Florida - Abstract Paintings

His The panel paintings "Expanded Metal Paintings" are the closest to the classic art of painting. Firstly paint is applied by a brush on a primed canvas. Then wire mesh is dunked in...

Tactile Memory #151, 2022 by Natasha Zupan From the series Tactile Memory Fabric, acrylic, and mixed media on canvas Size: 9.5 in. H x 7.5 in. W x 3 in D. Canvas on a stretcher Nata...

Simon Gaon (born 1943) is an American painter, Expressionist, and action painter. This is a thick impasto oil painting. with a lot of texture and color. This is a nighttime scene of...

sin titulo. acrylicc painting (CARLOS MENDEZ, ARGENTINA, 1943) Carlos Méndez is an Argentine plastic artist of great projection, based in Barcelona since the eighties. It uses a f...

Oskar D'Amico (1923-2003). Fisherman at Dusk, c.1960. Oil on linen canvas, 16 x 30 inches; 18 x 32 inches (frame). Signed lower right. Excellent condition with no damage or conservation. Biography: Oskar Maria D'Amico (February 22, 1923 – May 3, 2003) was an active Italian artist in Rome, Naples, Lanciano, Cisterna, Milan, Gallarate, Torino, Zagabria, Paris, Toulouse, Melun, Carenac, Maubeuge, Madrid, Barcelona, Zaragoza, Budapest, Győr, Mexico City, Cuernavaca, Morelia, Toronto, New York City, Philadelphia, Los Angeles, San Francisco, Miami, Denver, Santa Fe, Albuquerque and Socorro, between 1943 and 2003. He is considered a Nomad artist because of his ability to work in various styles. He had three major periods in his artistic life: Figurative, Materic and Geometric. [1]He also was an outstanding art director for more than 75 epic movies. D'Amico had a very outgoing personality. He was a non-conformist, which was reflected in his work throughout his life. D'Amico was born in CastelFrentano, Italy, a small village in Abruzzo. At a young age, he felt he had to leave and dive into the big world. After being a seminarist with the Salesiani during World War II, he left Naples, where he studied architecture, and began a great adventure in Rome. He specialized at the time in decorating nightclubs and bars, and invented a special type of double ceiling to hide the lights. D'Amico, who was self-taught as a teenager in drawing and painting, burst onto the filmmaking scene in Rome when an art director asked him to do a perspective of a set design. Soon other moviemakers were calling him.[2] D'Amico was an art director on 75 films including two by Orson Welles. D’Amico was able to create a real marble floor in the set of the palace of the King Saul, in "David and Goliath" directed by Orson Welles. Art directors previously painted a simulated marble on top of concrete due to the cost of the real thing. D'Amico became an associate of Jadran Films in ex-Yugoslavia, which specialized in Roman and Egyptian constructions. While an art director, he never stopped painting. His faceless clowns, reflecting the people who had no identity after World War II, were a big success. In the early 1960s, D'Amico moved with his family to Toronto, Canada, another place he felt was too small. He left for Philadelphia and New York City, which affected his work. He turned his focus to abstract, and for more than a decade created abstract Expressionist paintings "on the plane of all matter" that he called "Materic". The Materic style, which he invented, was done in several media and could not be changed once on the canvas. The paintings were very well received. D’Amico sold more than 400 in Philadelphia and New York City. Unfortunately he had to stop doing the Materics because the colors he used were harmful to his liver. In the mid 1970s, he returned to his architectural roots and developed a new vision for Abstract Constructivism using just acrylic colors. Presented in Paris by his French Art dealer, Francoise Tournier, at the Grand Palais de Paris, and in Mexico City, D'Amico's interpretation of the "New Geometry" was widely admired. In 1983, when he presented the work at the Bodley Gallery, people whispered that he had the potential to be the new Picasso because of his eclecticism and the Nomad nature of his styles. In 1987, D'Amico abandoned the gypsy life and settled in New Mexico. Albuquerque was the perfect place to dedicate himself 100 percent to his work.[3] There were no distractions and a good climate that reminded him of his beloved Cuernavaca in Mexico. Staying in close contact with his French art dealer Tournier, D’Amico had several shows in Denver at the Helen Karsh Gallery and in Albuquerque at the Black Swan and Café Galleries. At least once a year, D’Amico went to Europe to immerse himself in the antique world and visit museums and galleries. In 1992, visiting Tournier at the Castle of Saint Cirq Lapopie, he met the man who founded the MADI movement in 1940, Carmelo Arden Quin...

