Items Similar to My eyes on you -Mixed Media Painting by Steven Colucci
Want more images or videos?
Request additional images or videos from the seller
1 of 6
My eyes on you -Mixed Media Painting by Steven Colucci
About the Item
Steven Colucci is a perfectionist. As a painter, he describes himself as “a dictator, a controlling ballet master with a stick,” dispassionately choreographing his composition to achieve the exact result he desires. The paintings of the “Sea Series,” largely completed in 2010, are actually the culmination of 4-5 years of practice for the artist, during which he consistently developed and refined the language and formal elements that visually distinguish the series, sometimes repeating the same image for months until he was satisfied.
Colucci’s methods and philosophy reflect his experience with movement as a performing art. While he studied with and admires Vito Acconci, Colucci is no proponent of conceptualism, finding his voice in the intense discipline of traditional forms, explaining, “If you don’t practice art like a classical pianist, every day, you can’t execute your concepts.” After completing his studies at New York’s School of Visual Arts, he moved to Paris, where he studied and performed mime and ballet, working closely with Marcel Marceau, who also painted, and Etienne Decroux, a sculptor as well as the originator of the form “classical mime,” which has roots in the sculpture of Rodin.
If the word “sea” in the title of a painting conjures for you images of little easels and landscape canvases featuring sandy beaches, waves, and vast horizons, think again – Colucci’s oceanic visions are experiential, viewing them you are often looking down at the sea, within it, or even dreaming of the ocean. Water, deep or shallow, still or fast-moving, rules how we see light and subjects, as the artist works to reflect what he calls “the spirit, the soul of the water.” In “Deep Blue,” he conjures this anima via a window through levels of roiling currents of rich dark waves and dancing highlights, inviting the viewer to experience the sea as a vibrant and enveloping sensual entity.
Colors, too, differ from the subdued palette of the seaside afternoon painter. Often his choices originate in what Colucci describes as the rhythm of color present in Afro-Carribean art and design. In the paintings, these hues express the water’s likeness to the seamless flow of the Dominican culture’s music and dance, which he so enjoys during frequent visits to Upper Manhattan’s El Barrio district, a movement with the melodic line that he so simply and perfectly employs in the delightfully sexy “Swimming with the Fish.”
As our bodies, like the sea, are largely water, Colucci’s water visions tend to reflect aspects of human physicality. He describes the colorfully layered, kinetic surface of the canvas titled “In the Depths of the Sea” as depicting a “golden muck” that moves deep inside us, evoked by the movement of water. This is not on conflict with the precise nature of his process, which he describes as a “physical, intellectual experience, not dealing with emotion.” He accesses what he call his “second mind,” innate to the body, and deep in process allows these two intelligences to inform one another in tandem.
Deflecting credit for the power of his paintings by representing himself as a vehicle for inspiration from the divine and nature, Colucci describes painting amidst the elements in his movable outdoor studio as an immersion, 12 hour sessions sustained regardless of the weather. With the beach as his workplace, he rises early and begins his day when the contractors arrive to work on local vacation properties. The frequent deliveries of new fixtures mean discarded packaging, providing Colucci with one of his favorite re-purposed materials.
“A sheet of cardboard can transport the spirit and breathe life into a work of art,” he writes in an artist’s statement. “Corrugated, smooth, rough, painted, inked, folded, bent and mutilated. The cardboard sucks in the paint like a living sea creature sucks in oxygen. Color and texture begin to evolve as I embrace the process.” Colucci also applies layer after layer of oil and acrylic paints, pieced canvas, pastels, refined glass powder, and dust, often resulting surprising interactions. All are mediated by the ever present action of water, the saturation sometimes causing the wooden stretchers of a canvas to snap.
Nature can be furious, too, as Steven points out when recalling a hurricane striking the coastal community. “Cars flying, houses flying – I painted in that,” he said, “I realized why Pollack and De Kooning came out here...” Officer “OB,” a local policeman and one of the few people who sees Colucci at work during the cooler months of the year, told him “You are being dictated to by your environment, you couldn’t make these paintings anywhere else.” Colucci paints as a participant rather than an observer, and the elements themselves participate as well. “Eye of the Storm” expresses with high controlled energy and contrasting hues the will and menace of the weather, which the artist himself likens to a cat ready to pounce.
Years ago, Colucci told me, when Marcel Marceau was asked whether Steven was an artist, he replied, “I don’t know yet,” explaining that only time can tell whether one will create and sustain a self-defining oeuvre. Thus, it was irresistible to ask Steven the same question about his painting today. His response: “Now, yes, 100%. I have a body of work that represents me.” In “Driftnet’” a favorite of his, he reflects his vigorous manifesto of painterly virtuosity by taking the time to capture one glowing moment, capturing the shimmer of one glowing moment - a taste, a touch, a kiss - so that it may be enjoyed again and again.
Returning to Colucci’s relationship with Marceau, he revealed to me that the master of mime did not approve many choices he made in his own performances, but acknowledged that without innovators the craft itself would not captivate future generations and live on. Pushing the boundaries of the spirit and substance of Abstract Expressionism begun by the New York School artists, with a voice and vocabulary uniquely his own, Steven Colucci manages to keep a foothold in history while reaching out to touch the future. What is his advice to artists?
“Don’t think about the solution. Just paint,” he says. “Paint.”
