Stamford / Westport - Art

This abstract collage painting is made with mixed media on canvas over panel. It features an earthy green palette, with muted blue and pink accents. The artist layers hand-made paper...

This beautiful painting is by Japanese artist, Takefumi Hori. He was born in Tokyo, Japan. He paints beautiful gold leaf paintings. This piece is acrylic, gold leaf and metal leaf ...

This is a diptych (each half is 24 x 36 inches) and was created by John Platt, a Brooklyn artist who studied at the Boston Museum of Fine Arts and has exhibited extensively in New Yo...

This is a diptych (each half is 24 x 36 inches) and was created by John Platt, a Brooklyn artist who studied at the Boston Museum of Fine Arts and has exhibited extensively in New Yo...

This abstract oil painting by Tony Iadicicco features a monochromatic palette with varying grey tones. The painting has a dark, stark horizon line and blended greys above and below i...

This contemporary landscape statement painting by Carol Young captures a rural scene with a barn-like structure in an open field. The bright, warm yellow and orange tones of the barn and ground are contrasted by the cool blue sky and lavender shadows cast by the building. The painting is signed by the artist in the lower right-hand corner of the canvas. The gallery wrapped canvas sides are painted light blue, and the painting is wired and ready to hang. Carol C. Young is a landscape painter working in acrylics and oils. She is a plein air painter as well as a studio artist whose contemporary work is primarily identified by a bold use of light and shadow along with iconic depictions of structures within the rural landscape. A fine arts major at the College of New Rochelle, NY, her paintings have won several awards including best in show at the Pequot Library Art...

This is a diptych (each half is 24 x 36 inches) and was created by John Platt, a Brooklyn artist who studied at the Boston Museum of Fine Arts and has exhibited extensively in New Yo...

This figurative abstract painting is by David Skillicorn. The female nude is a new direction for the artist. A bold and creative approach is the melding of the abstract with the fig...

This blue background figurative abstract painting is by David Skillicorn. The female nude is a new direction for the artist. A bold and creative approach is the melding of the abstr...

This abstract collage painting is made with mixed media on canvas over panel. It features a cool palette, with varying cool blue tones and contrasting yellow and pink accents. The ar...

This original abstract watercolor painting by Nealy Hauschildt features a dark blue palette and washy layers of paint. "In this deep blue piece," the ...

Liz Dexheimer’s abstract, colorful landscapes reveal her fascination with the illusory and transcendent qualities of light and atmosphere. Both serve as a source of inspiration for h...

This contemporary abstract painting by Teodora Guererra features a bright yellow and white palette. The artist applies thick layers of yellow and white paint across the painting in horizontal gestures, giving the surface of the canvas texture. It is signed by the artist on the back of the canvas and is wired and ready to hang. Teodora Guererra’s abstract artistic vision has evolved throughout her years spent painting and teaching in Fairfield County, Connecticut; Tucson, Arizona, and upstate New York. Arizona’s naturally radiant landscape and arid climate led her to experiment with rich under-painting and vivid color; while the shifting seasons of the East Coast inspired Guererra to pursue dripping and staining techniques. Her focus has always been pushing the limits through experimentation with new materials. “As an artist, painting can be tormenting and sublime at the same time," the artist says of her work. "I'm a big risk taker, experimenting with different materials to layer, stain and saturate color on large canvases. My most successful work looks as if it happened all at once. It sometimes takes 7 or more paintings to produce a successful one and then it's a beautiful thing." Guererra received her undergraduate and graduate Art degrees from Southern Connecticut University, The College of Saint Rose and Skidmore College. Guererra’s paintings can be found in public and private collections across the U.S., including the Allmen Health and Wellness Center for Women in New York and SUNY Brockport, NY, William & Sonoma, San Francisco, CA. Her influences are Pat Steir, John McCracken, Helen Frankenthaler, Donald Jud, Bernar Venet, Agnes Martin and Brian Rutenberg...

This abstract impressionistic landscape painting by Ken Elliott depicts a forest of trees sitting in a blanket of snow, and a subtle sunset above the top of the forest. The thin tree...

This abstract statement painting by Tony Iadicicco is made with oil paint on canvas and features a blue monochromatic palette. The painting has an a...

This abstract oil painting by Tony Iadicicco features a blue monochromatic palette. The painting has an abstracted landscape composition, with a sta...

