Fairfield County - Abstract Paintings

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...

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...

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...

This abstract coastal landscape painting by Kelly Rossetti is made with oil paint on paper. It features a cool blue palette with contrasting pink and orange tones across an abstracte...

This original painting by Christine Averill-Green features a cool blue and metallic silver palette with a vibrant yellow accent. A blue and white vas...

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...

Aquaessence 48" x 60" CANTICLES Series: “[These] are my Chants, my sacred songs of contemplation about my experience in painting the mystery within the Tidepools. These works hav...

This mid-sized abstract statement painting by Julia Contacessi features a cool palette with washes of deep blue, warm grey, and a metallic gold accent that flows through the center o...

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...

Oil on canvas Compline: 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 trekking thr...

Having started my career by painting Rembrandt-like portraits of luminous white roses, I credit my discovery of fractals for transforming my artistic vision, and changing the directi...

Sutra, a Sanskrit word meaning “thread”, is a word or small group of words that summarize an entire complex web of ideas, truths, wisdoms, or teachings all woven together into a sing...

This abstract painting by Roger Mudre is made with acrylic paint over metal leaf on panel. It features nearly opaque light blue circles, arranged in an overlapping pattern to create ...

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 ...

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...

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...

Aquaessence on Canvas 24" x 30" CANTICLES Series: “[These] are my Chants, my sacred songs of contemplation about my experience in painting the mystery within the Tidepools. These ...

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...

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 ...

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...

About the artist: As an American artist, Wright’s travels have taken him to paint and/or teach throughout the United States and visiting over a dozen National Park sites in addition...

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 ...

Vincent Dion's painterly abstractions mimic various printed techniques which reconcile and affirm the introspective presence of the hand. Dion’s use of luminous color becomes his es...

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...

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 abstract painting by Roger Mudre is made with acrylic paint on gesso paper. It features a cool palette, with wash layers of circular shapes that are overlapped over one another,...

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...

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

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 ...

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 ...

Aquaessence on Panel CANTICLES Series: “[These] are my Chants, my sacred songs of contemplation about my experience in painting the mystery within the Tidepools. These works have be...

CANTICLES Series: “[These] are my Chants, my sacred songs of contemplation about my experience in painting the mystery within the Tidepools. These works have been inspired by my walk...

Series: Untitled 1 Encaustic and Oil On Wood Panel Size: 30" x 40" Using unconventional hardware - a blow torch, iron and other heated tools - along with paper, encaustics, photog...

Conceived of as one half of a diptych, together with Twelfth Night Red, the title of this painting suggest a reference to William Shakespeare’s play Twel...

This large horizontal abstract statement painting by Kelly Rossetti features a cool blue palette with deep charcoal and pale pink accents throughout. The artist layers the colors usi...

A beautiful abstraction from the 1970's by an American artist working in California but with ties to Hawaii. He melds collage with paint and creates a surface which is exquisite, la...

This mid-sized abstract statement painting by Julia Contacessi features a cool palette with washes of deep blue, warm grey, and a metallic gold accent that flows through the center o...

This abstract floral encaustic painting by Linda Bigness features a cool green and blue palette, with subtle warm muted orange accents and large organic botanical forms and line work...

David Ambrose’s fascination with paper began as a child as when convalescing from major surgery on his right leg at the age of seven. Paper became the playground for his imagination ...

This abstract painting by Sue De Chiara is made with acrylic paint on canvas. It features a light blue-grey palette, with white circular shapes applied in light, loose strokes across...

This abstract painting by Teodora Guererra features a light blue, white, and grey palette with floral shapes assembled at the center of the composition. The artist applies thick laye...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on canvas and features a light, neutral palette with a grid-like pattern throughout the abstract composition. The artist layers paint on the canvas, creating texture among softly blended colors. The painting itself is 24" x 36" and measures 27" x 37" 1.5" framed. It is signed by the artist in the lower right-hand corner of the painting and is framed in a very thin floater frame with a silver face and brown sides. 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...

Throughout her career as a painter Patty Fabricant has pivoted back and forth between figurative and abstract work. Each time she makes the switch it feels abrupt, and yet increasing...

This abstract oil painting by Tony Iadicicco features a light grey palette. The painting has an abstracted landscape composition, with a stark horizon line running through the compos...

At the heart of Macyn Bolt’s artistic practice is an interest in qualities of reflection, mirroring and contrasting perspectives that are unique to the space of abstract painting. Wi...

Having started my career by painting Rembrandt-like portraits of luminous white roses, I credit my discovery of fractals for transforming my artistic vision, and changing the directi...

Artist: Ian Hornak (1944-2002) Title: Raphael’s Stairway Year: 1978 Medium: Acrylic on Canvas Size: 48 x 36 inches Condition: Excellent Inscription: Signed recto; signed, dated, and ...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint and and lacquer on board. It features light textured and a light blue-grey and yellow palette contrasted by the almost black focal point of the composition. The painting is 14.5" x 19" and measures 16.25" x 20.5" x 2" framed. Signed by the artist in the lower left-hand corner of the painting, it is framed in a floater frame with warm silver face and black sides and 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 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...

David Ambrose’s fascination with paper began as a child as when convalescing from major surgery on his right leg at the age of seven. Paper became the playground for his imagination ...

This horizontal abstract painting by Teodora Guererra features a blue, teal, lavender and white palette. The artist layers thick strokes of paint using a palette knife in broad, hori...

This impressionistic winter landscape painting by Molly Doe Wensberg features a cool blue, green, and white palette. The artist captures a l...

My work with Fractals takes the literal definition - ‘the self-repeating properties found within a single object of nature’ – and broadens the principles to how nature repeats itself...

This abstract painting by artist Ned Martin features an eagle in flight, with the background and subject abstracted into small, geometric shapes and sections, with an almost pixelate...

This is an abstract encaustic painting by Linda Bigness with silver and gold leaf on board with neutral sides. The painting features a multicolored palette with vibrant teal, red, ye...

Series: Layered Desert Oil and encaustic Size: 36" x 36" with silver floater frame Using unconventional hardware - a blow torch, iron and other heated tools - along with paper, en...

This abstract painting by Ned Martin is made with oil paint and aluminum on board. It features two blue and green birds, one at the top right-hand corner and one at the bottom left, ...

Series: Untitled 2 1/1 Encaustic and Oil On Wood Panel Size: 30" x 40" x 2" Using unconventional hardware - a blow torch, iron and other heated tools - along with paper, encausti...

Encaustic and oil with acrylic frame 1/1 The contrasting deep blues and bright reds underlying a lattice of wax are reflective of the topography of a natural landscape. The fluid mo...