is signed and dated on the back. Robert Moskowitz (born 1935 in Brooklyn, New York) i...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Beautiful soft paint palate of lines and columns on canvas by William Havlicek. Dr. William J. Havlicek has over 40 years of experience in fine art/studio production and exhibition,...

A mixed media painting by Italian artist Mauro Fornari. This layered abstract features soft rose and cream hues with faded black stripes. Signed ‘Mauro Fornari MM23’ on bottom right ...

Vintage 1980s geometric Memphis style painting… capturing the full essence of the era. This large scale painting is the 1980s in a nutshell. Anyone who lived the period immediately gets flashback of Miami Vice, Trapper Keeper...

Extraordinary vintage 1980s Memphis style painting with intriguing 3D design. This is a mixed media piece that blurs the line between painting and sculpture. In fact, one could go so...

Philip Wofford's 1977 acrylic on canvas, "Grotto", is a stunning piece that measures 61.5" x 61.5". Wofford, born in Van Buren, Arizona in 1935, received his BFA from the University ...

Hugues Claude Pissarro (b. 1935) oil on canvas painting Le Bouquet Au Vase Bleu. Very fine impressionist oil on canvas by this highly sought aft...

A monumental pencil and acrylic painting on canvas by American artist Marc Ross, 2022. This minimal abstract painting features an impressive gradation of ochre and burnt orange hues ...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Califo...

Ink and Acrylic painting By Virginia Dutton, Titled Torso, Signed & Dated Dutton, 2015. Large Ink and acrylic painting on canvas and signed 'Dutton' and dated on the right side...

J. Paramé is considered one of the most talented and promising Portuguese artists of his generation. Born in Lisbon in 1978, he studied at the National Society of Fine Arts in Lisbon...

1991 original Abstract painting by S. Glass. Constructed of acrylic, concrete and found objects on canvas. Signed S.Glass 1991 on the back and S.Glass on the top (see detail photos)...

James S. Strombotne is an American painter and renowned contemporary artist. He was born in 1934 in Watertown, South Dakota, but was raised and educated in Southern California, rece...

Title: 'McLady' Technique: oil on canvas (vintage oil painting intervention) Artists: Tatsu & Horvikt Year: 2020 About 7710 studio: We are...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Cali...

Selection of Mid-Century jazz themed paintings, American, circa 1930s-1970s. From left to right, they are: 1) New Orleans jazz watercolor by Leo Meirsdorff...

Moira Thompson (Contemporary British School) 'Rocks in Old Bucket' Oil on canvas Signed 50cm x 50cm

Gerson Leiber "Simplicity Is Hard to Achieve" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary ...

Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architecture before transferring to the University of Houston in pursuit of painting. He eventually graduated from the Colorado Institute of Art in 1960 and was later inducted into their Hall of Fame in 2005. After graduating, Briggs returned to Houston and began working as a graphic designer and associate art director at KTRK-TV, Channel 13...

A monumental acrylic painting on canvas by American artist Marc Ross, 2005. This minimal abstract painting features an impressive gradation of caramel hues, giving it an astonishing ...

A very cool expressionist figural painting by German artist Peter Keil, circa 1989. The painting is signed and dated; oil on canvas and measures 37" x 35" in a black wooden double ed...

Chicago-based artist Michael Thompson creates unique compositions of abstract painted elements and a collage of vintage Asian ephemera—including fragments of fabric, scrolls, drawings, and books collected during his travels. In a departure from his split bamboo kite series, this work on stretched canvas entitled "Study in Red" layers textured paper and silken fragments within a rosy red color story. A gradient of red to pink sweeps across the composition, interrupted by a panel of Japanese silk depicting a whimsical scene...

A fabulous modern abstract by enormously talented Arnold Weber (1931-2010). Tremendous mood and energy. Expert use of vibrant color that will bring a smile to your face. This Killer ...

Very large graphic art , probably a silkscreen or giclee, with the Chinese word "Health". Colors are striking black, white and orange. Sticker on b...

Andrew Mandolene ”Grey Gig” Acrylic on canvas Framed Dimension: Unframed - 36" W 48" H As framed - 37.25" W 49.25" H Signed at lower right AM, 20. ANDREW MANDOLENE (b. 1960). Andrew Mandolene is one of those rare talents, who hadn’t picked up a paint brush in 40 years since graduating from The Art Institute of Pittsburgh. After a successful career as an Art Director, he determinedly took to the canvas in 2020 as though he had been painting for years developing a style that he felt certain defined him as a unique artist. Mandolene’s style of painting evolves from his sensibility of scale, form and color. The tension felt in his compositions combined with that strong color sense keeps him up at night with excitement. His creative space is shared in a Palm Springs warehouse with his other passion...classic car collecting...

American Flag No. 1 by J. Wohnseidler. Arcylic on canvas with hand-applied starfish. Unframed. Signed/titled/dated by artist on back. Measures: 48 inches L x 36 inches H x 1.5 inches D.

British artist Grace Watts (b. 1990) works on hand-stretched linen in her east London studio. With its expressive mark-making, this piece in oil and graphite is typical of her distin...

Gabriel Godard French, Born 1933 Arbres Rouges Oil on canvas Signed lower right & dated 1966 60 by 60 in. W/frame 61 by 61 in. Gabriel Godard was born on April 28, 1933 in Delouz...

This abstract painting by little known Los Angeles artist is a fine example of color abstraction. The painting portrays an abstract ballerina dancer. The painting has been newly fram...