Stefanos Sideris (1921-2014). Floral Still Life, ca. 1980. Oil on panel measuring 11 x 14 inches; 19 x 22 inches framed. Signed lower left.

Claude Vermette R.C.A. is a Canadian ceramicist and painter who was born in Montreal, Quebec, August 10, 1930 and who died in Sainte-Agathe-des-Monts, April 21, 2006. Artist of international reputation, he made important contributions to the ceramic arts in Canada As a ceramist who worked in the architecture field, Claude Vermette is a pioneer in Québec and in Canada with regards to this type of artistic expression. The bursts of colours of his wall size mural ceramics, the warmth of their hues and the play of their textures brought a human dimension in architectural spaces that were often grey and frigid. In his abstract paintings as well as in his prints and watercolours, Claude Vermette pursued this bold approach while constantly renewing and expanding the possibilities of colour and light. His work works with gradations of color field and shifting light. A native of Montreal, Quebec, Claude Vermette studied art under the guidance of Brother Jerome, c.s.c. at Notre-Dame College while also attending the Collège Saint-Laurent and the college of the Clercs de Saint-Viateur for his academic studies. Through his contact with Brother Jerome, he met Paul-Emile Borduas and joined the Automatiste group of emerging artists. They were influenced by Surrealism and its theory of automatism. Members included Marcel Barbeau, Roger Fauteux, Claude Gauvreau, Jean-Paul Riopelle, Pierre Gauvreau, Fernand Leduc, Jean-Paul Mousseau, Marcelle Ferron and Françoise Sullivan...

Luis Miguel Valdes (Cuba, 1949) 'Memories IV', 2024 acrylic on canvas 60 x 60 in.

Richard Heinsohn (American, -1961) "Life Forms in Transit," Hand signed and dated 1988 verso. Provenance: Allan Stone Gallery, New York. Education...

constellation original acrylic paper painting Son of Josep Tharrats i Vilà, in 1932 he moved to Béziers until 1935, when he returned to Barcelona to study at the Massana School. The...

Pierre Andre Obando creates process oriented abstract paintings. He was born in Belize City, Belize and grew up in the Caribbean, the U.S. Virgin Islands, Miami, Fl and Jackson, MS. ...

original abstract acrylic canvas painting. framed , Rafael (Barcelona 1956) While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodrama’, in the same ...

Luis Miguel Valdes (Cuba, 1949) "Colonial Moon II", 2024 acrylic on canvas 60 x 60 in.

Luis Miguel Valdes (Cuba, 1949) 'Memories V', 2024 acrylic on canvas 60 x 60 in.

Luis Miguel Valdes (Cuba, 1949) "Andar La Habana II", 2020 acrylic on canvas 45 x 55 in.

Luis Miguel Valdes (Cuba, 1949) "Colonial Moon I", 2024 acrylic on canvas 60 x 60 in.

Luis Miguel Valdes (Cuba, 1949) 'Memories I', 2024 acrylic on canvas 60 x 60 in.