This abstract oil painting by Tony Iadicicco features a blue monochromatic palette. The painting has an abstracted landscape composition, with three...

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 figurative abstract painting is by David Skillicorn. The female nude is a new direction for the artist. A bold and creative approach is the melding of the abstract with the fig...

This multi colored figurative abstract painting is by David Skillicorn. The female nude is a new direction for the artist. A bold and creative approach is the melding of the abstrac...

Liz Dexheimer’s abstract, colorful landscapes reveal her fascination with the illusory and transcendent qualities of light and atmosphere. Both serve as a source of inspiration for her work. She is interested in conveying a sense of place that goes beyond any particular location. In her recent paintings, she has been focusing also on the intangibility of the ethereal, the feeling of limitlessness and forever in the far view. She de-constructs found man-made imagery as a point of departure, re-interpreting it to suggest natural light, reflection, what lies beyond. She has always translated everything into a more reductive state, regardless of her source of inspiration, eliminating anecdotal markers, distilling information to try to get at the essence, the idea of it She is drawn to water imagery, the ambiguity of reflections and the multiple horizon lines they create, the contrast between flow and stasis. Dexheimer works with a limited palette , focusing on the sense of fullness, of atmospheric depth that emerges when a few colors interact and intermix. She has an extensive resume’. Dexheimer has shown in numerous galleries and museums. Her work is in many important collections including Essex House...

This blue background figurative abstract painting is by David Skillicorn. The female nude is a new direction for the artist. A bold and creative approach is the melding of the abstr...

This ceramic vessel sculpture by Jon Puzzuoli is made with glazed porcelain. It has a vibrant red and cream palette, with a round body and a fluted neck. The piece has a raku finish,...

This contemporary painting by artist Carol Young is made with acrylic paint on a natural wood panel and measures 40" x 40". The artist, who is known for her use of bold contrasting c...

This ceramic vessel sculpture by Jon Puzzuoli is made with glazed porcelain. It has a round, deep grey and vibrant red body, a fluted neck finished in 18K gold luster, and a red lip....

This Modern abstract piece by Stanley Bate is a wood panel sculpture that has been painted white. Three-dimensional that are reminiscent of architectural pieces are tightly stacked w...

This original painting by John Harris captures a close up view of river rocks beneath lightly-rippling water in a horizontal format. The water reflects lightly off the moving water, ...

This contemporary abstract painting by Teodora Guererra features a bright blue palette. The artist applies thick layers of oil paint in sweeping strokes for a highly textured painting that moves from a deep shade of blue at the bottom of the composition and becomes lighter as the paint is applied at the top. The painting is signed by the artist on the back of the gallery wrapped canvas, and it is wired and ready to hang. Teodora Guererra’s abstract artistic vision has evolved throughout her years spent painting and teaching in Fairfield County, Connecticut; Tucson, Arizona, and upstate New York. Arizona’s naturally radiant landscape and arid climate led her to experiment with rich under-painting and vivid color; while the shifting seasons of the East Coast inspired Guererra to pursue dripping and staining techniques. Her focus has always been pushing the limits through experimentation with new materials. “As an artist, painting can be tormenting and sublime at the same time," the artist says of her work. "I'm a big risk taker, experimenting with different materials to layer, stain and saturate color on large canvases. My most successful work looks as if it happened all at once. It sometimes takes 7 or more paintings to produce a successful one and then it's a beautiful thing." Guererra received her undergraduate and graduate Art degrees from Southern Connecticut University, The College of Saint Rose and Skidmore College. Guererra’s paintings can be found in public and private collections across the U.S., including the Allmen Health and Wellness Center for Women in New York and SUNY Brockport, NY, William & Sonoma, San Francisco, CA. Her influences are Pat Steir, John McCracken, Helen Frankenthaler, Donald Jud, Bernar Venet, Agnes Martin and Brian Rutenberg...

This ceramic vessel sculpture by Jon Puzzuoli is made with glazed porcelain. It has a vibrant red and cream palette, with a round body and a fluted neck. ...

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 the Massachusetts College of Art in Boston. South African born artist Slom creates powerful images that reverberate with the rhythms of nature and life, and explore the dance of opposing forces. She has won numerous international awards and commissions. Her solo and group exhibitions have taken place at venues including the United Nations (NYC), Lincoln Center (NYC), the Adelson Gallery (NYC), Kohn Pederson Fox Gallery...

