USA - Art

This is a square, vibrant peach, pink and pale orange encaustic (pigmented beeswax) painting on birch panel with soft periwinkle and pale lilac highlights and light purple edges. Sig...

Signed twice, verso, on stretcher 'Marsha Straus' for Marsha Rogow Strauss (American, 1944-2008) and painted circa 1995. A substantial and vibrant oil abstract comprising massed, ov...

"Paricutin (Volcano in Michoacan, Mexico)" is a woodcut and monotype signed by Carol Summers. In the image, an abstracted volcano erupts in a joyous burst of purples and oranges. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Art: 8 x 11 in Frame: 17 x 19 in Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MoMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and non-western as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

KAWS TAKE (Pink) figurative sculpture new & unopened in its original packaging. A well-received work and variation of KAWS' large scale TAKE sculpture - a k...

United States, 1971 Born in New York City to parents from Mayaguez and Moca Puerto Rico, Darlene Charneco is a multi-media artist whose work has been described as minimalist and con...

Flowarh$, Archival Paper with dimensions of 24 x 24 in. 6-color screenprint Edition of 93 Signed and thumb printed by the Artist Pop art would not exist without the iconic Andy War...

Sku: MI1501 Artist: Henri Matisse Title: La Danseuse Creole, Nice, France Year: 1965 Signed: No Medium: Lithograph Paper Size: 39 x 24.5 inches ( 99.06 x 62.23 cm ) Image Size: 32.5 ...

Signed lower right, 'S. Darrah' for Sherry Darrah (American, 20th century), additionally signed, verso. Sherry Darrah attended Platt Technical College and received a diploma in Graphic Arts after which she continued to study painting independently. She has exhibited in Balboa Park's Spanish Village and at various San Diego art...

This series focuses on the idea of play and the emotions involved in the act of playing. We often forget the importance of relaxing the mind, of letting go of our troubles, of being ...

I've been drawing Snoopy as a subject in my painting for decades now. It is a satisfying shape to draw. Many people from my generation drew Snoopy when they were kids, thus there's a...

Manifested by Los Angeles based sculptor, Elyse Graham, the Rio Grande Vase  5.5" h x 5"w x 5"d and is part of her Hydro Collection. This vessel features a hand-dyed marbled pattern ...

On the Periphery #18, an edition of 10, is part of the artist's "At The Center of Seeing" Series. This archival pigment print is printed on Epson Enhanced Matte paper. Image size is ...

This series focuses on the idea of play and the emotions involved in the act of playing. We often forget the importance of relaxing the mind, of letting go of our troubles, of being ...

This series focuses on the idea of play and the emotions involved in the act of playing. We often forget the importance of relaxing the mind, of letting go of our troubles, of being ...

This series focuses on the idea of play and the emotions involved in the act of playing. We often forget the importance of relaxing the mind, of letting go of our troubles, of being ...

Capricorn, 2018, collage, print, figurative, gold, tarot, horoscope, metallic gold edge, on glossy heavy card stock with pink design on reverse.

"Tiny II" by Danielle Marie Masters Acrylic and cut paper on panel, 8" H x 8" W x .75" D, square shape panel with rounded corners Bright color palette: red, neon red, neon pink, whi...

Artist: Jack Graves III (American, 1988-) Title: "Liberty Icon VII" Series: Icon *Signed by Graves lower right. It is also signed, titled, and dated on verso Year: 2023 Medium: Original Acrylic Painting on Canvas Canvas size: 48" x 48" Condition: The stretched canvas was custom built by the artist himself. In mint condition Shipping: This painting will be shipped canvas rolled with its stretcher bars to greatly reduce shipping cost and ensure its safety during transport Notes: The Statue of Liberty (Liberty Enlightening the World; French: La Liberté éclairant le monde) is a colossal neoclassical sculpture on Liberty...

Represented by George Billis Gallery. Armine Bozhko works on the crossroads of different cultures- she was born in Ukrainian-Armenian family of writers and diplomats, studied in Re...