Size includes Mat. Without its 8" X 4". Card pictured after painting not included. Dongkuk Ahn (1937-2013), better known as Don Ahn, was a South Korean artist and t'ai chi master who resided in New York City. Don Ahn (Ahn Dong Kuk) was born in Seoul, Korea. He studied at Seoul University (BFA), graduate student at Miami University, Oxford Ohio 1962, Pratt Institute (MFA), and New York University (Ph. D, Art History). Don Ahn was a pioneer of Korean art in America. In the 1950s he was the first Korean artist to move permanently to the US and receive recognition here, beginning with the 1952 exhibition of his work at the Kilbride Bradley Gallery in Minneapolis, the very first exhibition of Korean contemporary art in America. He belongs to the generation of Korean Abstract artists that include Kim Whan-Ki, Park Se-Bo, Lee Ufan, Chung Sang-Hwa, Yun Hyong-Keun and Ha Chong-Hyun. He was also a student of the T'ai Chi grandmaster Cheng Man-ch'ing in New York City. Ahn's work is greatly influenced by nature, specifically the cycles of nature as in Zen and other Eastern philosophies. Ascribing to the Eastern belief that nature is central to everything that exists, Ahn paints natural forms and environments, which he abstracts into brushstrokes, drips, and splatters. Titles of his paintings reference trees, wind, and water, and include Broken Branch in the Rain, Old Zen Tree, and Wind, Rain, & Ocean. His swirls and drips portray the rapid, random, and untamed effects of natural forces. Another influence or concept in Ahn's work is the dragon, a good and powerful figure from Korean and Chinese mythology, whose movements and forms Ahn suggests in whimsical ribbon-like marks and trails of paint. In Korean folk tales, dragons show goodwill to humans by sending clouds and rain, and they tend to live in lakes, rivers, and oceans. Paying tribute to this Folkloric legacy, Ahn's paintings bear titles such as Brown Dragon and Yellow Dragon, as well as titles using names of underwater creatures and habitats, like Phantasy in the Deep Sea. Ahn's ink and acrylic paintings on canvas are reminiscent of Chinese Zen Calligraphy and paintings, with their quick brushstrokes and elegant compositions. Composed of swipes and spatters that course across the pictorial field, these works blend Eastern brush painting with Abstract Expressionist "action painting." Ahn has had numerous solo and group exhibitions in the U.S. and abroad, including the solo shows Dragons & Oceans at Ewha Gallery, Seoul, South Korea in 2007, and Zen & Void at Walter Wickiser Gallery, New York, NY in 2004. His work is in private and public collections, including The Museum of Modern Art, New York, the Dayton Art Museum, Ohio, and the Evansville Museum, Indiana. Awards and honors include First Prize (in painting) from the Dayton Art Museum Ohio Regional Art Annual in 1963, the Pratt Graduate Fellowship in 1963, First Prize (in etching) from East Coast Printmaker's Annual in 1964, and the McDowell Artist Fellowship in 1964. Selected solo exhibitions 2014 Don Ahn: Spirit, BBCN Bank, New York, NY 2014 Don Ahn (1937-2013), Walter Wickiser Gallery, New York, NY 2012 Paintings From 1968 Through 2005, Walter Wickiser Gallery, New York, NY 2007 Dragons & Oceans, Ewha Gallery, Seoul, South Korea 2004 Zen & Vold, Walter Wickiser Gallery, New York, NY 1975 Lotus Gallery, New York, NY 1972 Green Mountain Gallery, New York, NY 1972 Westbeth Gallery, New York, NY 1971 Westbeth Gallery, New York, NY 1971 Dalhousie Gallery, Nova Scotia, Canada 1969 Downey Museum, Los Angeles, CA 1965 Evansville Museum, Evansville, IN 1963 Dayton Art Museum, Dayton, OH 1952 Kilbride Bradley Gallery, Minneapolis, MN 1950 Korean Do-Su-Kwan Gallery, Seoul, South Korea Selected group exhibitions 2013 Coloring Time, Korean Cultural Service, New York, NY 2013 Friends, Walter Wickiser Gallery, New York, NY 2011 Friends, Walter Wickiser Gallery, New York, NY 2011 Art Toronto, Toronto, Canada 2011 Art Chicago, Chicago, IL 2010 Art Toronto, Toronto, Canada 2002 Eastern Essence, Gary Snyder Gallery, New York, NY 2001 Abstract Expressionism, Gary Snyder Gallery, New York, NY 1999 Pleiades Gallery, Seoul University Alumni show, New York, NY 1999 Korean New York Art Society Show, Jersey City, NJ 1999 Fukuoka Asian Art Museum Fukuoka, Japan 1999 Artist of the Third Millennium, Walter Wickiser Gallery, New York, NY 1998 Kaohsiung Museum Of Fine Arts, Taipei, Taiwan 1997 Chicago Institute Of Art, Chicago, IL 1997 Zimmerli Museum, Rutgers University 1997 Asian Tradition & Modern Expression: 1945 - 1970, Zimmerli Museum, Rutgers University 1976 Lotus Gallery, New York 1972 Westbeth Gallery, New York, NY 1971 US National Print Biennial, Museum Of Modern Art, Tokyo, Japan 1969 Cooper Union, faculty show, New York, NY 1968 6th Invitational International Print Biennial, Museum Of Modern Art, Tokyo, Japan 1967 International Print Biennial, Grenchen, Switzerland 1967 Audubon, National Annual, New York, NY 1966 Society of American Graphic Artists, National Annual, New York, NY 1966 Ball State College, National, Drawing and Sculpture, Muncie, IN 1966 Traveling U.S. Print Show, Pratt Graphic Arts Center, New York, NY 1965 Traveling U.S. Print Show, Pratt Graphic Arts Center, New York, NY 1964 New York, Institute of Technology, faculty show New York, NY 1964 Evansville Museum, Indiana 1964 East Coast Printmakers, Village Art Center, New York, NY 1963 Ohio Regional Art Show, Dayton Art Institute, OH 1963 Drawing and Prints from the collection of J.Johnson, Cincinnati Museum of Art, OH 1962 Seattle...