This beautiful painting is by Japanese artist, Takefumi Hori. He was born in Tokyo, Japan. He paints beautiful gold leaf paintings. This piece is acrylic, gold leaf and metal leaf ...

This large realistic nautical painting by Michel Brosseau captures the bow of a ship, with the sail tied down and a lightly cloudy blue sky behind i...

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...

This contemporary abstract painting by Teodora Guererra features a bright green palette. The artist applies thick layers of green paint across the painting in horizontal gestures, giving the surface of the canvas texture in varying tints and shades of the color. It is signed by the artist on the back of the canvas and is wired and ready to hang. Teodora Guererra’s abstract artistic vision has evolved throughout her years spent painting and teaching in Fairfield County, Connecticut; Tucson, Arizona, and upstate New York. Arizona’s naturally radiant landscape and arid climate led her to experiment with rich under-painting and vivid color; while the shifting seasons of the East Coast inspired Guererra to pursue dripping and staining techniques. Her focus has always been pushing the limits through experimentation with new materials. “As an artist, painting can be tormenting and sublime at the same time," the artist says of her work. "I'm a big risk taker, experimenting with different materials to layer, stain and saturate color on large canvases. My most successful work looks as if it happened all at once. It sometimes takes 7 or more paintings to produce a successful one and then it's a beautiful thing." Guererra received her undergraduate and graduate Art degrees from Southern Connecticut University, The College of Saint Rose and Skidmore College. Guererra’s paintings can be found in public and private collections across the U.S., including the Allmen Health and Wellness Center for Women in New York and SUNY Brockport, NY, William & Sonoma, San Francisco, CA. Her influences are Pat Steir, John McCracken, Helen Frankenthaler, Donald Jud, Bernar Venet, Agnes Martin and Brian Rutenberg...

This realistic nautical painting by Michel Brosseau captures a view of a small white dinghy boat tied to a dock. Two ores rest inside the small boat, which is surrounded by rippling ...

This small abstract collage painting by Deborah T. Colter is made with mixed media on panel. It features found paper and paint, with subtle text elements, texture, geometric shapes, ...

This original realistic oil painting on linen by John Harris captures a highly detailed, cropped view of water lightly rippling over river rocks...

René Romero Schuler’s expressionistic paintings depict delicate female figures that she paints using a dry-brushed, minimalist hand, leaving her subjects mostly featureless but nonet...

This is pair of paintings is by Maura Segal. Her Mid Century Modern inspired work is abstract and multi-layered. It is made with papers and acrylic paint. She is deeply inspired by ...

This abstract nude figure drawing by Kelly Rossetti features a light charcoal grey palette on white paper, with an expressive line drawing of nude figur...

This beautiful painting is by Japanese artist, Takefumi Hori. He was born in Tokyo, Japan. He paints beautiful gold leaf paintings. This piece is acrylic, gold leaf and metal leaf ...

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...

This modern abstract expressionist painting by Stanley Bate features a muted, earthy palette with warm accents. The painting itself is made with gouache on paper and measures 13" x 22". It measures 21.25" x 29.25" x 1" framed and is framed in a black frame with an acid-free mat. It is signed by the artist in the lower right-hand corner of the painting, 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...

This beautiful painting is by Japanese artist, Takefumi Hori. He was born in Tokyo, Japan. He paints beautiful gold leaf paintings. This piece is acrylic, gold leaf and metal leaf ...

This abstract nude figure drawing by Kelly Rossetti is made with charcoal and pastel on paper. It features a light grey, white, and vibrant pink accent,...

This abstract landscape painting by Elwood Howell features a cool green palette. Abstracted foliage can be seen growing up from a subtle horizon line, with small red, blue, and yello...

This original realistic oil painting on linen by John Harris captures a close up view of water rippling over rocks in a riverbed. Natural light ...

This abstract nude figure drawing by Kelly Rossetti is made with charcoal and pastel on paper. It has a pink palette, and captures a loose line drawing ...

This abstracted seascape painting by S. Cora Aldo features a cool, light blue palette with warm sand tones in the foreground. The painting captures a view of the water from a sandy beach, with large, sweeping strokes which create light texture. A small sailboat can be seen floating near the horizon line. The painting is signed by the artist on the back of the canvas which has clean, light grey painted sides. It is wired and ready to hang. S.C. Aldo graduated from Southern Connecticut University in New Haven, Connecticut with a BS in Art Education. After graduation she traveled extensively throughout the United Stated and to parts of South America. In 2007 she received a Masters in Art from The College of Saint Rose...

