17,049 results for "abstract expressionist"

Bay Area Abstract Expressionist Composition in Oil on Cardboard San Francisco Bay area abstract expressionist composition by Honora Be...

Antique American signed abstract expressionist oil painting. Oil on canvas. Signed. Framed.

Vintage modernist abstract expressionist painting. Oil on board. Housed in a period frame. Image size, 16L x 20H. Signed.

Bay Area Abstract Expressionist Composition in Oil Pastel on Cardboard San Francisco Bay area abstract expressionist composition by Ho...

Abstract expressionist print by American artist Michael Steiner, who is most commonly known for his large scale sculptures. Tit I Michael Steiner, American (1945) Date: 1979 Screen...

"Cascade" Abstract Expressionist Original Acrylic on Canvas Textured abstract composition by California artist Charles "Dave" Francis (American, 1951-2018). Blended colors and media...

Textured and energetic abstract expressionist composition with electric blue, yellow, and black, by an unknown artist. Signed and dated "Carol 98" in the lower left corner. Unframed,...

Abstract Expressionist Figurative Composition Dynamic abstract piece by Michael William Eggleston (American, b. 1948). Bold colors and linework give life and movement to this abstrac...

Wonderful abstract expressionist nude with heavy impasto of seated woman. Bay area find. Signed on verso "Swan," circa 1990. Unframed. Image size: 24"H x 18"W.

Murray Hantman (1904-1999). Untitled, ca. 1950-55. Oil on canvas measures 20 x 26 inches, 26 x 32 inches in silver leaf vintage frame.. Signed lower right. Excellent condition with ...

6120 Abstract Expressionist mountain landscape Set in a custom wood frame Image size 9.5x7.5"

Contemporary Welsh abstract expressionist landscape Oil on canvas Framed

This contemporary vivid abstract-expressionist still life painting depicting everyday objects and red apples has been created by French artist Natalya Mougenot. Known for her express...

Jesse Redwin Bardin (1923-1997). Untitled, ca. 1960. Oil on canvas, 18 x 31 inches; 21.5 x 36.5 inches framed. Signed lower right. Provenance: Private collection, Philadelphia; F...

A dymanic mid century abstract expressionist painiting with geometric shapes in cool tones and two figures by Leslie Luverne Anderson (American, 1928-2009). Oil on masonite. Titled "...

Textured Abstract Expressionist Composition in Plaster and Acrylic on Canvas Brightly colored and deeply textured abstract composition by an unknown artist (20th century). Layers of...

Welded, brazed sculpture on wooden base This is not signed or dated This work is unsigned. We were told it was the work of Seymour Lipton but as there is further documentation we are selling it as attributed and cannot guarantee it as such. Seymour Lipton (1903 – 1986) was an American abstract expressionist sculptor. He was a member of the New York School who gained widespread recognition in the 1950s. He initially trained as a dentist, like fellow sculptor Herbert Ferber, receiving his degree from Columbia University in 1927. In the late 1920s, he began to explore sculpture, creating clay portraits of family members and friends. His early choices of medium changed from wood to lead and then to bronze, and he is best known for his work in metal. Like his contemporary, Abstract Expressionist Jackson Pollock, and Arshile Gorky Lipton was influenced by Carl Jung’s work on the unconscious mind and the regenerative forces of nature. He translated these two-dimensional drawings into three-dimensional maquettes that enabled him to revise his ideas before creating the final sculpture. The forms that Lipton produced during this period were often zoomorphic, exemplifying the tension between the souls of nature and the automatism of the machine. He made several technical innovations, including brazing nickel silver rods onto sheets of Monel to create rust resistant forms. Seymour Lipton is best known for his textured torch welded metal sculptures...

Bright, colorful abstract expressionist piece by Monterey, California artist Anthony Rappa (American, 20th Century). Heavy, textured pa...

Stunning large scale abstract expressionist horse's head/eye, circa 1990. Unsigned. Unframed. Size: 60"H x 60"W x 1.5.

Antique American abstract expressionist oil painting. Oil on canvas, circa 1960. No signature found. Image size, 24L x 20H. Framing available.

Impressive early American modernist abstract expressionist oil painting. Framed. Oil on canvas.

