Hudson - Paintings

Signed and titled verso on stretcher "Lea Ancient Revel". Subtitled verso on label in artist's hand: "An attempt to marry ancient mineral matter with people". Exhibited at the 194...

This work epitomizes Prestopino's interest in social realism which captures a quiet interlude in the everyday life of an "everyman." It also provides a contrast for our expectations as we view a tough, blue collar worker, with no one watching, as he sings a melody to the birds. In an original frame measuring 49" x 39" x 3.25" Provenance: Edith Halpert's Downtown Gallery (label verso from 13 w. 113th street, where the gallery was located from 1926 until 1939) Private collection, NYC, c. 1935 By descent About this artist: Born in Little Italy in 1907, Gregorio Prestopino first set out to become a sign painter as the son of New York City immigrants. Instead, his talent provided a life-changing scholarship to the National Academy of Design, and for five years he studied drawing under C. W. Hawthorne. He spent the summer of 1934 at the MacDowell Colony in Peterborough, New Hampshire. His deep involvement with the colony led him to later serve as its director in 1954. Much of Prestopino’s work was in the vein of social realism. During the 1940s and 1950s he became deeply invested in portraying everyday Manhattan and Harlem scenes. He first became interested in the Ashcan school at the National Academy of Design, and remained committed to an interest in working with urban scenes. His lively treatment of people and events revealed his affinity for sixteenth-century artist Pieter Breughel...

Large, brightly colored abstract geometric painting in various shades of red, pink, and peach with accents of mint green, teal, blue, yellow, white and black. "Memory Wall #6" made ...

Emily Sartor’s paintings are both precise and lush, often hinting at a romantic disaster. Using exaggerated color and dramatic paint handling, Sartor creates a world where experience...

Signed and dated "Mary Spencer Nay '74" lower left. Titled "Pyromaniac's Pyre" verso. Exhibited: 1976-1977 "Mary Spencer Nay: Recent and Retrospective Works". J.B. Speed Art Museum...

Signed "Paul Sample" lower right; titled and signed verso: "The Wood Decoy" & "Paul Sample" in pencil in the artist's hand. Paul Sample was an acclaimed Ne...

Vertical, brightly colored abstract painting in various shades of red and pink with accents of light yellow, orange, white, and black "It's Not You It's Me" made by Hudson Valley art...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Artist Joseph Meert studied at the Kansas City Art Institute and later the Art Students League of New York after immigrating to the United States as a ...

The bold texture of this artwork engages the viewer. The textures Ottesen created are not as apparent until seem from close up. A subtle stunner. Framed this piece measures 29.25" ...

Exhibited: 2003 Oakland Museum of California "Fred Martin Retrospective" A native Californian, Fred Martin was born in San Francisco in 1927, and received both his BA (1949) and MA (1954) from University of California, Berkley. At the San Francisco Art Institute Martin studied with Clyfford Still, Mark Rothko and David Park...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

The texture of this artwork by Frederik Ottesen is mesmerizing. Seen from a distance, it invites the viewer to come closer and they are rewarded with the gorgeous encaustic surface O...

Exhibited: 1973 San Francisco Museum of Art 2003 Oakland Museum of California "Fred Martin Retrospective" A native Californian, Fred Martin was born...

This work of a young musician by Frederick E. Wright is set in an exceptional original Doll & Richards, Boston, frame. The framed dimensions are 16' x 13 1/3" x 1". A hand-written la...

The texture of this artwork is both subtle and engaging. Standing far away this painting invites the viewer to step forward and see up close the eye-catching texture Ottesen created....

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Bibliography Art in America, April 1951, p.78 About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Classic Impressionist still-life oil painting by American artist George Oberteuffer. Tabletop Arrangement (c.1925) Oil on canvas 30" x 36" 39 ½" x 45 ¼" x 2 ½" framed Signed "Ober...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

"Blue Violet" painted by Joy Taylor in 2022 22 x 28 inches, 29 x 37 inches framed acrylic on paper Custom Frame with White Wood Molding, Window Mat and Tru Vu AR Glass Joy Taylor’s ...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in various ways by others. In this recent body of work, I draw on my deep love of nature: the impressions from my new rural life Upstate and in the Berkshires...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

"Zinnia" painted by Joy Taylor in 2022 22 x 28 inches, 29.5 x 37 inches framed acrylic on paper Custom Frame with White Wood Molding, Window Mat and Tru Vu AR Glass Joy Taylor’s pai...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

Modern, academic style portrait painting on canvas of a young athletic male oil on canvas, 26 x 17 inches in antique wood frame This vertical, contemporary portrait painting of sin...

