George Dannatt

Painting - Winter 1992

1993

George Dannatt (1915-2009) Open Blue 1970 Mixed media on paper 25.4 x 17.7 cm Vertical orientation George Dannatt’s long career as a painter and sculptor ended with the artist’...

George Dannatt (1915-2009) Untitled 1992 Medium: Mixed media on paper Image: 14.9 x 10.9 cm Mount: 29.8 x 24.8 cm George Dannatt’s long career as a painter and sculptor ended w...

George Dannatt (1915-2009) Painting 1960 1960 Gouache on paper Image: 25.4 x 28.9 cm Frame: 48.0 x 50.3 cm Provenance: The George and Ann Dannatt Estate, The George Dannatt Trust...

George Dannatt (1915-2009) Basler Motif Series 1 No.2 1981 Medium: Mixed media on paper Image: 12.0 x 8.0 cm Mount: 27.0 x 21.8 cm Reference no: 0640 George Dannatt’s long career...

Russian School, Abstract Composition, Oil on Masonite, 1988, illegibly signed in Russian and dated lower right, inscribed in pencil to verso, painted frame. Overall: 11.25" H x 15.5"...

"Abstraction" Mid-20th Century American Abstract 1960s Color Field Modernist James Daugherty (1887 – 1974) "Abstraction" 58 ¼ x 41 ¾ inches Signed and dated 1957 lower left Oil on...

Abstract Expression is an original artwork realized by Giorgio Lo Fermo in 1998. Oil on canvas applied on hardboard. This contemporary artwork is a beautiful example of an abstract...

10 X 17 without frame. Seymour Boardman (1921–2005) was a New York abstract expressionist. Since his first solo exhibition in Paris in 1951, Boardman developed a personal vision and style of his own, following his own path of abstraction. As a painter he sought to reduce the image to its bare essence. Initially working in the freely brushed manner of Abstract Expressionism, Boardman gradually eliminated the arbitrary aspects of his work until only straight lines and two or three areas of flat, sometimes somber, tones remained. He could hardly have achieved more with less. In a career that was steady and determined, Seymour Boardman created paintings that are unique, while avoiding fashion and trends. His work stands alone because it derives from the Romantic landscape previously articulated by Milton Avery and early Mark Rothko (who was a friend) and later developed into almost hard edged painting. Seymour Boardman majored in art at City College of New York in 1938-1942. He served in the United States Air Force from 1942–1946, during which he was hospitalized for over a year due to a wound to his left shoulder, which resulted in partial paralysis of the arm and hand. After a full medical discharge from the service in 1946, he left for Paris to continue his art education at the École des Beaux-Arts, Académie de la Grande Chaumière, and Atelier Fernand Léger. Boardman's work became more abstract but still based on figure and landscape. He returned to New York in 1949 and went to the Art Students League. Boardman continued to paint dark, moody paintings using a limited palette of black, white, grey, and an occasional additional color. Departed Le Havre France on the Liberte, arriving with his wife in New York on Jan. 22, 1952. In 1955, he had his first one-man show in New York at the Martha Jackson Gallery. It was favorably reviewed by Hilton Kramer, Emily Genauer, Fairfield Porter, and others. "…inscrutable, dark, mostly in blacks stained here and there with calm whitish shapes, they yet manage to suggest something inhuman and romantic…" (N.Y.Times, March 26, 1955). He began to acquire recognition in the 1950s with his paintings of griddled facets seen as if through a frosted glass, without any crisp lines, and in bright colors favoring reds. Boardman's friends included Lawrence Calcagno, Perez Celis, John Hultberg, Burt Hasen, Frank Lobdell, Richards Ruben, Robert Ryman and Nassos Daphnis. Throughout the 1960s, Boardman showed at both the Stephen Radich Gallery and the A.M. Sachs Gallery; in 1967, The Whitney Museum of American Art and the Guggenheim Museum acquired a painting each. In the early 1970s Boardman had a large exhibition of paintings at the Andrew Dickson White...