This is a large colorful, bold, vibrant original oil painting on canvas, hand signed and dated 1989. It is titled Tango. Joan Thorne (1943-) is a New York artist nationally and internationally recognized. A third generation Abstract Expressionist woman artist who has exhibited works over the past 30 years. Her art has been shown in the Corcoran Gallery of Art, Washington, DC, the Whitney Museum’s Annual Exhibition, the Grand Palais in Paris, and Barbara Rose’s seminal exhibition American Painting: The Eighties at New York University’s Grey Gallery. Her recent shows in New York City have been reviewed by the New York Times, Art in America, ArtNews and The New Criterion among others. Her work has been compared to Elizabeth Murray work. It is colorful and has a 1980's, Memphis Milano feel to it. Thorne grew up in Greenwich Village. Her mother was a Ukrainian immigrant from a musical family, who became an English teacher; her father, a surgeon. Recognizing their daughter’s artistic talents early, they enrolled her at age six in the Little Red Schoolhouse on Bleecker Street in Greenwich Village. Founded in 1921 by Elisabeth Irwin, a pioneer in educational reform, the school has continued to maintain its reputation as a progressive and nurturing catalyst for creative children. Pete Seeger, the folk singer, performed there so frequently that Thorne remembered him as if he were one of the teachers. In 1971, Thorne met Faith Ringgold (b. 1930) and joined her as a teacher at the Women’s House of Detention on Rikers Island in a new program called “Art without Walls–Free Space.” The program, which had been born from the civil rights movement, was aimed at enriching the lives of the inmates. Thorne and her peers came of age struggling against sexism in the art establishment and its attendant lack of exhibition opportunities for women. Since 1985, this issue had been loudly exposed by the public protests of the Guerrilla Girls, whose members remain a well-kept secret. Her painting has been included in two Whitney Museum Biennials and various other museum group exhibitions both in the United States, Europe and Latin America. She has had numerous one person shows in galleries such as: Sideshow Gallery New York, Fischbach Gallery, New York City, Corcoran Gallery of Art, Washington D.C., Willard Gallery, New York, Graham & Sons Gallery, New York, The Clocktower, New York City, and the National Arts Club among others. Thorne has been awarded the Prix de Rome Fellowship to paint at the American Academy in Rome. She also received two National Endowment grants for painting and two Pollock Krasner Grants among others. "Since 1973, while myriad styles, movements and mediums have flourished briefly in turn, Joan Thorne has steadfastly developed one visual language-that of painterly surface, light, color and distilled form-which she finds best suited for her artistic project: intimating dreams. intuitions and the psychic consequences of travel. " "For there is something luxuriant and mysterious in Thorne's compositions. They have a classic modernist genealogy that encompasses Arthur Dove, Georgia O'Keeffe, Marsden Hartley, Milton Avery and Mark Tobey; yet each carries a hint of exoticism, " --Richard Vine, Art In America, Review, June 1998 Education Hunter College, New York, M.A. New York University, New York, B.S. Awards 2006 Adolf Gottlieb Foundation Grant in Painting 2003 Prize in Painting, Florence BiennaleInternazionale, Florence, Italy 2001 Pollock Krasner Foundation Grant in Painting 1986 Prix de Rome, American Academy in Rome Pollock Krasner Foundation Grant in Painting 1983 National Endowment for the Arts, Fellowship in Painting 1980 New York State Council on the Arts, Grant for Painting 1979 National Endowment for the Arts, Fellowship in Painting 1976 Grant in Painting, Rhode Island State Council on the Arts 1975 New York State Council on the Arts, Grant for Painting 1974 Grant in Painting, Rhode Island State Council on the Arts 1972 Artist of the Year, Aldrich Foundation Select Solo Exhibitions 2015 Black and White Into Color, National Arts Club, New York 2013 Sideshow Gallery, Williamsburg, NY 2005 Chris Winfield Gallery, Carmel, CA 2004 Klaus Steinmetz Arte Contemporaneo, San Rafael de Escazu, Costa Rica 2002 Feria de Arte International Arcale, Salamanca, España 2001 Andre Zarre Gallery, New York 2000 Retrospective: Museo Las Americas, San Juan, Puerto Rico 1998 A Retrospective: Museo Voluntariado De Las Casas Reales, Casa de Bastidas, Santo Domingo, Dominican Republic 1990 1985 Graham Modern , New York City, NY 1989 1986 Ruth Bachofen Gallery, Santa Monica, CA 1986 William Halsey Gallery, Simon Center for the Arts, College of Charleston, Charleston, SC 1983 Lincoln Center Gallery, Lincoln Center, New York City, NY Dart Gallery, Chicago, IL Gloria Luria Gallery, Bay Harbor Island, FL 1982 Nina Freudenheim Gallery, Buffalo, N 1980 Willard Gallery, New York 1979 The Clocktower: Institute for Art and Urban Resources, New York City, NY 1977 Galerie Veith Turske, Cologne Art Fair, Cologne, Germany 1974 Fischbach Gallery, New York City, NY 1973 Corcoran Gallery of Art, Washington, DC Select Group Exhibitions 2019 Art On Paper, March 2019, New York, NY 2018 Sideshow Gallery, The Greatest Show On Earth, Williamsburg, NY 2015 Outside The Lines/Modernist Drawings, National Arts Club, NY 2014 "National Arbor Day Show", National Arts Club, New York, NY ArtHamptons Fair, July 10-13, East Hampton, NY Tribal and Contemporary Art, June 12 - July 28, New York, NY 2012 Art Southampton, International and Contemporary Modern Art Fair, Hollis Taggart 2010 Janet Kurnatowsky Gallery, New York 2003 Biennale Internazionale Dell' Arte Contemporanea, Florence, Italy 2002 Gallery Uno 'Spazio Su Misura, Milan, Italy 1991 Andre Emmerich Gallery, "Abstract Painting of the 90's", curated by Barbara Rose. New York Stock Exchange, Invitational 1989 Graham Modern, "Synthesis" 1986 Graham Modern, "Diptychs, Triptychs, Polyptychs" Sidney Janis Gallery, "American Women Artists", New York City, NY Nina Freudenheim Gallery, Buffalo, NY N.Y.C.W.C.A., "Abstract Painting: Painting by Women Artists...

