Connecticut - Abstract Paintings

Oil on panel Compline Series: Compline is a recent piece, a work honoring New England. It is a culmination of what I developed and experienced from those decades painting and trekki...

Hubble Cosmic Kitchen, from the Hubble collection, Acrylic Paint on Canvas I bring my sensibility as a sculptor into these recent paintings. Thick textured impasto surfaces combine ...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper. It features a muted palette and large, textured brush strokes. The painting itself is 13" x 22" and it measures 21.25" x 29.25" x 1" framed. It is signed by the artist in the lower right-hand corner of the painting, and is framed in a black frame with an acid-free mat. Wired and ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

Donald Martiny’s signature work is composed of dispersed pigment on aluminum. He creates immediately frozen brushstrokes that are made from his own movements. They are defined by the...

Robert Goodnough was a well known artist in New York during the Post-War era and represented by important dealers. This tall graceful panel has a mate in case someone needs a pair o...

This abstract painting by Teodora Guererra features a light, cool palette of blue and white with subtle orange accents at the top of the composition. The artist applies thick layers ...

Christine Averill-Green is an abstract artist based in the Capital District of New York. Her painting, "Romance Novel," is an abstract oil painting featuring bright colors and pastels, as well as loose, abstracted images of flower bouquets and petals on a refracted surface and background. As an artist, Averill-Green often plays with colors, layering, and pattern at the same time. Of this piece, she says, "A light-hearted, colorful musing on the age-old theme of shattered dreams and broken blossoms...

This abstract painting by Julia Contacessi features a light, coastal palette, with washes of varying blue tones on the bottom of the composition and light blush and white tones at th...

TIDEPOOLS Series: “[This series] is an ever-changing fluid eco-world that is filled with life. I can not help but reflect upon these tiny systems, a microcosm of the larger cycle of ...

In this contemporary oil painting on canvas, lively abstract brushwork in bright yellow, white, purple and lush green against a dramatic crimson red orange background suggests flower...

This beautiful black work by Maura Segal pairs well with the white piece entitled, "Cream Puff." Maura Segal’s abstract works conjure a delicate simplicity. Blocks of color languidly...

TIDEPOOLS Series: “[This series] is an ever-changing fluid eco-world that is filled with life. I can not help but reflect upon these tiny systems, a microcosm of the larger cycle of ...

This Modern abstract figurative painting by Stanley Bate features abstracted figures in motion, placed in front of a geometric background with white, maroon, and blue squares tiled n...

A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...

Blurring the line between mass consumerism and fine art, New York City based artist Jojo Anavim has established his body of work stemming from a background in graphic design and bran...

Encaustic and oil with acrylic frame 1/1, While experiencing the flow and drips of molten beeswax and the partial mixing of blue, cyan and purple in Pool Lights, calm is created wit...

Tony Saunders has his painting and music studio in Brooklyn, NY. He is a graduate of Princeton University and the Silberman School of Social Work at Hunter College. Collage has long ...

Janet Slom, M.F.A. Is a painter, installation and performance artist living in Miami, Florida. Slom studied at the University of Witwatersrand in South Africa and earned her MFA from...

Maura Segal’s abstract works conjure a delicate simplicity. Blocks of color languidly splay behind thin meandering lines and freeform fluid curves. Yet upon closer investigation, the...

In this contemporary abstract painting by Elizabeth Gourlay in acrylic on linen mounted on a shaped panel, carefully ordered horizontal blocks of color in pale gray blue lavender, gr...

This is a triptych, but each part is also available to purchase individually. Maura Segal’s abstract works conjure a delicate simplicity. Blocks of color languidly splay behind thi...

This original abstracted landscape statement oil painting by artist Bri Custer features a blue palette with vibrant yellow and green accents throughout. The artist applies thick, loo...

In this contemporary abstract painting, vibrant metallic silver and bright teal blue encaustic (pigmented beeswax) is accented with bright blue on the edge. Signed and titled on vers...

This is a square, vibrant orange and purple encaustic (pigmented beeswax) painting on birch panel accented with bright pink and subtle gold details. Signed, dated and titled on verso...

Did You See the Moon Tonight? Oil, graphite, litho ink, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primarily in ...

Series: Triple Moon Oil and encaustic Size: 12" x 36" x 2" Using unconventional hardware - a blow torch, iron and other heated tools - along with paper, encaustics, photography, ...