Abstract geometric three-dimensional wood wall sculpture resembling stacked books in blue, grey, and white "Blue Books", hand-carved wooden wall sculpture ...

Abstract minimalist color block painting on panel "Untitled 2", painted by Ralph Stout in 2019 16 x 16 x 2 inches, acrylic on panel Sides are painted black, additional framing is optional Ready to hang as is This abstract minimalist, mid-century modern style painting on canvas was made by East Hampton based artist, Ralph Stout, in 2019. The composition features an interlocking pattern of dark teal, blue and black. The painting is on panel with black painted sides. The artist's signature is located on the back. Ralph Stout refers to his approach to abstract painting as “incremental adventurism”. This sums up Stout’s calculated combos of vivid pigments and defined forms layered on top of fluid underdrawings. The artist first creates space using simple linework with graphite pencil; intertwining curvy lines or straight intersecting angles are drawn in varying densities. He then fills the spaces with blocks of pure, vivid color without any real detail other than the outlines of each form that begins to appear. Each mass is connected in stark juxtaposition using intense contrast of color and line. It is the delicate tension between the background and foreground that reveals a solid graphic that is full of vibration. About the artist: Since devoting himself full time to visual art after a long career in computer...

Oil on canvas.

Abstract minimalist color block painting on panel "Untitled 3", painted by Ralph Stout in 2019 16 x 16 x 2 inches, acrylic on panel Sides are painted black, additional framing is optional Ready to hang as is This abstract minimalist, mid-century modern style painting on canvas was made by East Hampton based artist, Ralph Stout, in 2019. The composition features an interlocking pattern of dark teal, blue and black. The painting is on panel with black painted sides. The artist's signature is located on the back. Ralph Stout refers to his approach to abstract painting as “incremental adventurism”. This sums up Stout’s calculated combos of vivid pigments and defined forms layered on top of fluid underdrawings. The artist first creates space using simple linework with graphite pencil; intertwining curvy lines or straight intersecting angles are drawn in varying densities. He then fills the spaces with blocks of pure, vivid color without any real detail other than the outlines of each form that begins to appear. Each mass is connected in stark juxtaposition using intense contrast of color and line. It is the delicate tension between the background and foreground that reveals a solid graphic that is full of vibration. About the artist: Since devoting himself full time to visual art after a long career in computer...

Oil on canvas.

"Oopsie" by Joy Taylor in 2022 42 71 x 1 inches, currently unframed while the sides reveal the raw canvas so framing is optional Acrylic on Canvas, diptych (2 separate canvases that...

Abstract landscape painting. Fame included.

Abstract landscape painting. Fame included.

Abstract landscape painting. Fame included.

Abstract landscape painting. Fame included.

Abstract landscape painting. Fame included.

Abstract landscape painting. Frame included.

Eclipse (Contemporary Cosmic Abstract Painting on Canvas in Black and White) painted by Cinda Sparling 20 x 16 x 1.5 inches oil on canvas, unframed (no frame required) Cinda Sparlin...

Burst (Contemporary Cosmic Abstract Painting on Canvas in Black and Fire Orange Red) painted by Cinda Sparling 16 x 20 x 1.5 inches oil on canvas, unframed (no frame required) Cinda...

Rising (Contemporary Cosmic Abstract Painting on Canvas in Black and White) painted by Cinda Sparling 16 x 20 x 1.5 inches oil on canvas, unframed (no frame required) Cinda Sparling...

"Sweet Gum" painted by Joy Taylor in 2022 28 x 22 inches, 37 x 29 inches framed acrylic on paper Custom Frame with White Wood Molding, Window Mat and Tru Vu AR Glass Joy Taylor’s paintings transform botany into a personal vision. Her recent series on canvas, playfully titled the “Boo-K” paintings, defy traditional still life depictions that often seek to tame and order the objects of the world. On the contrary, Taylor’s subjects are never still. Her floral forms have the crisp, clean qualities of cut paper; sharp, decisive lines slice through blocks of pure pigment to create defined edges of leaves, vines and blossoms. The colors are constructed as well as the form. Her exuberant palette of oranges, blues, magenta and green echo the complimentary colors favored by the Fauvists. Color is an element in and of itself in her work. This balance of sparkling color and form is irrepressible, at times disconcerting and even dangerous in its boldness. In a series of original paintings on paper, Joy pairs down the form by focusing on a single bloom or leaf. As a specimen under a microscope, Taylor dives into the crevices and details of each leaflet on this bright green Sweet...