The title of the series derives from one of the many conversations in which Jorge Luis Borges, a lover of walks and strolls through streets, parks, and gardens, in those conversation...

Homenaje a Pesoa. original acrylic on canvas. abstract. painting Original work by the Spanish painter Rafael RUZ. Acrylic on canvas . , Rafael (Barcelona 1956) While contemplating ...

The title of the series derives from one of the many conversations in which Jorge Luis Borges, a lover of walks and strolls through streets, parks, and gardens, in those conversation...

The title of the series derives from one of the many conversations in which Jorge Luis Borges, a lover of walks and strolls through streets, parks, and gardens, in those conversation...

Homenaje al tapiz- original abstract mixed media painting. frame GRAU-GARRIGA, Josep (San Cugat del Valles, 1928 - Angers, 2011). Grau-Garriga was a Catalan artist, muralist and o...

" Informalisme " original abstract mixed media painting RAVENTÓS Mª Assumpció – (San Sadurní d’Anoia, Barcelona 1930). Raventos trained at the elite Sant Jordi School of Fine Arts i...

49 Lola 100x80_ cm acrylic painting Born in Badalona (Barcelona). Photographer and advertising film director. Founding partner of the advertising production company La Cosa de las...

Red original abstract acrylic canvas painting Original work by the Spanish painter Rafael RUZ. Acrylic on canvas . Perfect state RUZ, Rafael (Barcelona 1956) While contemplating the ...

Original work by the Spanish painter Rafael RUZ. Acrylic on canvas . Perfect condition. RUZ, Rafael (Barcelona 1956) While contemplating the painting of Ruz, we are inclined to talk ...

