Modern Paintings

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...

Acrylic on canvas designed by Ugo La Pietra in 2005, Italy. Biography Ugo La Pietra born in Bussi sul Tirino, Pescara in 1938, Ugo la Pietra lives and works in Milan, where in 1964 ...

Abstract painting in warm, friendly acrylic colors with the name "Fin du Jour" - "End of the Day" by Michel Puchala. Professional framing with shadow gap frame (1.0cm) and white gold...

French vintage oil on panel seashore landscape, signed E. Perdriel. The colorful work depicts a thin haze of wispy clouds over a small fishing community punctuated by red roofs again...

Åke Wilhelm Andersson (1922-1988), listed Swedish artist. Oil on board. "Summer bouquet". 1960s. The board measures: 36 x 31 cm. The frame measure...

Ivy Lysdal, b 1937. Danish ceramist and painter. Acrylic on canvas. Abstract modernist painting. Colourful palette. Dated 2005 Signed. Canvas measures: 30 x 30 cm. Provenance...

Paul Garland (American, b. 1943), an abstract composition, pencil signed and dated 1984. The work is very colorful with wonderful movement and expression. It has been expertly framed...

Scandinavian modernist. Oil on board. Modernist composition, 1960s. The board measures: 122 x 61 cm. The frame measures: 2.2 cm. Signed in monogram. In excellent condition.

Oil painting on canvas by German born artist, Amy Yoes. The painting, "Challenge to Surrender" c.1997, features colors ranging from bright pink and red tones to cool blues and green....

American artist Claude Bentley (1915-1990); large abstract Expressionist oil on canvas from 1960 signed and dated on the front also signed and titled "Eclipse" in pencil on centre st...

Ebbe Eberhardson (b. 1927), Sweden. Oil on board. Modernist landscape. 1960s. The board measures: 37 x 21 cm. The frame measures: 7 cm. Indistinctly signed. In excellent condition.

Ivy Lysdal, b 1937. Danish ceramist and painter. Acrylic on canvas. Abstract modernist painting. Colourful palette. Dated 2013. Signed. Canvas measures: 50 x 40 cm. Provenance:...

Very large and vibrant abstract painting and mixed media assemblage. Signed lower right. Block like elements in reds, tan, white and black. Along with black and white strings across ...

Paul Garland (American, b. 1943), an abstract composition, pencil signed and dated 1983. The work is very colorful with wonderful movement and expression. It has been expertly framed...

Charles Herman Hoffman (1900-1973), listed Belgian artist. Oil on board. Abstract composition. Mid-20th century. The board measures: 33 x 25 cm. The frame measures: 1 cm. In exc...

Contemporary New York artist Peter Buchman's "Goodnight Moon” is made of laser cut plexiglass, acrylic medium and enamel on wood. It's a part of his Voice-Over series. To explain tha...

An antique violin case is open to expose its treasures - not only the rich orange lining, but the plethora of sea shells. Placed upon a gleaming ta...

"Freedom," 2021 is a large framed abstract mixed media painting by Kathi Robinson Frank in gray, black. orange-red, amber and white. Exuberant ...

Italian modern Geometrical and abstract painting on paper, 1990s Rectangular painting on paper. The geometric subject of the artwork features horizontal thick lines in light blue, red and green over which vertical dotted shades in yellow, red and light blue are superimposed. In a thin wooden frame, painted blue with a glossy finish, and in passeparout. 1990s. Good condition, scattared light marks and a lack of...

Pascale Taurua painting, oil on canvas. Taurua's paintings are as beautifully and as aggressively painted as they are sensually erotic. Her girls have ...

"Reflections," a frame oil on canvas /collage by artist Kathi Robinson Frank is an abstract composition in atmospheric shades of gray, black, white, orange and reddish-orange with th...

Original 'Hyde Park' color lithograph by André Derain. Lithograph printed from an original painting made by the author in France, circa 1906. Published by Fernand Mourlot in Les Fa...

Elfi Schuselka (Austrian, b. 1940) "Do Jump Perches!" contemporary abstract oil painting on canvas, in the manner of Cy Twombly (American, 1928-2011), signed to verso, unframed. 21.75" H x 23.75" D. Provenance: Property from the estate of the artist. Note: Elfi Schuselka (Austrian, b. 1940) artist, studied photography, art history, and theater at Vienna University. She moved to New York in 1964. Her work has been exhibited internationally including Brooklyn Museum, New York, United States, Italy, France, Cracovia Biennial, Yugoslavia, Ibiza Biennial,Spain, Japan, Sao Paulo Biennial. Her work is part of the permanent collection of MoMA, New York, NY, Amon Carter Museum of American Art, Forth Worth, TX and International Centre of Graphic Arts, Slovenia. Long a regular exhibitor at the famed 55 Mercer Gallery...

