Franz Kline Abstract Drawings and Watercolors

'Lily in Charcoal No.2' 2023 From raw energy to sublime. 'Lily in Charcoal No.2' is an expression piece combining an abstract charcoal drawing with a live lily emerging from a gash....

'Lily in Charcoal no.3' 2023 From raw energy to sublime. 'Lily in Charcoal No.3' is an expression piece combining an abstract charcoal drawing with a live lily emerging from a gash....

Judith Brown (December 17, 1931 – May 11, 1992) was a dancer and a sculptor who was drawn to images of the body in motion and its effect on the cloth surrounding it. She welded crushed automobile scrap metal into energetic moving torsos, horses, and flying draperies. Brown attended Sarah Lawrence College in Yonkers, New York (B.A., 1954), where she learned to weld from her teacher, Theodore Roszak, a pioneering abstract expressionist sculptor. This is done in a style similar to Leonard Baskin. Select Commissions Mural Sculpture, Lobby, Louisville Radio Station WAVE Fountain, commissioned by Architectural Interiors, New York City Model, designed and executed for Festival of Two Worlds, Spoleto, Italy Sculpture, designed for Electra Film Productions, NYC Noah's Ark, exhibited at Bronx Zoo, New York City, at Rochester Museum and Science Center, Rochester, New York, and at Hopkins Center, Hanover, New Hampshire Store Windows, executed Tiffany & Company Windows, New York City, Christmas 1957, 1959, 1962, October 1969, Spring 1979, and October 1980 Wall Sculptures: for Youngstown Research Center (1963-4), commissioned by Youngstown Steel Company, Youngstown, Ohio; for Hecht and Company, Landmark Shopping Center, Alexandria, Virginia, Daniel Schwartzman, Architect; for Lobby, 570 Seventh Avenue, New York City, Giorgio Cavaglieri, Architect; for Lobby, Cities Service Company's New Research Center, Cranbury, New Jersey; for Ottauquechee Health Center, Woodstock, Vermont Eternal Lights: for Congregation Beth-El, South Orange, New Jersey; for Congregation Sharey Tefilo, East Orange, New Jersey Menorahs: commissioned by Architect Fritz Nathan for the Permanent Collection of the Jewish Museum, New York City; commissioned by Smith College for the Helen Hill Chapel, Northampton, Massachusetts; commissioned by Jules Scherman, of Wisteria Press, Inc., New York City Altar Cross, commissioned by Smith College for the Helen Hill Chapel, Northampton, Massachusetts Landscape, Memorial Piece for Gustave Heller, YM-YWCA, Essex County, New Jersey Memorial Plaque for Robert A. Ferguson, Westchester County Airport, Purchase, New York Sculpture for Vice President's office, Atlantic Richfield Company, New York City Bronze Relief Sculpture for Gymnasium Lobby, South Richmond High School, Staten Island, New York, Daniel Schwartzman, Architect Poster, Stratton Arts Festival, Stratton, Vermont Medallion, commissioned by Brandeis University National Women's Committee, New York City Model for Fountain for the Plaza at Windsor, Vermont Bronze Sculpture, commissioned by Intramural, Inc. for Building Lobby, N/E Cor. 79th Street and Second Avenue, New York City Presentation Piece, commissioned by Graphic Arts Associates of Delaware Valley, Philadelphia, Pennsylvania Wall Mural, Noah's Ark, Roosevelt Hospital, New York City 1977: Designed and executed Hanes Hosiery "Million Dollar Award"; Designed and executed "Old Spice" Smart Ship Award 1978: Commissioned to design and execute the "Walter White Award" for the NAACP for presentation to Hubert Humphrey; Commissioned to design and execute the Award for the Honorees of the National Board YWCA's First Tribute to Women in International Industry 1979: Designed and executed Jewelry for the Museum of Modern Art, New York City; Designed and executed limited edition of Mazuzas for Brandeis University-National Women's Committee, New York City 1980: Bronze Cross commissioned for St. James Episcopal Church, Woodstock, Vermont 1982: Eubie Award, New York Chapter of the National Academy of Recording Arts and Sciences 1985: Two Sculptures, Marriott Hotel, Orlando, Florida 1986: Two large Sculptures for indoor reflecting pools, Palm Desert Hotel, Palm Springs, California; John Portman, Eight Sculptures for Peachtree Plaza Hotel, Atlanta, Georgia; John Portman, Beach House, Sea Island, Georgia 1987: Loan Installation, DeCordova Museum, Lincoln, Massachusetts 1988: Eleven foot outdoor Sculpture for Front Plaza, River Court, Charles River, East Cambridge, Massachusetts, H. J. Davis Development Corp.; Tomie dePaola...