Abstract Expressionist Portrait in in Acrylic on Paper A bold abstracted portrait painting by California-based artist, Ricardo de Silva (American/Brazil, 20th C). Although this piec...

A contemporary Abstract Expressionist acrylic on canvas by French artist, Christian Manoury. Signed to the back of the canvas. This artwork captures a minimalist aesthetic with its ...

Mid Century Modern, American Abstract Expressionist Painting on artist board. This lively action painting has wonderful interjections of color within the predominantly black and whi...

Abstract Expressionist Landscape by Gerard Guegueniat (French 1970's) signed oil painting on canvas, framed framed: 11 x 21 inches canvas: 10.75 x 20 inches provenance: private colle...

Vintage American modernist abstract expressionist painting. Oil on canvas. Framed.

"Workstation 16", 2023 (Gestural, Abstract Expressionist Painting on Canvas Paper with energetic line and vivid color) by Jenny Nelson 24 x 18 inches Unframed Oil on canvas paper T...

Blue, Red & Green Abstract Expressionist Painting, entitled 'Tropical City #1', an extremely rare early work from leading British Contemporary Artist...

Yellow, Green, and Orange - Abstract Expressionist Composition in Acrylic on Canvas Vibrant composition by California artist Charles "Dave" Francis (American, 1951-2018). Layers of ...

An original mid century modern abstract expressionist painting by American artist Toma Yovanovich. Toma Yovanovich (1931-2016) Yovanovich was a painter/printmaker whose w...

"Without Title" is a unique oil on canvas painting of German artist Willi Bucher. It depicts an expressionist water horizon in blue and white in thick oi...

New York City Abstract Expressionist Between Abstraction, Calligraphy & Graffiti Vivian Muller presents an homage to Greek and Roman mythology, ...

Abstract Expressionist Composition by Gilbert Pelissier (French born 1924) signed oil painting on canvas, unframed canvas size: 40 x 39.5 inches condition: overall very good, a few m...

Thomas Morin (1934-2017) Untitled, 1962. Cast iron on wood base. Cast sculpture measures 24 x 7 x 5 inches and weighs 49 lbs. Overall measures 26 inches tall on wood base. Proc...

Contemporary abstract expressionist acrylic and oil on canvas by Italian artist Albino Palamara. Signed to the reverse. Title: Agrandissement Cellulaire. A strikingly colourful and...

Elemental Drift Grey, White , Blue Abstract Expressionist Painting Made by Ragellah Rourke in 2025 oil on canvas 36 x 48 inches, unframed The sides are cleanly painted light grey so ...

Primary Colors Abstract Expressionist - Mixed Media on Paper Abstract in bold primary colors on a stark black background with salt texturing technique executed along the bottom, by California-based artist Ricardo de Silva (Brazilian, 20th Century). This artwork is on "Arches France...

Nicely painted mid century modern abstract expressionist textural oil painting. Great color and composition. Framed. No signature found.

Bertha G. Davis (1911-1997) Untitled, ca. 1960's Oil on cradled masonite panel. 16 x 20 inches; 24 x 28 inches framed. Signed lower left. Artist estate stamp on verso. Vintage custom wormy chestnut frame. A painter of cityscapes, landscapes, and abstracts in Texas, Bertha G Davis was primarily a self-taught artist whose style was influenced by her early life experiences in pre-World War II Lithuania and later Mexico. Her style is expressionistic*, relying on color to denote her profound feelings. She works primarily in watercolor and acrylic with some mixed media*. She is the daughter of Abraham and Dvora Germaize of Vilna, Lithuania and grew up in Jewish ghettos in Vilna, Alita, and Kovno. Davis was influenced by her father who was a decorative wood-worker and carpenter in Lithuania. The family of five daughters and a son escaped to Mexico City in the late 1920’s because of Jewish oppression. The images and emotions she experienced had no outlet. She was known as a beauty, and at age 17 was named Jewish Miss Mexico, barely able to speak Spanish having just emigrated from Eastern Europe. Irving Davis, a merchant from Texas who had also come from Eastern Europe via Cuba, saw her at this event where she was crowned Jewish Miss Mexico, and three days later asked for her hand in marriage. They moved to a small town in Texas, raising a family. Her daughter, Sylvia, was born when Davis was 20 and they were inseparable. As Sylvia became an actress, painter, and sculptor, Davis was amazed at the capacity for creativity. Davis didn’t begin her own artistic journey until she was 47, when her daughter Sylvia Caplan encouraged her to try. She was inspired by this daughter who gave her a drugstore palette of watercolors, paper and brushes and told her to “just try.” Davis did not put down her palette and brushes until her death in 1997. Bertha G Davis was primarily self-taught but maintained a style oriented toward color and texture that reflected her strong feelings. Most of her early work was done while she lived in McAllen, Texas where she was known for her contribution to art and showed her work and the work of other artists at the Bertha Davis Gallery. She studied with Stewart Van Orden, at Pan American College in 1960-61; and was a student at the Art Institute San Miguel Allende, Mexico, 1965. She was also a student of Harold Phenix...

