Abstract Expressionist Oil on Board Two Sided Landscapes by William H Alpert

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Abstract Expressionist Oil on Board Two Sided Landscapes by William H Alpert

About the Item

Abstract Expressionist oil on board two sided landscapes by William H Alpert Dimensions: 36" by 24" On wood panel Great color and surface texture to the paint William H. “Bill” Alpert (December 21, 1934 – February 15, 2015) Abstract painter, teacher, and writer. Born in the Bronx, New York to Fannie (b. 1907) and Jacob Alpert (b. 1905). During his childhood, the family resided on Valentine Avenue in the Bronx and Alpert’s father was the owner and the operator of his own drug store. Both his parents were born in Russian Poland. Originally planning to be a pharmacist like his father, Bill Alpert attended the University of Southern California at Los Angeles where he graduated in 1958 with a doctorate in pharmacy. Quickly deciding the profession was not for him, he began his studies at University of California at Los Angeles, where he received his B.A. in painting in 1963. From 1963 through 1965 he continued his graduate training, studying painting with Arthur Levine (b. 1928) and printmaking with John Paul Jones (1924 – 1999). He received his M.F.A. from U.C.L.A. in 1965. He began exhibiting his work in a group show held at the Czeka Co-op Gallery in Los Angeles in 1965. He participated in his first show in New York City in 1968, where he took part in the ‘Open Loft Show’ held on Grand Street. By the early to mid-1970s he was working on painted wood constructions in addition to abstract paintings. The Washington Post commented on his solo show at Wade Gallery in DC in 1978, which followed his participation in a group show there in 1977, noting that “If there were any reservations then [about his work], there can be none now,” and noted further: “Alpert is a prolific virtuoso of both color and form, and with astounding gusto he seems to be able to transform and reassemble any old crate, or shower curtain or cardboard box into art, or at least into something well worth looking at. And his range is wide, from several huge, brash, wall-filling works like ‘Nobody Knows the Colors I've Seen’ to the delicate and lusciously colored ‘Simple Piece’ and ‘Begonia’ hanging quietly upstairs. Alpert's work is upbeat and fun, and his vitality infectious.” When his work was included in the 1980 exhibit of selections from the Brutten-Herrick Collection held at the Ben Shahn Gallery at William Paterson College, the New York Times writer David L. Shirley remarked “Bill Alpert's ''Memories'' is a fascinating graffiti scrawl with a jumble of words, along with some geometric designs. Subway graffiti artists might take a lesson from this man.” During this period, he grew increasingly fond of creating what he called his “constructs” as well as paintings using straight pigments and patterns formed by various drying methods. Many of these pigment and painted works were done both on canvas and on paper. By the late 1980s/early 1990s Alpert had decided to decline many invitations to exhibit his works in galleries, primarily due to the fact that he hated the commercialization of his artwork. In the end, his break from exhibiting at galleries coincided nicely with his work at the Cooper-Union School of Art, where he served as an adjunct professor of painting, beginning around 1980. He would continue to teach there for the next several decades, focusing on supporting the work and careers of his student artists. In addition to Cooper-Union, he also did stints as an instructor at the Parsons School of Design, Pratt University, the School of Visual Arts, and with groups based in both China and Mongolia. This did not mean he stopped working, in fact he painted every day during the next nearly two decades, leading one person to remark “Alpert’s compulsiveness is one of the marks of true artistic temperament.” He only returned to the exhibition scene beginning in the mid-1990s, but only briefly. Then in 2011 his works were included in the group show “Light, Being and Sound: Existence in the Age of the Virtual,” associated with the World Monument Fund, where it was noted “[Bill Alpert] exhibits the courage of being as he emerges from seclusion to regale us with his large scale abstract expressionist paintings and selection of acquisition-friendly works on paper.” William “Bill” Alpert died on Sunday the 15th of February 2015 at the age of eighty. It is not presently known what services were held, but Alpert was cremated so there is no burial location. As an author, he contributed to a number of prominent regional and art related publications, including serving as a contributor to the New York Art Yearbook, 1975-1976; Vered Lieb, 1977; The Whitney Counterweight Catalog, 1977; Sciences, 1978; Pacific Northwest [n.d.]; and Re-View [n.d.]