Mixed-Media Painting by Francis S. Merritt
View Similar Items
Want more images or videos?
Request additional images or videos from the seller
1 of 3
Mixed-Media Painting by Francis S. Merritt
About the Item
- Creator:Francis S. Merritt 1 (Artist)
- Dimensions:Height: 27 in (68.58 cm)Width: 30.25 in (76.84 cm)Depth: 2 in (5.08 cm)
- Style:Mid-Century Modern (Of the Period)
- Place of Origin:
- Period:
- Date of Manufacture:1955
- Condition:
- Seller Location:Palm Springs, CA
- Reference Number:1stDibs: LU93801798512
About the Seller
5.0
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1995
1stDibs seller since 2012
513 sales on 1stDibs
More From This SellerView All
- Original Mixed-Media Abstract Painting by Listed Artist Josh DaytonBy DaytonLocated in Palm Springs, CAOriginal mixed-media abstract painting by American listed artist Josh Dayton. Spectacular three dimensional sculptural mixed-media abstract painting that ...Category
1990s American Modern Contemporary Art
MaterialsCeramic, Canvas, Acrylic, Paper, Crayon
- Original Abstract Painting by Dan GrooverBy Dan GrooverLocated in Palm Springs, CAOriginal crayon on paper abstract painting by listed artist Dan Groover. Signed " D Groover 1977." Newly framed under glass.Category
Vintage 1970s French Mid-Century Modern Paintings
MaterialsCrayon, Glass, Paper, Wood
- Original Acrylic Painting by Italian Listed Artist Piero PastacaldiLocated in Palm Springs, CABeautiful original acrylic painting on canvas by Italian listed artist Piero Pastacaldi. The painting depicts the artist home town Livorno's port of Italy. The paint is acrylic on...Category
1990s Italian Mid-Century Modern Paintings
MaterialsCanvas, Acrylic, Wood
- Acrylic Rooster Painting by Indonesian Listed Artist Sapto HoedojoBy Piek SaptohoedojoLocated in Palm Springs, CALarge original 1973 acrylic rooster painting by influential Indonesian listed artist Sapto Hoedojo (1925-2003). This large hand painted rooster with strong colorful strokes is on b...Category
Vintage 1960s Indonesian Mid-Century Modern Paintings
MaterialsAcrylic
- Still Life Oil Painting by Listed Artists Almicar Salomon ZorrillaLocated in Palm Springs, CABeautiful 1978 oil still life painting by renowned Peruvian painter Almicar Salomon Zorrilla. The painting is as found, so it shows minor wear consistent with age. The painting is oi...Category
Vintage 1970s Peruvian Mid-Century Modern Paintings
MaterialsCanvas, Paint
- Italian Oil on Canvas Painting of Capri by Federico SalvatoreBy Federico SandriLocated in Palm Springs, CAOriginal oil on canvas painting by listed Italian artists Federico Salvatore. The painting depicts a sailboat coming out of the Marina Grande in Capri Italy. Hand marked ‘Marina ...Category
Vintage 1960s Italian Mid-Century Modern Paintings
MaterialsCanvas, Wood, Paint
You May Also Like
- Mixed-Media Painting by Louis SchiavoBy Louis SchiavoLocated in London, GBMixed-media on board on gesso ground, in gouache and oil using the impasto technique. The work also includes areas of collage using applied materials beneath the paint to add depth ...Category
Vintage 1950s Corsican Mid-Century Modern Paintings
MaterialsCanvas
- Mixed-Media Painting by Don ClausenBy Don ClausenLocated in Palm Springs, CAMixed-media painting by Don Clausen (1930 - ), dated 1971. Painting is on wood. Don Clausen is/was active in California and is known for abstract expression. He uses a palette knife ...Category
Vintage 1970s American Paintings
MaterialsWood
- Mixed Media Painting by Steven ColucciBy John ByardLocated in New York City, NYSteven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...Category
2010s Paintings
MaterialsAcrylic
- Mixed Media Painting by Steven ColucciBy Jackson PollockLocated in New York City, NYSteven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...Category
2010s Paintings
MaterialsAcrylic
- Mixed Media Nude painting by Mary L MackieLocated in Los Angeles, CAW34.25 H48.5 D2 Nude painting in what seems to be a combinations of mediums. Item shows signature and contents are well preserved and framed.Category
Vintage 1970s Mid-Century Modern Paintings
MaterialsPaint
- Abstract Mixed-Media PaintingLocated in West Palm Beach, FLAbstract multicolored mixed-media painting reds gold black, late 20th century, from a Palm Beach Estate. Back shows this was originally displayed by an owner in Stockholm. Pain...Category
Late 20th Century American Modern Paintings
MaterialsPaper