Miriam Schapiro, "Curtain Call" 2002 Hand signed, dated and titled verso and signed and dated recto. acrylic paint, digital images, glitter and textile fabric on canvas, tooling with gold leaf embossing around self edge of painting. size: 60 x 50 in Miriam Schapiro (or Mimi Schapiro) (November 15, 1923 – June 20, 2015) was a Canadian-born artist based in America. She was a painter, sculptor and printmaker. She was a pioneer of feminist art. She was also considered a leader of the Pattern and Decoration art movement. Schapiro's artwork blurs the line between fine art and craft. Her paintings contain craft elements because crafts and decoration is associated with women and femininity. She used icons that are associated with women such as hearts, floral decorations, geometric patterns and the color pink. In the 1970s she made a small woman's object, the fan, heroic by painting it six feet by twelve feet. This bears the influence of the Pattern and Decoration movement artists such as Brad Davis, Mary Grigoriadis, Joyce Kozloff, Robert Kushner, Kim MacConnel, Sonya Rapoport, Miriam Schapiro and Valerie Jaudon. Shapiro was born in Toronto, Ontario, Canada. Her father was an industrial design artist who fostered her desire to be an artist and served as her role model and mentor. Her mother was a stay at home mother who worked part-time during the depression. As a teenager, Schapiro was taught by Victor d’Amico, her first modernist teacher at the Museum of Modern Art. In the evenings she joined WPA classes for adults to study drawing from the nude model. In 1943, Schapiro entered Hunter College in New York City, but eventually transferred to the University of Iowa. At the University of Iowa, Schapiro studied painting with Stuart Edie and James Lechay. She studied printmaking under Mauricio Lasansky and was his personal assistant, which then led her to help form the Iowa Print Group. Lasanky taught his students to use several different printing techniques in their work and to study the masters' work in order to find solutions to technical problems. At the State University of Iowa she met the artist Paul Brach, whom she married in 1946.. By 1951 they moved to New York City and befriended many of the Abstract expressionist artists of the New York School, including Joan Mitchell, Larry Rivers, Knox Martin and Michael Goldberg. Schapiro worked in the style of Abstract expressionism during this time period. Shapiro and Brach lived in New York City during the 1950s and 1960s. During this period Shapiro had a successful career as an abstract expressionist painter in the hard-edge style. In December 1957, André Emmerich selected one of her paintings for the opening of his gallery. Schapiro not only honored the craft tradition in women's art, but also paid homage to women artists of the past. In the early 1970s she made paintings and collages which included photo reproductions of Mary Cassatt's and Georgia O'keefe's paintings. Early in her career, Schapiro started looking for maternal symbols to unify her own roles as a woman. Her series, Shrines (1963), was her first artistically successful attempt at compartmentalizing her life roles. Her painting, Big Ox No. 1, from 1968, references Shrines, however no longer compartmentalized. The center O takes on the symbol of the egg which exists as the window into the maternal structure with outstretched limbs. Her series, Shrines was created in 1961–63. It is one of her earliest group of work that was also an autobiography. Each section of the work show an aspect of being a woman artist. They are also symbolic of her body and soul. In 1964 Schapiro and her husband Paul both worked at the Tamarind Lithography Workshop. One of Schapiro's biggest turning points in her art career was working at the workshop and experimenting with Josef Albers' Color-Aid paper, where she began making several new shrines and created her first collages. In the 1970s, Schapiro and Brach moved to California so that both could teach in the art department at the University of California. Subsequently, she was able to establish the Feminist Art Program at the California Institute of the Arts, in Valencia with Judy Chicago. The program set out to address the problems in the arts from an institutional position. They wanted the creation of art to be less of a private, introspective adventure and more of a public process through consciousness raising sessions, personal confessions and technical training. She participated in the Womanhouse exhibition in 1972. Schapiro's smaller piece within Womanhouse, called "Dollhouse", was constructed using various scrap pieces to create all the furniture and accessories in the house. Each room signified a particular role a woman plays in society and depicted the conflicts between them. Along with Nancy Spero, Joan Snyder, Joyce Kozloff, Audrey Flack and Judy Chicago, she is from that first generation of Jewish American feminist women artists and includes Judaica in her work. Schapiro's work from the 1970s onwards consists primarily of collages assembled from fabrics, which she called "femmages". As Schapiro traveled the United States giving lectures, she would ask the women she met for a souvenir. These souvenirs would be used in her collage like paintings. Her 1977-1978 essay Waste Not Want Not: An Inquiry into What Women Saved and Assembled - FEMMAGE (written with Melissa Meyer) describes femmage as the activities of collage, assemblage, découpage and photomontage practised by women using "traditional women's techniques - sewing, piercing, hooking, cutting, appliquéing, cooking and the like..." She was involved in Abstract expressionism, Minimalism, Computer art, and Feminist art. She worked with collage, printmaking, painting, femmage [fr] – using women's craft in her artwork, and sculpture. Schapiro not only honored the craft tradition in women's art, but also paid homage to women artists of the past. In the early 1970s she made paintings and collages which included photo reproductions of past artists such as Mary Cassatt. In the mid 1980s she painted portraits of Frida Kahlo on top of her old self-portrait paintings. In the 1990s Schapiro began to include women of the Russian Avant Garde in her work. The Russian Avant Garde was an important moment in Modern Art history for Schapiro to reflect on because women were seen as equals. Schapiro also did collaborative art projects, like her series of etchings Anonymous was a Woman from 1977. She was able to produce the series with a group of nine women studio-art graduates from the University of Oregon. Each print is an impression made from an untransformed doily that was placed in soft ground on a zinc plate, then etched and printed. Her image is included in the iconic 1972 poster Some Living American Women Artists by Mary Beth Edelson...