. He also worked as the Argus Arts Editor during the early 1980s, and possibly a bit earlier (he was one of two dozen journalists, museum administrators and art experts to tour Korea in February 1982 as guests of the National Museum). As an artist, Alpert and his works were featured in dozens of publications and catalogs from the 1960s through the 1980s, including Art and Australia; ReView; Sciences; The New York Review of Art; The New York Art Yearbook; and The Washingtonian. In addition, he was long listed in important art and cultural references, including Biography International; International Who’s Who in Art and Antiques; Who’s Who in American Art; and Who’s Who in the East. He was a member/supporter of the Dactyl Foundation, New York, NY; New York Artists Equity Association, New York, NY; and the Organization of Independent Artists (OIA), New York, NY. He was a Creative Artists Public Service Program Finalist from 1977 through 1980. Though there are undoubtedly other exhibitions in which Alpert participated, those presently known include the following: M. Czeka Co-op Gallery, Los Angeles, CA, 1965; Galeria Del Sol, Santa Barbara, CA, 1967; Open Loft Show held at 65 Grand Street, New York, NY, 1968; LoGuidice Gallery, New York, NY, 1972; Works on Paper Exhibition, Bard College, Annandale-on-Hudson, NY, 1972; Two Person Show, Rabinovitch and Guerra Gallery, New York, NY, 1975; “Exhibit A,” Salena Gallery, Long Island University, Brooklyn, NY, 1977; “The Whitney Counterweight,” Aames Gallery, New York, NY, 1977; “OIA: Group Show,” U. S. Courthouse, New York, NY, 1977; “OIA: Art in Public Spaces,” Federal Plaza, New York, NY, 1977; Max Hutchinson Gallery, Houston, TX, 1977; Max Hutchinson Gallery, New York, NY, 1977; Max Hutchinson Gallery, New York, NY, 1977 (solo); “Preview Group Show,” Wade Gallery, Washington, DC, 1977; “OIA: Six Artists View Development,” New York Academy of Sciences, New York, NY, 1978; “OIA: Constructs,” Bleeker Renaissance, New York, NY, 1978; “OIA: Color,” Department of Correction, New York, NY, 1978; Wade Gallery, Washington, DC, 1978 (solo); “OIA: Postcard Show,” Bologna, Italy, 1978; “Painting and Sculpture Today,” Indianapolis Museum of Art, Indianapolis, IN, 1978; “Summer Group Show,” Max Hutchinson Gallery, New York, NY, 1978; “OIA: Postcard Show,” P. S. 1, New York, NY, 1978; Albright Knox Museum, Buffalo, NY, 1978; “Counterweight 2,” Rabinovitch Gallery, New York, NY, 1979; “24 x 24,” St. Lawrence University, Canton, NY, 1979; “24 x 24,” Max Hutchinson Gallery, New York, NY, 1979; “Paper Plus,” Frank Marino Gallery, New York, NY, 1979; “118 Artists,” Landmark Gallery, New York, NY, 1979; “Current/New York,” Lowe Art Gallery, Syracuse University, Syracuse, NY, 1980; William Paterson College, Wayne, NJ, 1980, 1981; “A Matter of Choice,” Hal Bromm Gallery, New York, NY, 1980; “Aspects of Fire,” Frank Marino Gallery, New York, NY, 1980; “Memories,” Frank Marino Gallery, New York, NY, 1980 (solo); “A Survey, 1974 – 1981, Drawings and Painted Constructions,” Frank Marino Gallery, 1981 (solo); Gallery Group Shows, Frank Marino Gallery, New York, NY, 1981, 1982; “Window, Room, Furniture,” Cooper Union, New York, NY, 1981; “Recent Acquisitions,” Power Gallery of Contemporary Art, Sydney, Australia, 1983; “Window, Room, Furniture,” exhibition, Tokyo and Osaka, Japan, 1983; Restaurant’s Gallery, Philadelphia, PA, 1985; William Halsey Gallery, College of Charleston, SC, 1986 (solo), 1987, 1989; “Artists in Paradise,” New York Botanical Garden, NY, 1993; “Light, Being and Sound: Existence in the Age of the Virtual,” World Monuments Fund Gallery, New York, NY, 2011. His works are known to be in public institutions and private collections – including that of the late, noted art dealer Joan Sonnabend – throughout the United States.

Attributed to:
William H (Bill) Alpert (Artist)
Dimensions:
Height: 24 in (60.96 cm)Width: 36 in (91.44 cm)Depth: 2 in (5.08 cm)
Style:
Brutalist (Of the Period)
Materials and Techniques:
Wood,Painted
Place of Origin:
United States
Period:
1960-1969
Date of Manufacture:
1960
Condition:
Seller Location:
Allentown, PA
Reference Number:
1stDibs: LU3122313244811

Neo Impressionist oil on board by New York/Pacific Northwest artist Jack Hammack Jack's works have been recently discovered in the Pacific Northwest where he lived the remainder of ...

Category

Vintage 1970s North American Modern Paintings

Materials

Paint

Jack Hammack Original - Neo Expressionist Oil on Board - Abstract Painting

$1,120 Sale Price

36% Off