Curator Linda DiGusta
Executive Editor Huffington Post Arts
- Similar to:Jackson Pollock (Artist)
- Dimensions:Height: 52 in (132.08 cm)Width: 42 in (106.68 cm)Depth: 1 in (2.54 cm)
- Materials and Techniques:
- Period:
- Date of Manufacture:2011
- Production Type:New & Custom(One of a Kind)
- Estimated Production Time:Available Now
- Condition:
- Seller Location:New York City, NY
- Reference Number:1stDibs: LU5191132298382
Farrago Design Inc
Farrago Design is a tribute to craftsmanship and creativity. Our story begins in 2003 with a passion for creating timeless bespoke pieces inspired by nature and the artistry of human hands. Our designs reflect a profound reverence for heritage and a commitment to excellence.
At Farrago Design, we believe that true opulence is achieved by an uncompromising attention to detail, a devotion to the craft, and the use of the finest materials. Our team of skilled artisans and designers collaborate with the world's most talented craftsmen to produce unparalleled, exclusive pieces. Our materials are carefully and sustainably sourced and include rare woods, sand casted metals, bone, and semi-precious stones, resulting in truly unique works of art. Our custom furniture designs are tailored to meet the specific needs of our clients, including some of the most prominent AD 100 interior designers and architects. We believe that every object in your home, office, or yacht should evoke a sense of joy and it is our privilege to share this vision with you.
About the Seller
No Reviews Yet
Vetted Professional Seller
Every seller passes strict standards for authenticity and reliability
Established in 2003
1stDibs seller since 2020
12 sales on 1stDibs
Typical response time: <1 hour
- ShippingRetrieving quote...Shipping from: New York, NY
- Return Policy
Authenticity Guarantee
In the unlikely event there’s an issue with an item’s authenticity, contact us within 1 year for a full refund. DetailsMoney-Back Guarantee
If your item is not as described, is damaged in transit, or does not arrive, contact us within 7 days for a full refund. Details24-Hour Cancellation
You have a 24-hour grace period in which to reconsider your purchase, with no questions asked.Vetted Professional Sellers
Our world-class sellers must adhere to strict standards for service and quality, maintaining the integrity of our listings.Price-Match Guarantee
If you find that a seller listed the same item for a lower price elsewhere, we’ll match it.Trusted Global Delivery
Our best-in-class carrier network provides specialized shipping options worldwide, including custom delivery.More From This Seller
View AllMixed Media Painting by Steven Colucci- My eyes on you
By Andrzej Galek
Located in New York City, NY
Steven 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
Materials
Acrylic
Mixed Media Painting by Steven Colucci
By Jackson Pollock
Located in New York City, NY
Steven 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
Materials
Acrylic
Mixed Media Painting by Steven Colucci, Sea Series
By Jackson Pollock
Located in New York City, NY
Steven 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
Materials
Acrylic
Mixed Media Painting by Steven Colucci
By John Byard
Located in New York City, NY
Steven 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
Materials
Acrylic
Mixed Media Painting by Steven Colucci- Two Men
By Jeff Koons
Located in New York City, NY
Steven 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
Materials
Acrylic
"La Salute" Cityscape by Lazzaro Donati - Oil on Board
By Lazzaro Donati
Located in New York City, NY
"La Salute" is a striking oil painting by renowned Italian artist Lazzaro Donati, depicting the iconic Santa Maria della Salute church in Venice. Known for his vivid, expressionistic...
Category
Vintage 1960s Italian Paintings
Materials
Paint
You May Also Like
Mixed Media Painting on Board
Located in Denton, TX
Layers of paper and paint make this artwork stand out on it's own.
Unsigned.
Category
20th Century Modern Paintings
Materials
Wood, Paint, Paper
$1,200 Sale Price
20% Off
3 Original Mixed Media Paintings on Panels by Jourcin
Located in Long Island City, NY
Three original mixed media paintings on panels by Jourcin with gilded accents,
circa 1962. Signed.
Price is per painting.
Category
Vintage 1960s French Mid-Century Modern Paintings
Abstract mixed media painting on canvas
Located in Taranto, IT
Abstract mixed media painting on canvas.
Measures:
Height 72cm
Width 102cm
Mixed Media on canvas
In good conservative condition, present signs of time due to use and age. (Pl...
Category
Vintage 1970s Italian Paintings
Materials
Canvas
$1,394 Sale Price
20% Off
Abstract mixed media painting on canvas
Located in Taranto, IT
Abstract mixed media painting on canvas.
Measures:
Height 84cm
Width 123.5cm
Mixed Media on canvas
In good conservative condition, present signs of time due to use and age. (...
Category
Vintage 1970s Italian Paintings
Materials
Canvas
$1,394 Sale Price
20% Off
Brutalist painting 1950s mixed media on cardboard
By A. Manzoni
Located in Villa Verucchio, Emilia-Romagna
Brutalist Painting of the 1950s: An Expression of Strength and Modernity
A masterpiece of modern art
This extraordinary 1950s Brutalist painting, done in mixed media on cardboard, ...
Category
Mid-20th Century Italian Brutalist Paintings
Materials
Other
Esteban Cruz Mixed-Media on Cardboard Painting
By Esteban Cruz
Located in Mexico City, MX
Interesting mixed-media (collage and acrylic) on cardboard painting by Mexican painter Esteban Cruz.
Born in Orizaba, Veracruz in 1935, Esteban Cruz at...
Category
Vintage 1980s Mexican Post-Modern Paintings
Materials
Paper