Beautiful large oi/acrylic painting titled "Geranium" by American artist Rebecca Ruoff, 2021.

Original art work. Acrylic and black gesso on canvas with thin wood frame. The art + design continuum of color theory, form + space.

Designed to be hung on the diagonal or square this painting by Marguerite Abdun-Nabi shows her playful use of color in structural geometries.

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...

Ivy Lysdal, b 1937. Danish ceramist and painter. Acrylic on canvas. Abstract modernist painting. Colorful palette. Late 20th century. Canvas measures: 30 x 30 cm. Provenance: Th...

Uno Svensson (1929-2012), Sweden. Oil on board. Abstract composition. Mid-20th century. The board measures: 76 x 56 cm. The frame measures: 1.5 cm. In ...

Lennart Kärrabo (1927-2007), Sweden. Oil on canvas. Abstract composition, dated 1982. The canvas measures: 30 x 30 cm. The frame measures: 0.7 cm. In excellent condition. Signed.

Greg Parker, American, b. 1952 Untitled, 1988 Graphite and oil on gessoed panel Signed and dated to verso. Geometric composition in monochromatic variations ending on a graphite...

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...

Ivy Lysdal, b 1937. Danish ceramist and painter. Acrylic on canvas. Abstract modernist painting. Colorful palette. Dated 2013. Signed. Canvas measures: 50 x 40 cm. Provenance: ...

Ivy Lysdal, birth 1937. Danish ceramist and painter. Acrylic on canvas. Abstract modernist painting. Colourful palette. Dated 2013 Signed. Canvas measures: 50 x 40 cm. Provenan...

Gouache on plate. Still life. Constructivist school, circa 1915. Unknown artist. In very good condition. The plate measures: 27.5 x 20.5 cm. The frame measures: 5.5 cm.

Ivy Lysdal, b 1937. Danish ceramist and painter. Acrylic on canvas. Abstract modernist painting. Colorful palette. Dated 2005 Signed. Canvas measures: 30 x 30 cm. Provenance:...

Ivy Lysdal, b 1937. Danish ceramist and painter. Acrylic on canvas. Abstract modernist painting. Colourful palette. Dated 2013. Signed. Canvas measures: 50 x 40 cm. Provenance:...

A quite oddly alluring and strikingly engaging original surrealist painting by American/Mexican artist Jonathan Barbieri. The work of a young man in a strange pose staring intensely...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #40 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics...

A set of 6 original works on paper by Marinette Lefillâtre 'La Magie du Papier' France, 2011

Lynda Keeler is a Palm Springs artist that uses neighborhood Road Maps as her inspiration in original an abstract paintings. This brightly colored Mixed Media (Oil and other material...

Oil on board, signed and dated 38' in lower right. Measures 6.75" x 15.5" including the frame, also inscribed and signed on reverse. Nikolai Timkov is one of the best known Russi...

Nicolas Fasolino Realism Oil Painting on Canvas, Argentine Artist A still life composition executed in a realist medium by noted Argentine Artist Nicolas Fasolino signed lower right and dated '05. This oil on canvas depicts a candle-lit table...

Abstract mixed medium-on-paper by Philip Renteria (1947-1998), 1973. Untitled gouache and ink on paper, both dated and hand-signed by artist. Newly-framed, float-mounted within black...

Meticulously painted modern painting by Bucks County artist Wayne Cunningham having a busy grid of his signature Pac Man like self portraits in a ...

Circa 1999, Acrylic on "Canvas on board", by Suk Shuglie, Pennsylvania. Colorful and bright, this wooded scene leavens the moodiness of late Winter with th...

Very rare painting oil on canvas by the artist William Langley Title “View of Menton Cap Martin” It depicts a beautiful view of the French Riviera, in particular Cap Martin-Menton O...

Multi-color Yamil O. Cardenas abstract painting in acrylic on canvas. Signed and dated, 02/2019 at the front right corner. Yamil O. Cardenas was born in Cuba in 1972 and recently mov...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #63 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics Now; Raku: Origins, Impact and Contemporary Expression; and Convergences: The Presence of the Past in Contemporary American Ceramics...

Three single paintings, mixed technique on paper, signed and dated P. Szekely 92, made on the occasion of a presentation of Emilio Pucci fabrics in the Woka Showrooms together with S...

Yamil O Cardenas abstract expressionist painting in acrylic on canvas. Yamil O Cardenas was born in Cuba in 1972 and recently moved to Miami in the USA. Growing up he was attracted t...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #75 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics Now; Raku: Origins, Impact and Contemporary Expression; and Convergences: The Presence of the Past in Contemporary American Ceramics...

Celebrate artistic expression with this vintage boho mixed media oil painting on canvas. Featuring a blend of vibrant colors and textured techniques, this piece captures a free-spiri...