Oil on Canvas PROVENCAL Series: “In [this] series I was exploring the classical influences of the impressionist masters, to build on their ideas to move them forward, yet being tru...

A bright multicolored painting with lime green, periwinkle, golden orange, yellow and burgundy red stripes against a luminous light aqua blue background. Signed, dated and titled on ...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on board and features a warm, yellow and umber palette. The artist layers paint on the canvas, creating texture among softly blended colors in a highly abstract composition. The painting itself is 48" x 33"and measures 48.5" x 33.25" x 2" framed. It is signed by the artist in the lower right-hand corner of the painting and is framed in a very thin, off-white floater frame. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School...

Oil on canvas SHEPHERD’S PASS Series: “In [this] series I wanted to move into expressing more of a post-impressionist mode by deconstructing with lyricism, while not fracturing in h...

Mirror to the Sun III Oil, graphite, litho ink, spray paint, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primaril...

Mid 20th Century American Abstract Large. Comprised of Four Canvases Color Field James Daugherty (1887 - 1974) The Sun is but a Morning Star Acrylic on canvas, c. 1965. 100 x 100 inches Comprised of four canvases measuring 50x50 inches each Each canvas is signed, J. Daugherty, on verso. The upper left canvas is inscribed as titled on verso Provenance: Estate of the Artist. Exhibited: Montclair Art Museum, Montclair, NJ, "James H. Daugherty Retrospective," January 28 - March 25, 1973. BIO Among the early American modernists, James Daugherty was one of the first exponents of abstract color painting. Throughout his career, whether he was working in an abstract or a representational mode, Daugherty felt pure color to be the most effective means of creating powerful and evocative works of art. Daugherty was born in Asheville, North Carolina, near the Great Smoky Mountains. He received his formal training at the Corcoran School of Art in Washington, D.C. and at the Pennsylvania Academy of the Fine Arts in Philadelphia during the early years of the last century. Although he was in Europe from 1905 until 1907, he remained unaffected by avant-garde art until the groundbreaking Armory Show of 1913. Daugherty worked in a futurist manner until late 1914 or early 1915, when he came into contact with Arthur B...

Oil on panel Compline Series: Compline is a recent piece, a work honoring New England. It is a culmination of what I developed and experienced from those decades painting and trekki...

A deep, bright cobalt blue encaustic (pigmented beeswax) painting with light purple and vibrant teal accents on birch panel. Signed, dated and titled on verso. Joanne Mattera’s paintings can be described as lush minimalism, the work is chromatically rich and compositionally reductive. Each painting in the ongoing Silk Road series is a small color field achieved by layers of translucent wax paint applied at right angles. The series, began in 2005, was inspired by the iridescent hues of slubbed silk, hence the title, but very quickly evolved into a more expansive exploration of color. In plying the richness of the encaustic paint against the austerity of a very subtle grid the artist sets in motion a dynamic in which color and texture jostle for primacy. A decade and almost 300 paintings later, the artist is still enthralled with this exploration. Mattera is the foremost expert in the field of encaustic painting and is the founder and former director of the International Encaustic Conference. Her artwork is in the collections of The New Britain Museum of Contemporary Art, US Embassies (Slovenia and Poland), US State Department, Bank of America, and Norwegian Cruise Lines, to name a few as well as numerous private collections. Mattera writes a contemporary art blog, she is a frequent guest speaker and curator and is a member of American Abstract Artists (NYC). The artist lives and works in MA and in NYC. Encaustic painting, also known as hot wax painting, involves using heated beeswax to which colored pigments are added. The word comes originally from the Greek word “enkaustikis” meaning to “burn in” and the process dates back to the 5th century. The liquid or paste is applied to a surface —usually prepared wood. Metal tools...

Encaustic and oil with acrylic frame Andrea's Spring Grafitti is dominated by romantic shades of blue and pink, creating a vibrant first impression. The layered rose-red haloed circ...

This abstract painting by Sue De Chiara is made with acrylic paint on panel. It features a light blue, white, and off-white palette, with green, yellow, and pink accents and a layere...

This abstracted figure painting by Christine Averill-Green features a unique cool blue and green palette with charcoal grey and red accents. It captures a figure in a dancing stance....

PROVENCAL Series: “In [this] series I was exploring the classical influences of the impressionist masters, to build on their ideas to move them forward, yet being true to the many ap...