Heaven on Earth, Enchanted Forest 60 X 60 oil on canvas 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 the Massachusetts College of Art in Boston. South African born artist Slom creates powerful images that reverberate with the rhythms of nature and life, and explore the dance of opposing forces. She has won numerous international awards and commissions. Her solo and group exhibitions have taken place at venues including the United Nations (NYC), Lincoln Center (NYC), the Adelson Gallery (NYC), Kohn Pederson Fox Gallery...

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 physicality of his body. Moving is an expression, just as is the color. The paintings are actual authentic gestures. Once completed, they look like relief on the wall. The artist is represented by galleries in Europe, the US and Australia. Additionally, his work is in the permanent collections of the Crocker Art Museum in Sacramento, CA; the Amon Carter Museum of American Art in Fort Worth, TX; the Newcomb Art...

This realistic nautical painting by Michel Brosseau captures the folded and tied white sails of a boat. The subject is rendered realistically with a flat light umber background. The ...

This contemporary abstract painting by Teodora Guererra features a light, coastal palette of blue, light grey and off-white. The artist applies thick layers of oil paint in sweeping, horizontal gestures to create a thick, textured surface. The painting is made on gallery wrapped canvas and is wired and ready to hang. Signed by the artist on the back of the canvas. Teodora Guererra’s abstract artistic vision has evolved throughout her years spent painting and teaching in Fairfield County, Connecticut; Tucson, Arizona, and upstate New York. Arizona’s naturally radiant landscape and arid climate led her to experiment with rich under-painting and vivid color; while the shifting seasons of the East Coast inspired Guererra to pursue dripping and staining techniques. Her focus has always been pushing the limits through experimentation with new materials. “As an artist, painting can be tormenting and sublime at the same time," the artist says of her work. "I'm a big risk taker, experimenting with different materials to layer, stain and saturate color on large canvases. My most successful work looks as if it happened all at once. It sometimes takes 7 or more paintings to produce a successful one and then it's a beautiful thing." Guererra received her undergraduate and graduate Art degrees from Southern Connecticut University, The College of Saint Rose and Skidmore College. Guererra’s paintings can be found in public and private collections across the U.S., including the Allmen Health and Wellness Center for Women in New York and SUNY Brockport, NY, William & Sonoma, San Francisco, CA. Her influences are Pat Steir, John McCracken, Helen Frankenthaler, Donald Jud, Bernar Venet, Agnes Martin and Brian Rutenberg...

This contemporary seascape painting by S.C. Aldo is made with acrylic paint on Arches paper. It features a light, coastal palette, and captures an abstracted view of the ocean, with a small white sailboat visible floating on the horizon. The painting itself is 12" x 9" and measures 17.75" x 14.75" x 1.25" framed. Signed by the artist on the back of the paper, it is matted with a 6-ply white rag mat and framed in a natural wood frame. It is wired and ready to hang. S. C. Aldo graduated from Southern Connecticut University in New Haven, Connecticut with a BS in Art Education. After graduation she traveled extensively throughout the United States and to parts of South America. In 2007 she received a Masters in Art from The College of Saint Rose...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper and features a cool, muted palette and light texture. The painting itself is 13" x 22" and measures 21.25" x 29.25" x 1" framed. It is signed by the artist in the lower left-hand corner of the painting and is framed in a black frame with an acid-free mat. 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 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...

This glazed porcelain vessel by Jon Puzzuoli features a dark green and blue palette with a crystalline glaze and a ring of 18K gold luster along the lip. The artist's stamp is located at the base of the vessel. Crystalline glazes are special ceramic glazes in which zinc-silicate crystals grow inside the glaze while it is still very hot. The crystals begin as microscopic seeds in the glaze, which form in random numbers and locations. When the kiln is cooled to the proper temperature, crystals start to grow. In order for crystals to grow, the glaze must be very fluid. Much of the glaze runs off the vessel during the firing into a catch basin...

This original realistic oil painting on linen by John Harris features an earth-toned palette and captures a close-up view of water rushing over small rocks in a river bed. Toward the...

This contemporary abstract landscape painting by Ken Elliott is made with oil paint on canvas. It features a cool violet-blue palette, capturing an abstracted scene of a forest in th...