Eddie Dabrowski was an American contemporary graphic street artist, self-taught, taking the concepts of street art to another level. Dabrowski’s work hangs in private collections and...

Large-scale modernist portrait painting in the manner of Francis Bacon, probably American, circa 1960s. Artist unknown, not signed or mark...

This painting has heavily textured acrylics in shades of greys and white on canvas. The artist created the piece using multiple techniques like palette knife, brush and chalk. The bl...

Abstract expressionist painting with geometric color fields of yellow, blue, white, and green. Signed along the lower right. Provenzano (American, 1923-1999) was a student of Hans Hoffmann...

Painting on canvas of abstract sailboats by Jean-Pierre Collin (1979). Newly framed with a beautiful gold tone wooden frame.

Captivating 1980s Italian Modernism: Signed Guido Coletti Mixed Media Shadow Box Step into the vibrant world of 1980s Italian contemporary art with this stunning and evocative mixed-...

A Large Abstract oil on canvas painting by Robert K McKeller (1945-2009). A bold artwork full of emotion, a fabulous statement piece for those looking for an immersive piece of art for a large wall. An unique artwork by a well respected 20th Century artist. Measures 5ft wide by 4ft high. Robert K McKellar is an artist known for his distinctive style, often characterized by vibrant colours and dynamic forms. His work spans various mediums, including painting and sculpture, and frequently explores themes of nature, emotion, and abstraction. McKellar’s pieces might incorporate elements from his surroundings, reflecting a deep connection to the landscapes and experiences that inspire him. Robert McKellar’s abstract work often emphasizes colour, movement, and texture, creating immersive experiences for viewers. His approach uses bold and contrasting colours to evoke emotion and energy, drawing the viewer’s eye and stimulating the senses. His abstract pieces frequently feature fluid shapes and patterns that suggest movement, inviting interpretation and personal connection. Mixed Media Techniques: He often employs a variety of materials and techniques, layering paints and textures to add depth and complexity to his compositions. Nature-Inspired Elements: Many of his works reflect natural forms and landscapes, reinterpreted through an abstract lens, blending realism with abstraction. Emotional Resonance: McKellar’s art aims to convey feelings and moods rather than depict specific subjects, encouraging viewers to engage with the work on a personal level. His abstract art is celebrated for its ability to blend aesthetic appeal with deeper emotional and conceptual undertones, making each piece a unique exploration of the human experience. His works often resonate with audiences due to their emotional depth and visual impact. About Robert K McKeller Painter and teacher, born in Gravesend, Kent, where he attended the Technical School for Boys, 1957–62. Emigrated to New Zealand, 1964, returning to England on the death of his father in 1966. Did a foundation course at Medway College of Design, 1969–70, then a degree course at Camberwell School of Arts and Crafts, 1971–3. Gerald Norden...

Dynamic all-over abstraction constructed using alternative painting methods. The paintings are constructed using art conservation techniques and alternative processes to laying down ...

"Kamut" by Bruno Chavanne (1957), 2012: Oil on canvas. Certificate of Authenticity provided by the gallery. Measures: 97 x 130 cm 38.2 x 51.2 inches ...

Abstract oil painting by Listed Southhampton artist Russell Christoffersen.

A stunning and rather rare diptych aboriginal painting by Kathleen Petyarre that depicts one of her most iconic subject. Each painting is 44" x 44". "Mountain Devil Lizard Arnkerrth...

Moody and striking abstract painting with yellow circular element, random drips of paint and a marvelous color palette of olive green, light grey and charcoal.

Title: Hiding in The Jungle Artist: Yang Qian (Chinese; B. 1959) Medium: Oil on canvas Years: purchased circa 1990 A Palm Beach, FL collection An early work by Yang Qian during his sojourn in Florida, USA. The series delved into art history with reinterpretation and overlaying symbolism. The painting is set in a moody tropical jungle at night and is a clear reinterpretation and a dialogue between Henri Rousseau's The Dream and Paul Gauguin's La Femme du Roi. Although the two French artists were contemporaries, they may have not intersected in their personal lives. Pioneering and ground-breaking for their time, their work were celebrated posthumously and served as inspiration for later artists. For a similar painting Odalisque Now (c.1990) see lot 135 of Sotheby's Contemporary Art Asia sale...

J. Paramé is considered one of the most talented and promising Portuguese artists of his generation. Born in Lisbon in 1978, he studied at the National Society of Fine Arts in Lisbon. His work is represented in numerous private and public collections, national and international. Several exhibitions in galleries and public spaces have attracted public attention, allowing expose his work abroad, including France, Germany, Canada and USA. "Agora Gallery" in New York, writes about his "strong bold colors figures populate the paintings of J. Paramé, strange characters evolve in mysterious scenes, triggering a clash of primary colors. This type of palette and composition, resemble the latest works of Matisse and Miró, "quoted in the prestigious newspaper Express. "The Magical Colors...

Contemporary Abstract Oil Painting 'Blue Boy 2' by Los Angeles based artist Justin Bower. Executed in 2010 and recently featured in the hit television ser...

A close-up oil on canvas painting of a blue tulip. It is one of four paintings of vividly colored and almost stylistic flowers. About the artist: Esther Hansen grew up in the...

1990 Original round abstract acrylic painting on canvas that is stretched over board title ‘Gibbous’’ by American listed artist Paul Maxwell 1925-2015. Hand sign on the front and ba...