Joseph Kardonne (1911-1985). Nude Woman, 1949. Gouache on paper, sheet measures 13.5 x 13.5 inches. Image measures 12 x 12 inches. Signed, dated and titled lower right. Unframed....

Color Derivatives #14, 2016 by Natasha Zupan From the series Color Derivatives Oil, fabric, Gold, medium, on wood Size: 18 in. H x 15 in. W x 3 in D. Unique _________________________...

RUZ, Rafael (Barcelona 1956) While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodrama’, in the same sense that Julius Bissier referred to some of th...

Color Alchemy #52, Painting 2013 by Natasha Zupan Oil, fabric, medium, on wood Size: 18 in. H x 15 in. W Unframed Unique ____________________________________ Natasha Zupan beautifully unites the old and new. A Yale-educated, internationally renowned artist, combines the innovation of her highly crafted technique with her wonder for tradition and the great Masters. This body of work explores the manipulation of surface texture, light, and the interweaving of time. It is not about translating a world that already exists, but about an entrance into a different universe. A timeless, tactile world of sensation and overlapping memory. Natasha shows annually throughout Europe, Asia, and the United States, including multiple exhibitions at the Columbus Museum of Art...

" Informalisme " original abstract mixed media painting RAVENTÓS Mª Assumpció – (San Sadurní d’Anoia, Barcelona 1930). Raventos trained at the elite Sant Jordi School of Fine Arts i...

Pierre Andre Obando creates process oriented abstract paintings. He was born in Belize City, Belize and grew up in the Caribbean, the U.S. Virgin Islands, Miami, Fl and Jackson, MS. ...

Luis Miguel Valdes (Cuban, 1949) "Tarde en La Habana", 2014 Oil and Acrylic on Canvas 55 × 91 in Unframed Luis Miguel Valdés, Biography Luis Miguel Valdés, a renowned Cuban painter...

"Over Seer" 1995 by Mason Rader A graduate of the L. Jeffrey Selznick School of Film Preservation at the George Eastman House in Rochester NY with a Bache...

Constellations original abstract acrylic paper painting Son of Josep Tharrats i Vilà, in 1932 he moved to Béziers until 1935, when he returned to Barcelona to study at the Massana S...

Neo-Expressionist painting depicts a young woman in luminous light. Encaustic on canvas, 13 x 16 inches. Unsigned. Minor paint loss along left edge.

Sea Horse- original neo-expressionist acrylic painting Original work of Toni Caldentey. CALDENTEY, Toni - (Portocolom, Mallorca - Spain) The active notion of rhythm and the concept ...