WILD HORSES-1, Original Contemporary Abstract Expressionist Painting, 2021 30" x 40" x 2" (HxWxD) Oil and Newspaper on Canvas Hand-signed by the artist. This large-format oil painti...

Nan Van Ryzin (American, born 1952) "Fire" 2023 Oil Paint, Canvas, Stretcher Bars The artist signed the back of the painting. Beyond its visual impact, 'Fire' serves as a profound m...

Ben Wilson Concert, ca. 1989 Oil on masonite board (Hand Signed by the artist; also bears the Estate Stamp) Boldly signed front and back, titled and dated on the back by Ben Wilson and also stamped on the back by the estate of Ben Wilson 42 × 48 inches Unframed This stunning painting is done by the second generation Abstract Expressionist artist Ben Wilson - one of the youngest artists to be given a show at prestigious ACA Gallery in 1940. This work "Concert" - depicting instruments, in a light, lyrically abstract painting. Exquisite colors and subtle imagery. In 2017, he was the subject of a retrospective at the George Segal Gallery at Montclair State University from September 6 to November 4 and it was accompanied by a catalogue. About Ben Wilson: Ben Wilson was born in Philadelphia in 1913 to Jewish parents who had emigrated from Kiev and settled in New York City. He was educated in Manhattan public schools and graduated from City College in 1935. To gain exposure to a wider range of styles, he also studied at the National Academy of Design and at the Educational Alliance. Admired by critics throughout his long career, Wilson was singled out as a “discovery” by the New York Times art critic Edward Alden Jewel even before his first one-man show at the Galerie Neuf in 1946. His paintings of the ’30s and ’40s were expressionistically rendered, often Biblical parables, filled with what he called “the grief of the intolerable” and reflecting an acute awareness of the agony of the time, from the Holocaust to the Spanish Civil War. A WPA artist who identified strongly with the plight of the Jews in Europe, he relentlessly explored themes of war, torment, and futility in his early decades of painting. When times changed and social pressures subsided, Wilson’s mood lifted. He spent 1952-54 in Paris working at the Academie Julien. During the ’50s his involvement with specific imagery persisted but became more psychological and mythic in orientation. Influenced by Cubism, he created a vocabulary of interlocking shapes and bold, sweeping gestures that served as a transition between his early figurative expressionism and his later abstract constructivist concerns. Towards the end of the decade Wilson reached a crossroads, moving towards abstraction and searching for what he called “a scaffolding under the externals.” By 1960, influenced by the Russian Constructivists, Mondrian, and Abstract Expressionism, Wilson turned to abstraction. Reexamining the basic elements of painting, he evolved his own personal vocabulary and structure, fusing the cerebral and the emotive. He became increasingly experimental, using house paint, sand, and other unorthodox materials in paintings that he worked from all directions, dripping, spraying, stenciling, and collaging. He employed elements of disjunction, repetitions of geometric motifs, linear networks, and complex overlays to create the transparent, multi-layer development of space that characterizes his later paintings. A consummate draftsman, Wilson filled notebook after notebook with drawings that he amplified in his paintings. Eschewing popular movements, Wilson was always one to pursue a personal aesthetic. Despite more than 30 one-man shows and 50 years of teaching, he increasingly withdrew from the gallery scene but continued to paint daily until his death at age 88 in 2001 in Blairstown, New Jersey, where he and his sculptor wife Evelyn Wilson...