Play Drawing #5 Contemporary Original Abstract Oil Painting This series focuses on the idea of play and the emotions involved in the act of playing. We often forget the importance o...

HEIDI NIEMALA PHOTOGRAPHY Heidi Niemala is a New York-based fashion photographer best known for her timeless images. Her work has been described as “tran...

This series focuses on the idea of play and the emotions involved in the act of playing. We often forget the importance of relaxing the mind, of letting go of our troubles, of being ...

This is a linen screen with stitching and cutting mounted over a panel. very unique and unusual piece by a prominent woman artist. unframed it is 22.75 X 30 inches. Lucia Stern (neé...

Color Boundaries #67, 2018 by Natasha Zupan From the series Color Boundaries Oil, fabric, medium, on canvas Size: 9.5 in. H x 7.5 in. W x 3 in D. Canvas on a stretcher Unique ______...

Medium: original lithograph. This lithograph is from the rare 1954 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1954 Spr...

Water has been the backdrop to the significant events in my life. The reconstruction of radiant moments that exist in memory define the images I choose to paint, of swimming in the l...

" Raat Ki Rani" is a bright, monochromatic oil painting by Kuzana Ogg. This cheerful and eye-catching composition is part of a recent shift ...

Antique American signed abstract expressionist oil painting. Oil on canvas. Signed. Framed. Image size, 36L x 30H.

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Represented by George Billis Gallery. Armine Bozhko works on the crossroads of different cultures- she was born in Ukrainian-Armenian family of writers and diplomats, studied in Rep...

Dominic Mingolla (1922 – 1999) Mingolla created paintings in many different materials and genres. Best known for his large abstract expressionist watercolor paintings similar in style to Paul Jenkins and for his Enamel work. His work bears affinities both to Lyrical Abstraction and to Tachisme artists such as Nicolas de Staël, Serge Poliakoff, Andre Lanskoy, Hans Hartung, Jean-Paul Riopelle, Gustave Singier, Alfred Manessier, Roger Bissiere, "Lyrical Abstraction arose in the 1960s and 70s, following the challenge of Minimalism and Conceptual art. Many artists began moving away from geometric, hard-edge, and minimal styles, toward more lyrical, sensuous, romantic abstractions worked in a loose gestural style. These "lyrical abstractionists" sought to expand the boundaries of abstract painting, and to revive and reinvigorate a painterly 'tradition' in American art. At the same time, these artists sought to reinstate the primacy of line and color as formal elements in works composed according to aesthetic principles – rather than as the visual representation of sociopolitical realities or philosophical theories." "Characterized by intuitive and loose paint handling, spontaneous expression, illusionist space, acrylic staining, process, occasional imagery, and other painterly techniques, the abstract works included in this exhibition sing with rich fluid color and quiet energy. Artists associated with Lyrical Abstraction include: Natvar Bhavsar, Lamar Briggs, Friedel Dzubas, Sam Francis, Ronnie Landfield, Pat Lipsky...

Created by Takashi Murakami in 2013, Flower Ball (3D): There is Nothing Eternal in this World. That is Why You Are Beautiful is an offset lithograph in colors. The artwork is hand-si...

it ain’t over till it’s over 1992 Frame: 15 x 15 x 1 Picture: 9.5 x 9.5 Signed and numbered Picture in excellent condition Frame has lots of scratches- fair condition

Boundary Issues (Abstract painting) Oil on canvas — Unframed This artwork is exclusive to IdeelArt. For Russinof, everything begins with color. She begins a painting by applying co...

Naftali Bezem (Hebrew: נפתלי בזם‎‎; born November 27, 1924) is an Israeli painter, muralist, and sculptor. Bezem was born in Essen, Germany, in 1924....

Original acrylic monoprint collage on paper. It comes framed in a white passe-partout.

This is a circle shaped heavy watercolor paper sheet with a monochrome pink watercolor painting of breast -likes shapes. Warm, sensual and nurturing is conveyed through this whimsica...