André MASSON (1896-1987) The enigma, 1975 ink drawing Dimensions: 47.8 x 35cm Signed lower right Provenance: Louise Leiris Gallery, Paris Paper in perfect condition. FREE period ...

'Lily in Charcoal' 2023 From raw energy to sublime. 'Lily in Charcoal' is an expression piece combining an abstract charcoal drawing with a live lily emerging from a gash. The charc...

'Lily in Charcoal' 2023 From raw energy to sublime. 'Lily in Charcoal' is an expression piece combining an abstract charcoal drawing with a live lily...

Dorothy Gillespie (June 29, 1920 – September 30, 2012) was an American artist and sculptor who became known for her large and colorful abstract metal sculptures. Gillespie became best known for the aluminum sculptures she started to produce at the end of the 1970s. She would paint sheets of the metal, cut them into strips and connect the strips together to resemble cascades or starbursts of bright colored ribbon. The New York Times once summarized her work as “topsy-turvy, merrymaking fantasy,” and in another review declared, “The artist’s exuberant sculptures of colorful aluminum strips have earned her an international reputation.Her works are featured at her alma mater (Radford University) in Virginia, where she later returned to teach, as well as in New York (where she was artist in residence for the feminist Women's Interart Center), Wilmington, North Carolina and Florida. She enrolled both at Radford University near her hometown, and the Maryland Institute College of Art in Baltimore, Maryland. The director of the Maryland Institute, Hans Schuler, helped foster her career in fine art. On June 5, 1943, aged 23, Gillespie moved to New York City. There she took a job at the B. Altman department store as assistant art director. She also joined the Art Students League where she was exposed to new ideas about techniques, materials, and marketing. She also created works at Atelier 17 printmaking studio, where Stanley William Hayter encouraged to experiment with her own ideas. She and her husband, Bernard Israel, opened a restaurant and night club in Greenwich Village to support their family. She returned to making art in 1957, and worked at art full-time after they sold the nightclub in the 1970. In 1977 Gillespie gave her first lecture series at the New School for Social Research, and she would give others there until 1982. She taught at her alma mater as a Visiting Artist (1981-1983) and gave Radford University some of her work to begin its permanent art collection. Gillespie then served as Woodrow Wilson visiting Fellow (1985-1994), visiting many small private colleges to give public lectures and teach young artists. She returned to Radnor University to teach as Distinguished Professor of Art (1997–99).[8] She also hosted a radio program, the Dorothy Gillespie Show on Radio Station WHBI in New York from 1967-1973. Gillespie began moving away from realism and into the abstraction that marked her career. Gillespie returned to New York City in 1963 to continue her career. She maintained a studio through the 70s and advocate worked towards feminist goals in the art industry, picketing the Whitney Museum, helping to organize the Women's Interart Center, curating exhibitions of women's art, and writing articles raising awareness of her cause. Gillespie numbered among her acquaintances such art-world luminaries as Jackson Pollock, Lee Krasner, Alice Neel, Louise Nevelson and Georgia O’Keeffe. “She had amazing stories that unfortunately are gone,” her son said. During the 1960s, she built multimedia art installations that made political statements, such as 1965’s “Made in the USA,” that used blinking colored lights, mirrors, shadow boxes, rotating figures and tape recordings to convey a chaotic look at American commercial fads. The floor was strewn with real dollar bills, which visitors assumed were fake. By the 1980s, Gillespie's work had come to be known internationally. She completed many commissions for sculptures in public places, including Lincoln Center, Rockefeller Center and Walt Disney World Epcot Center in Orlando, Florida. Her work is in many collections across the United States, including the Delaware Museum, the Solomon R. Guggenheim Museum, and the National Museum of Women in the Arts. Her sculptures can also be found in the Frankfurt Museum in Germany and the Tel Aviv Museum in Israel. Group Shows Conceived and Curated by Dorothy Gillespie Women's Interart Center, New York, NY 1974 included: Betty Parsons, Elsie Asher, Alice Baber, Minna Citron, Nancy Spero, Seena Donneson, Alice Neel, Natalie Edgar, Dorothy Gillespie, and Anita Steckel...