Encaustic and oil with acrylic frame 24x79.5 each, $6500 each (2 panels) This Painting will be shipped directly from the artist's studio.

TIDEPOOLS Series: “[This series] is an ever-changing fluid eco-world that is filled with life. I can not help but reflect upon these tiny systems, a microcosm of the larger cycle of ...

Mary Schiliro’s work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring alternative presentation methods. Using a dipping process wher...

In this contemporary geometric abstract painting in acrylic on canvas mounted onto a shaped panel, carefully ordered horizontal blocks of color in yellow ochre, light lilac and light blue frame sections of gray with light lilac in the center. Signed, dated and titled on verso. Elizabeth Gourlay’s work is a meditation on color and form, a gradual yet progressive analysis leading to a complex vocabulary of shapes, color and line. Musical composition, emotional states and our collective subconscious resonate within bars, lines and blocks of color. The abstract forms emerge, layer and shift in precisely ordered, carefully composed rhythms. The artist contemplates the elements that make color in reduced forms come to life: size, flatness, relation to its edges, and how the presence of other colors affect how it is perceived. Gourlay draws inspiration from shapes found in everyday life and in her studio. The observed shapes either remain as they are or become simplified to their essential geometric elements. Subtleties in color, area, edge or orientation are the catalyst for emotive responses. Palette is minimized; the artist rarely uses a wide palette within one work. Rather, a broad range of colors are explored and then reduced. Gourlay investigates color properties: complementary or analogous color, value, saturation and color harmony vs. color anomaly. Elizabeth’s Gourlay’s work has been shown extensively throughout the United States. The artist was the recipient of numerous residencies, fellowships and awards including Artist in Residence at the studio of Sol LeWitt in Spoleto, Italy. Gourlay’s work has been written about in The New Criterion, Painters’ Table and Gorky’s Granddaughter, to name a few. Gourlay earned her MFA at Yale University School of Art, New Haven, CT, and her BA from Edinburgh...

This contemporary painting in ink, gouache and pencil on archival paper is composed of solid shapes surrounded by a pattern of delicate lines and dots in bright crimson red, luminous...

This contemporary painting in ink, gouache and pencil on archival paper is composed of solid shapes surrounded by a pattern of delicate lines and dots in bright blue, luminous golden...

These new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces. Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA. Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...

Series: Plunge Triptych Oil and encaustic Size: 80" x 108" (36" x 80" each panel) Using unconventional hardware - a blow torch, iron and other heated tools - along with paper, enc...

This abstract oil painting by Tony Iadicicco features a light grey palette. The painting has an abstracted landscape composition, with a low horizon line which is stark against the l...

This abstracted figure painting by Christine Averill-Green features a unique warm pink and contrasting yellow-green palette. It captures a woman who ap...

Janet Slom, M.F.A. Is a painter, installation and performance artist living in Miami, Florida. Slom studied at the University of Witwatersrand in South Africa and earned her MFA from...

This is a vibrant red orange encaustic (pigmented beeswax) painting with light reddish orange and faint yellow accents on birch panel. Signed, date...

This contemporary painting in ink, gouache and pencil on archival paper is composed of solid shapes surrounded by a pattern of delicate lines and dots in bright teal, luminous golden...

This abstract geometric painting by Ned Martin is made with oil on gallery wrapped canvas and features a cool charcoal grey and metallic silver palette. It is signed by the artist on...

This abstract statement painting by Julia Contacessi features a cool palette with washes of muted blue, cool grey, and a white accenting wash that flows through the center of the hor...

PROVENCAL Series: “In [this] series I was exploring the classical influences of the impressionist masters, to build on their ideas to move them forward, yet being true to the many ap...

This piece is a collaboration between Sarah Phyllis Smith and Douglas Degges. Douglas Degges (b. Shreveport, LA) is an artist and educator currently based in Mansfield Center, CT w...

Oil on panel WEIR FARM Series: “[This] series runs the full range from natural to post-impressionism, yet always having the themes of the American pictorial sense of place with an a...

This original painting by Teodora Guererra features a pink and white palette with circular abstracted floral shapes assembled at the center of the composition on a white background. ...

This abstracted seascape painting by S. Cora Aldo features a cool, light blue palette with warm sand tones in the foreground of the composition. The painting captures an abstracted v...