Luciana Levinton

Palais VI

2016

Luciana Levinton Palais, 2016 Oil on canvas 62 x 57 in (156.97h x 144.78w cm)

Cecilia Biagini Spell Thought , 2010 Vinyl paint on canvas 72 x 55 in (182.88h x 139.7w cm)

Cecilia Biagini Conservation of Momentum , 2010 Vinyl paint on canvas 52 x 57 in (132.08h x 144.78w cm)

Cecilia Biagini Teorema chino del resto, 2009 Vinyl paint on canvas 55 x 55 in (139.7h x 139.7w cm)

Cecilia Biagini Full Circle, 2013 Acrylic on canvas 65 x 45 in (165.1h x 114.3w cm)

Martin Pelenur Brushtrokes 5, 2013 Synthetic enamel on canvas 35.20h x 35.20w in 89.41h x 89.41w cm

Mid 20th century modern abstract oil on canvas attributed to French artist Norbert Palmade. The painting is not signed but was bought from his atelier and with a collection of his paintings and is therefore attributed to him. A highly colourful, energetic and impactful painting. The paint is very thickly applied in parts and is therefore also somewhat sculptural as a piece of art. Sand has been added to the paint to give the image great texture. A joyful painting to brighten any room. Norbert Palmade spent much of his early years living in Morocco. He arrived there in 1930 at the age of two and stayed until 1947 when he returned home to France. He finished his schooling in Hyères in the south of France, then travelled up to Paris to study architecture. There aged 25 he set up a public works business and worked as an architect right up until his retirement in 1991. Throughout this journey Palmade never stopped painting, at first in watercolours. He had always drawn, then moved on to gouache, oil and finally in the last twenty years, acrylic. The latter suited his rapid handling of paint well. He says of himself that he had no particular speciality. He would paint whatever gave him pleasure, although a large part of his heart belonged to those early years in Morocco and he painted many a canvas with subjects from this country. He took part in exhibitions in a number of towns near the south coast of France including, Sanary, Le Pradet and Ollioules. He was also the guest of honour at the Academy of the Var. Geometric abstraction is a form of abstract art based on the use of geometric forms sometimes, though not always, placed in non-illusionistic space and combined into non-objective (non-representational) compositions. Although the genre was popularized by avant-garde artists in the early twentieth century, similar motifs have been used in art since ancient times. Sonia and Robert Delauney...

Masaaki Yamada (1929-2010) Work C.87 Executed in 1961 Oil on canvas 65.2 x 45.6 cm. (25 5/8 x 17 6/8 in.) Signed, dated and artist’s seal in Japanese (on the reverse)

Colin Lawson says "I work primarily with oil on canvas. Attention to detail, precision, and accuracy in the application of pigment is my main concern when constructing the surface of...

Colin Lawson says "I work primarily with oil on canvas. Attention to detail, precision, and accuracy in the application of pigment is my main concern when constructing the surface of...

Signed & dated Verso. 1965 Paul Reed in 1970. He favored “staining” untreated canvas. Paul Reed, the last surviving member of the Washington Color School, who explored the complexities of color and form in vibrant bio-morphic and hard-edge abstract paintings, died on Sept. 26 at his home in Phoenix. He was 96. His death was confirmed by his daughter, Jean Reed Roberts. Mr. Reed acquired his public identity as an artist when he was included, along with Gene Davis, Kenneth Noland, Morris Louis, Thomas Downing and Howard Mehring, in “The Washington Color Painters,” a landmark traveling exhibition that began at the Washington Gallery of Modern Art in 1965. All of the other painters had been shown, the year before, in “Post-Painterly Abstraction,” a 31-artist exhibition at the Los Angeles County Museum of Art organized by the critic Clement Greenberg in an effort to write a new chapter in the historic march of abstract art. Like his fellow Washington artists, Mr. Reed rejected the hot, gestural approach of Abstract Expressionism and explored color and abstract forms in a cooler mode. Working with diluted acrylic paint, in discrete series that methodically explored formal issues, he created luminous fields of color by letting the paint bleed into, or stain, untreated canvas. “I have a saying: Pollock dripped, Frankenthaler poured,” he told The Washington Post in 2011, referring to the artist Helen Frankenthaler. “Morris Louis poured. Howard Mehring sprinkled. I blot.” In his first stained series, “Mandala,” color radiated from a circular central image. The nearly 100 paintings in his “Disk” series, which he called “a matrix for exploiting color,” consisted of a central circle and two triangles positioned at the corners of the canvas. Over the next decade he moved to hard-edge geometric zigzags and stripes in the vertical “Upstart” series, color grids and shaped canvases that allowed for more complex experiments in form and color relations. He also made welded steel sculptures and, in the “Quad” series of the 1980s, collaged photographs. “Reed was, in a sense, the ‘little master’ of that first batch of Washington colorists,” the critic Benjamin Forgey wrote in The Washington Post in 1997. “He was a latecomer — he didn’t turn seriously to painting until he was in his mid-30s — but he never considered becoming anything other than an abstract painter. And when he was ready to show, in his early 40s, he was a very good abstract painter indeed.” Mr. Reed gave himself a more modest assessment in an interview with NPR last year. “I’m sort of low man on the totem pole of that group of six,” he said. Paul Allen...

Martin Canin's Dichotos is a large 60 x 50 geometric abstract oil painting, dating 1967. Martin Canin’s work can be linked to two 1960s movements: Color field and Op Art. Like many a...