19 results for "detlef aderhold"

Original Painting by Marilina Marchica, "Landscape " (2018) Details of the artwork: Title:Landscape Year: 2018 Dimensions: 50x50 cm (depth 3.5 cm) Technique: Contemporary abstract ...

This Gallery Wall “GEM” is a one-of-a-kind original artwork created to bring a bold pop of personality into your space. With its striking black-and-white contrast and sculptural swee...

Original Painting by Marilina Marchica, "Landscape " (2018) Details of the artwork: Title:Landscape Year: 2018 Dimensions: 50x50 cm (depth 3.5 cm) Technique: Contemporary abstract ...

Stunning addition to shorter walls or small sections of wall on either side of a door opening! “Bounce II” is a vibrant, vertical abstract painting by contemporary artist Michelle T...

HUGO G. URRUTIA B. 1974, Mexico Hugo G. Urrutia is a multidisciplinary artist-designer, interested in the cross-pollination between art and architecture. His artwork challenges the...

Tapas Ghoshal - Untitled - 42 x 54 inches ( without framing ) Acrylic on Canvas Inclusive of shipment in roll form. Style : In Hindu philosophy, the 'Antahkaran' refers to the tot...

This Gallery Wall “GEM” captures a fresh burst of color and movement in a compact, sculptural form. A sweeping gesture of hand-shaped manganese blue paint rises from the surface, lay...

From Michelle Thomas’ 28-piece Gallery Wall “GEMS” collection, each work included in this grouping is a singular, one-of-a-kind original distinguished by a striking interplay of blac...

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 Gallery Wall “GEM” is a one-of-a-kind original artwork created to bring a bold pop of personality into your space. With its striking black-and-white contrast and sculptural swee...

Hiroshi Sato's "Vert Table No. 1," created in 2023, is a captivating acrylic on canvas painting measuring 38 x 32 inches (96.52 x 81.28 cm). This original artwork features an abstract still life scene rendered in Sato's distinctive geometric style. The composition draws the viewer's eye to the central objects, meticulously crafted with angular precision and a palette of muted yet vibrant colors. The interplay of light and shadow creates a sense of depth and dimension, highlighting Sato's masterful technique. The artwork is unframed but ready to hang, offering flexibility in presentation. "Vert Table No. 1" exemplifies Sato's exploration of spatial relationships and abstract forms, making it a perfect addition to any contemporary art collection. The painting's clean lines and bold shapes reflect Sato's keen interest in modern architecture and design. Priced competitively for an original piece by a renowned artist, this painting is an excellent investment for art enthusiasts and collectors alike. Artist Bio & Statement: Hiroshi Sato was born September 1987 in Japan. From the age of three to fourteen he spent his childhood in Tanzania. While there, he recognized where he lived was not home, and where he called home was some place he hardly ever knew. From a very young age, he understood he was not a participant of his surroundings. Therefore, his role was of an observer. This recognition and his exposure to alternate cultures, class, wealth, language is his backdrop to his interest in perception and how it is explored in the singular image. He enrolled in the fine-arts program at the Academy of Art University, San Francisco, graduating with a Bachelors and Masters in Fine Art. Hiroshi Sato is focused on contemporary realist oil painting. He is best known for paintings of figures in an interior environment. He draws influence from past and present artists including Vermeer, Degas, Andrew Wyeth, Euan Uglow, Hopper and Chuck Close. Sato’s work shows his interest in geometric design principles of the old masters and is currently exploring the simultaneous illusion of form and flatness in space. His goal is to portray, and better understand our various states of consciousness within ourselves through the visual medium. Hiroshi Sato’s work has been featured in various publications such as Fine Art Connoisseur, Juxtapoz Magazine...

"Golden Dreams" is a contemporary and parametric wall sculpture. Made from oil lacquer paint and acrylic mirror on carved maple, this body of work is c...