Kate Moss vinyl record art by Mert and Marcus (Mert Alas and Marcus Piggott) Off-set print on vinyl record. Measures: 12 inches in diameter. Excellent condition. Published by Visionaire Fashion, 2007. A very cool frame piece. About Mert & Marcus, as they are known in the industry, have worked for W, American Vogue, Pop, Numero and Arena Homme, among many other titles. Their commercial clients include Louis Vuitton , Gucci, Pucci, Versace, Missoni, Giorgio Armani , Roberto Cavalli, Fendi, Kenzo, MAC and Miu Miu. Their aesthetic is highly polished, colour-saturated and hyperreal. The photographers were both born in 1971, Alas in Turkey and Piggott in Wales. The pair met in 1994 in England. At the time Piggott was a photographer’s assistant and Alas was a fashion model, and the two quickly built a rapport and decided to work together. Their joint abilities were clear from the beginning. The first photos the duo submitted to Dazed & Confused made the cover. Related categories Fashion Photography. Supermodels. Mario Testino. Mario Sorrenti. Erotic photography...

Sku: XX8167-3 Artist: Richard Lindner Title: Changing Sexuality (3 of 3) Year: Unknown Signed: No Medium: Serigraph Paper Size: 46 x 34 inches ( 116.84 x 86.36 cm ) Image Size: 46 x ...

Original Holiday Magazine "The Beaches and Alaska" Newsstand Vintage Poster Features:- - This is an original 1948 Holiday poster created for the magazine The Beaches and Alaska edition. - The image features a billowing beach umbrella, a couple running with their air mattress into the ocean, beach ball blankets, music, and more. - The poster is in excellent condition, archivally linen-backed and ready to frame. - This would make a great addition to any collection or as a gift for someone who loves the beach. Description:- This is a beautiful and rare original 1948 Holiday poster created for the magazine's The Beaches and Alaska edition. The image features a billowing beach umbrella, a couple running with their air mattress into the ocean, beach ball blankets, music, and more. The poster is in excellent condition, archivally linen-backed and ready to frame. This would make a great addition to any collection or as a gift for someone who loves the beach. Holiday was a US travel magazine from 1928 - 1977, first published by the AAA (American Automobile Association) until the mid 40's when it was sold to Curtis Publishing Company who ran the magazine until 1977, when it was sold to Travel Magazine who merged it with their publication to form Travel Holiday. A fun beach scene poster...

"Echolocation Green" is a monotype that Anna Kunz created during her visit to Manneken Press in November 2022. The prints in this series were made using oil based inks and paint sticks and hand-printed on Arches Cover paper. Anna Kunz continues to draw inspiration from the ocean; its hypnotic, cyclical movement and sense of mystery, which she has referred to as, “the most abstract space in nature.” This group of works is titled after the principle referred to as Echolocation, used by marine mammals as an extension of sight, to steer space and identify objects. In these works the artist has played with the idea of exchanging the animal behavior of using echoing sound as a means to navigate and locate, with vibrational hues as a way to compose, lead the viewer’s eye into unfamiliar relationships, and to materialize the unknown. Focusing on the elements of simple geometric forms and color, she imbues her compositions with energy through a process of intuitive call and response, suggesting a way for the viewer to enter and navigate the compositional spaces. The saturated colors in Kunz’ vocabulary are both opaque and transparent, choreographed in porous fields of the paper, and lead to symphonic compositional structures. While working on the "Echolocation” prints at Manneken press, the studio was filled with the ambient music of Brian Eno which created another kind of sonic inspiration for the echoing forms and colors found in the works. "Echolocation Green" is a unique monotype, 22" x 20"; a bleed print (the image extends to the edges of the paper). The front, lower right margin carries the artist's initials and date in pencil; the title is on the back. The Manneken Press blindstamp is impressed into the lower left margin. The print is sold unframed. Framing recommendations: float mounted on museum board or floated within an 8-ply window mat, in a quality, contemporary gallery frame. Anna Kunz lives and works in Chicago. Her work is represented by Alexander Berggruen New York; Mc Cormick Gallery, Chicago; and Galleri Urbane in Dallas. Her upcoming exhibition entitled "The Tide" can be seen at Berggruen San Francisco in February and March 2023. Kunz has been awarded numerous artist residencies, including the Golden Family Foundation Residency, Edward Albee Foundation Residency, the Space Program at Marie Sharpe Walsh Foundation and the Roger Brown Artist...