Dorothy Gillespie (June 29, 1920 – September 30, 2012) was an American artist and sculptor who became known for her large and colorful abstract metal sculptures. Gillespie became best known for the aluminum sculptures she started to produce at the end of the 1970s. She would paint sheets of the metal, cut them into strips and connect the strips together to resemble cascades or starbursts of bright colored ribbon. The New York Times once summarized her work as “topsy-turvy, merrymaking fantasy,” and in another review declared, “The artist’s exuberant sculptures of colorful aluminum strips have earned her an international reputation.Her works are featured at her alma mater (Radford University) in Virginia, where she later returned to teach, as well as in New York (where she was artist in residence for the feminist Women's Interart Center), Wilmington, North Carolina and Florida. She enrolled both at Radford University near her hometown, and the Maryland Institute College of Art in Baltimore, Maryland. The director of the Maryland Institute, Hans Schuler, helped foster her career in fine art. On June 5, 1943, aged 23, Gillespie moved to New York City. There she took a job at the B. Altman department store as assistant art director. She also joined the Art Students League where she was exposed to new ideas about techniques, materials, and marketing. She also created works at Atelier 17 printmaking studio, where Stanley William Hayter encouraged to experiment with her own ideas. She and her husband, Bernard Israel, opened a restaurant and night club in Greenwich Village to support their family. She returned to making art in 1957, and worked at art full-time after they sold the nightclub in the 1970. In 1977 Gillespie gave her first lecture series at the New School for Social Research, and she would give others there until 1982. She taught at her alma mater as a Visiting Artist (1981-1983) and gave Radford University some of her work to begin its permanent art collection. Gillespie then served as Woodrow Wilson visiting Fellow (1985-1994), visiting many small private colleges to give public lectures and teach young artists. She returned to Radnor University to teach as Distinguished Professor of Art (1997–99).[8] She also hosted a radio program, the Dorothy Gillespie Show on Radio Station WHBI in New York from 1967-1973. Gillespie began moving away from realism and into the abstraction that marked her career. Gillespie returned to New York City in 1963 to continue her career. She maintained a studio through the 70s and advocate worked towards feminist goals in the art industry, picketing the Whitney Museum, helping to organize the Women's Interart Center, curating exhibitions of women's art, and writing articles raising awareness of her cause. Gillespie numbered among her acquaintances such art-world luminaries as Jackson Pollock, Lee Krasner, Alice Neel, Louise Nevelson and Georgia O’Keeffe. “She had amazing stories that unfortunately are gone,” her son said. During the 1960s, she built multimedia art installations that made political statements, such as 1965’s “Made in the USA,” that used blinking colored lights, mirrors, shadow boxes, rotating figures and tape recordings to convey a chaotic look at American commercial fads. The floor was strewn with real dollar bills, which visitors assumed were fake. By the 1980s, Gillespie's work had come to be known internationally. She completed many commissions for sculptures in public places, including Lincoln Center, Rockefeller Center and Walt Disney World Epcot Center in Orlando, Florida. Her work is in many collections across the United States, including the Delaware Museum, the Solomon R. Guggenheim Museum, and the National Museum of Women in the Arts. Her sculptures can also be found in the Frankfurt Museum in Germany and the Tel Aviv Museum in Israel. Group Shows Conceived and Curated by Dorothy Gillespie Women's Interart Center, New York, NY 1974 included: Betty Parsons, Elsie Asher, Alice Baber, Minna Citron, Nancy Spero, Seena Donneson, Alice Neel, Natalie Edgar, Dorothy Gillespie, and Anita Steckel...

Abstract with Cats, Original Contemporary Abstract Expressionist Work, 2019 8" x 10" (HxW) Ink and Watercolor on Paper Hand-signed by the artist. An abstract expressionist work fill...

Ink on Canson paper 300 g. Doïna Vieru is an Ecuadorian-Moldavian artist born in 1978 who lives & works in France, Paris. She always preferred pas/pas/passionately the image to the ...

Ink on Canson paper 300 g. Doïna Vieru is an Ecuadorian-Moldavian artist born in 1978 who lives & works in France, Paris. She always preferred pas/pas/passionately the image to the ...

Ink on Canson paper 300 g. Doïna Vieru is an Ecuadorian-Moldavian artist born in 1978 who lives & works in France, Paris. She always preferred pas/pas/passionately the image to the ...