A brilliant and vivid painting by Daniel Heyman, this depiction of a man-angel standing before the famous main facade of the Hôtel de Sully in Paris is drenched in color: aquamarine,...

11 foot by 9 foot frame stretched charcoal on canvas painting by Jessica Scott-Felder titled "Accent" 2009. Jessica utilizes drawings and installations with antique objects to transform spaces into psychological realms that are suggestive of maternal figures and ancestral and social narratives. Initially, the chairs represented matriarchal presence and have currently expanded to ancestry. Jessica’s work addresses issues in identity, heritage, culture, and society’s rapidly disintegrating connection to the past. Jessica's grandmother's living room has been a focal point of her work. She is visually exploring the suggestive qualities of furniture placement. Many of the images were derived from “Last Year at Marienbad...

Framed abstract painting in acrylic on canvas. Signed at right bottom corner and dated 2016. Yamil O Cardenas was born in Cuba in 1959 and recently moved to Miami in the USA. Growing...

Celestial Symphony: A masterful manifestation of late 20th-century abstract art, signed with enigmatic grace. This transcendent piece beckons viewers into a mesmerizing dance of colo...

Abstract painting on paper work by Wolfgang E. Biedermann, Leipzig Westgermany 1987 Small, repetitive motifs, characters, ciphers and writings, inspired by Asian calligraphers were generously painted over in abstract. Technique: Mixed media on paper Signature: Lower right by hand W. E. Biedermann 87 Short Biography: Wolfgang E. Biedermann was born in 1940 in Hannover - dece. 2008 in Leipzig Already as a high school student Wolfgang E. Biedermann's artistic talent was recognized by Ursula Mattheuer-Neustädt. She promoted him to evening studies at the Academy of Visual Arts (HGB) Leipzig. From 1961 Biedermann studied at the HGB in the specialist class for free graphics and painting with Gerhard Kurt Müller, completing his studies in 1967. Since 1968 Biedermann was active as a freelance artist in Leipzig. He undertook study trips to Poland, France and Indonesia, as well as to the USSR and the USA. From 1968 to 1991 he was a member of the Association of Visual Artists of the GDR and since 1996 a member of the Free Academy of Arts in Leipzig. The unique encounter with the German action artist Joseph Beuys had a great impact on Biedermann. The artistic work of Wolfgang E. Biedermann spanned from 1960 to 2008. His œuvre is characterized by the development of his own technique. In addition to drawings and sketches of the early work for study purposes he dealt over the years primarily with printing practices. He produced numerous abstract paintings and works on paper using color etching and silkscreen processes as well as multi-plate overprinting. Biedermann relied on different layering by means of various techniques of graphics and painting. He dealt extensively with overdrawing and overpainting his works. Repeating motifs are symbols, signs, ciphers and writings, which are based on Asian calligraphy. Biedermann dealt just as intensively with the content of philosophical writings by Peter Sloterdijk and with letters from the estate of Friedrich Schiller, which he transposed into the paintings. His color-intensive paintings reflect "inner landscapes". Klaus Werner coined this term as early as 1980 for the complete works of Wolfgang E. Biedermann. Since 1977 Wolfgang E. Biedermann presented his artworks at various exhibitions. On the occasion of his 50th birthday, the Lindenau Museum in Altenburg exhibited a comprehensive selection of 130 works in 1990. NordLB - Art, Hannover accompanied his further creative process for almost ten years with work locations in Berlin (Sony Center), Singapore, Zurich and Hamburg. At the EXPO 2000 in Hanover, twelve of his large-scale works were on display in the German pavilion. Parts of his œuvre have also been exhibited outside Germany in Tokyo, Paris, Damascus, Bilbao, Listovel, Mulhouse, Grenchen, Basel and Fredrikstad, among other places. Literature: -Lang, Lothar: Malerei und Grafik in der DDR. Leipzig 1978 -Hütt, Wolfgang: Graphic Art in the GDR. Dresden 1979 -Thomas, Karin: Painting in the GDR 1949-1988. Cologne 1980 -Dictionary of Contemporary Artists. Oxford 1981 -Hollmann, Eckhard: Von der Kunst Bilder zu drucken. Berlin 1986 -Feist, Günther: Stations of a Path, Documentation on Art and Art Politics 1945-1988, Berlin 1988 Solo exhibitions: 1977: Gallery in the club "Pablo Neruda", Gallery Barthel + Tetzner GmbH, Karl-Marx-Stadt/ Chemnitz 1979: Gallery at Sachsenplatz (with Agathe Böttcher and Dagmar Ranft-Schinke), Leipzig 1979: Gallery at the Steinweg, Suhl 1980: Gallery Arkade, Berlin (exhibition catalog by Dr. Klaus Werner) 1980; 1986; 1987: Gallery erph, Erfurt 1980: Gallery at the Boulevard, Rostock 1981: Greifengalerie, Greifswald 1984: Galerie unter den Linden...