Ajay Malghan is an American artist and son of immigrant parents from India. His mother was usually found combining cultures at home, and his father, a Materials Scientist and Engineer often brought him to the lab. The daily experimentations happening around him, both personal and scientific, would later inform his work. While his parents wanted him to follow more straightforward career paths, he was the first in his family to eschew their expectations and pursue art and music instead. Malghan went on to receive an MFA in Photography from Savannah College of Art and Design - Hong Kong. Here he experimented in a darkroom, bleaching film, adding watercolor to glass plates, thinly cross-sectioning fruits and vegetables until they formed abstractions, beginning his exploration into the repurposing of materials. In his twenties, Malghan was diagnosed with Leukemia, the treatment of which resulted in avascular necrosis, a bone disease that eventually required numerous surgeries and three hip replacements. His experience through illness and recovery not only led him to photography, but also informs his manipulation of raw, often overlooked materials in order to reorient our understanding of beauty, pleasure, and purpose. Malghan has been exhibited across the country and has lectured in Hong Kong, India, the University of Texas, the University of Notre Dame - Maryland, and UMLAUF Sculpture & Design Museum. He most recently has been commissioned by The Walters Art Museum, and his work is in the private collections of Johns Hopkins University, the University of Texas, and Georgetown University...

Unique watercolor painting on paper simultaneously abstract and figurative. The bright pink monochromatic image is a friendly pop of color with hints at figuration. This is an ongoin...

"Pink Africa" Manuel Santelices 12 in. H x 9 in. W Unframed The worlds of fashion, society, and pop culture are explored through the illustrations of Man...

Sku: XX8167-1 Artist: Richard Lindner Title: Changing Sexuality (Panel 1 of 3) Year: Unknown Signed: No Medium: Serigraph Paper Size: 46 x 34 inches ( 116.84 x 86.36 cm ) Image Size:...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS ARTIST: Minjin Kang and Mijoo Kim are a creative duo, who have been inspirin...

"Carmine" (2023), by Brittany Williams, based in the Finger Lakes region of NY state Figurative portrait painting, pop portraiture, street art, stre...

KAWS WHAT PARTY (pink): KAWS pink WHAT PARTY Companion featuring KAWS' CHUM character in a hunched position. Published to commemorate the debut of KAWS...

Abstracted landscape by California artist Devon Brockopp-Hammer (American, b. 1986). The bold orange underpaint has been allowed to shine through the co...

Oil and cold wax on paper, framed on a a white passe-partout.

LA Art Show exclusive fine art wood print on 1/2" sustainable Birch wood, vintage matte finish honoring 2017 award recipients Mel Ramos, Britt Salvesen & Ben Goretsky. Featuring ar...

Red and Yellow Galaxy Abstract on Wrapper of Interview Magazine Acrylic on Paper Saturated abstract composition by Ricardo de Silva (Brazilian, 20th Century). Splashes of red, yello...

Acrylic monoprint on paper, it comes framed in a white passe-partout.

Red Grooms Ruckus Manhattan (Hand signed), 1981 Offset lithograph poster (hand signed by Red Grooms) 11 × 28 inches Hand signed by Red Grooms on the front ...

Jaque Fragua is an artist from Jemez Pueblo, New Mexico, whose work features visions drawn from traditional Native American ceramics, blankets...

“Tired and Brazilian” 2022 35 1/2 x 39 1/2 in Acrylic on canvas $3000 ------ Camila Rosa is a Brazilian Artist and Illustrator based in Sao Paulo, Brazil. She started her life as a...

Archival Pigment print Limited Edition of 25 18 x 24 inches Signed and numbered by the artist