Provenance: Babcock Galleries (bears their label verso. signed verso with artists monogram signature. Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures. Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Marilyn Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies. Following a tour of museums in Amsterdam, Paris and Rome, the artist made her way to Jerusalem in 1966. During this journey, the artist worked with painter Ruth Bamberger, studied etching and mingled with the artists and intellectuals of the city. The result was Dintenfass's first architectural commission, to design the “Pop Op Disco,” Jerusalem's first disco. This commission allowed her to work with an array of materials to employ shapes, surfaces, textures, colors, and lights, all of which coalesced in her consciousness that would become important components of her mature personal visual vocabulary. Dintenfass also married and started her family during these years. Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.” Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.” Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant." The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist's paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself. Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculpture unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.” Dintenfass has also been commissioned to create many large-scale installations, including works for the State of Connecticut Superior Courthouse; the Port Authority of NY 42nd Street Bus Terminal; IBM in Atlanta, Charlotte, and San Jose; The Baltimore Federal...

His The panel paintings "Expanded Metal Paintings" are the closest to the classic art of painting. Firstly paint is applied by a brush on a primed canvas. Then wire mesh is dunked in...

".bodegon on the bot original abstract acrylic canvas painting. Artwork by Spanish artist ISIDRO CAHUE. Acrylic on canvas Perfect state The personality of the artist is reflecte...

original abstract acrylic canvas painting Original work by the Spanish painter Rafael RUZ. Acrylic on canvas . Perfect condition. RUZ, Rafael (Barcelona 1956) While contemplating th...

Original artwork by Spanish artist Rafael Ruz. Acrylic in perfect condition. While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodrama’, in the sam...

Original artwork by Spanish artist Rafael Ruz. Acrylic on canvas in perfect condition. While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodrama’, in ...

Original artwork by Spanish artist Rafael Ruz. Acrylic on canvas in perfect condition. While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodrama’, in ...

drops effect. fish original abstract acrylic paper painting . virtual framed Artwork by Spanish artist ISIDRO CAHUE. The personality of the artist is reflected in different fields ...

The works produced under the name Sacred Duality are inspired by recognizing the impermanent nature of all things and being aware that nothing is static. Appreciating that continuous...

Otoño original neo expressionist acrylic painting. contemporary work by the mallorquin artist Toni CALDENTEY CALDENTEY, Toni - (Portocolom, Mallorca - Spain) The active notion of r...

His The panel paintings "Expanded Metal Paintings" are the closest to the classic art of painting. Firstly paint is applied by a brush on a primed canvas. Then wire mesh is dunked in...

colors- original abstract acrylic painting virtual frame Original paper by the famous Spanish artist Josep Tharrats. Acrylic on paper. Perfect condition. Certificate of originality R...

sin titulo. acrylicc painting (CARLOS MENDEZ, ARGENTINA, 1943) Carlos Méndez is an Argentine plastic artist of great projection, based in Barcelona since the eighties. It uses a f...

Balance of Spiritual Subconsciousness is part of Serg Graff’s radiant “Auras” collection — a series of abstract oil paintings that visually explore the unseen fields of energy surrounding human consciousness. With its hypnotic layers of glowing reds, golds, and warm pinks, the composition invites the viewer to contemplate the balance between inner intuition and outer experience. Painted in 2018, this work embodies Graff’s signature fusion of spiritual reflection and bold, expressive technique. The concentric circles evoke both a pulse and a portal — a steady heartbeat of the soul. This piece captures a meditative stillness while radiating vibrancy and heat, offering grounding for viewers seeking clarity or connection. Artist Statement : “I aim to paint energy as feeling — invisible but present. This series is my way of mapping out what cannot be seen but is always sensed: balance, resonance, vibration.” – Serg Graff Title: Balance of Spiritual Subconsciousness Artist: Serg Graff Year: 2018 Medium: Oil on canvas Collection: Auras Signed: Yes, upper right Framed Size: 21.5” x 25.5” Canvas Size: 16” x...

boat- original neo-expressionist acrylic painting contemporary work by the mallorquin artist Toni CALDENTEY Painting on paper Perfect state CALDENTEY, Toni - (Portocolom, Mallorca ...

Artur Duch Puig, born 1951 in Sitges In 1971 he started studying at the St. Jordi School of Fine Arts in Barcelona. There he developed his artistic skills in the fields of sculptu...

Homenaje al tapiz- original abstract mixed media painting. frame GRAU-GARRIGA, Josep (San Cugat del Valles, 1928 - Angers, 2011). Grau-Garriga was a Catalan artist, muralist and o...