Bold multi-color abstract expressionist oil painting illustrating vivid colors of gold, magenta, teal and yellows by Michael Pauker (American, b. 1957). This high octane colorful hor...

"Sycamores" Abstract Expressionist Composition in Acrylic on Paper Bold and expressive composition by Ellen Marie Jones (American, b. 1961). Several botanical shapes resembling tree...

Esteban Vicente (1903-2001). Untitled, #36, 1955. Gouache on paper, image measures 8 x 11 inches, 16.5 x 19.5 inches framed. Signed, dated and numbered on verso. Excellent condition....

Vintage American modernist abstract expressionist figural painting. Oil on canvas. Framed. Signed.

Abstract Expressionist Sky Composition by Gerard Guegueniat (French 1970's) signed oil painting on board, framed framed: 25.5 x 35 inches board: 24 x 34 inches provenance: private co...

Mid Century Modern, American Abstract Expressionist Painting on Masonite. This wonderful work in exciting colors is housed in a contemporary white wood frame presentation.. The art...

A mid century modern American abstract expressionist painting. Palet knife Heavily applied and richly textured application of paint. Oi...

LATE AUTUMN, Original Signed Contemporary Abstract Expressionist Painting 30" x 40" x 2" (HxWxD) Oil on Canvas Hand-signed and dated by the artist. A large-format, subdued abstract ...

Bay Area Abstract Expressionist -- Oak Woodlands of San Francisco Golden Gate Park This mid-century painting by Honora Berg (American, 1897-1985) depicts coastal live oaks of Golden...

Fredric Karoly (1898-1987). Etude III, 1950. Oil on masonite panel measures 18 x 24 inches. Unframed. Signed, titled, dated on reverse. Good condition with minor paint loss at edges. Biography: An abstract painter, Karoly was born in Hungary and studied painting in Paris, architectural eingineering in Berlin, and emigrated to the U.S. in 1926. He began a successful career as a fashion and fabric designer. In 1948 he was working as a fashion director for Simplicity Patters, when he had a solo exhibition of of his oil paintings, wire montages, dry-pen drawings and abstract photography. Solo Exhibitions: Hugo Gallery (Alexandre Iolas) New York 1948; Gallery Mai. Paris 1949; New Gallery (Eugene Thaw) New York 1950; Museu de Arte, Sao Paulo, Brazil 1951; Miami Museum of Modern Art, Miami, Florida 1959; Loft Gallery, New York City, 1966.Group Exhibitions: Hugo Gallery, New York 1947; Salon des Realities Nouvelles, Paris 1949-1953; Whitney Museum of American Art, New York (Annual) 1951-1953, 1963; Biennale of Sao Paulo, Brazil, 1951; International Independent Exhibition, Tokyo, 1951; Martha Jackson Gallery, New York, 1959; The Butler Institute of Art, Youngstown, Ohio, 1960; Stuttman Gallery, New York, 1960; The Art Institute of Chicago (Annual), 1960; International Watercolor Exhibition, Brookyln Museum, 1961; Westchester Art Museum, White Plains, NY, 1963; Whitney Museum, Annual, NY 1963; Cleveland Art Festival, Park Synagogue, Cleveland, 1963; Whitney Museum, Sculpture Annual, NY, 1964.Works in Institutional Collections: Museu de Arte, San Paulo, Brazil; Museu de Bellas Artes, Buenos Aires, Argentina; New York University, New York; Washington University, St. Louis, Missouri; Finch College, NY; Barnard College, NY; Metropolitan Museum, Whitney Museum and Guggenheim Museum, New York; Museum of Fine Arts, St. Petersburg, FL. Awards: National Council Arts Awards, 1968. Frederic Karoly died on December 15, 1987 at the Inter-Continental Hotel in Manhattan, where he had made his home for many years. Fredric Karoly was born in Budapest in 1893. According to Karoly’s own vitae, his exhibition history began in New York in 1947, when at the age of 54 he took part in a four-person group show at Hugo Gallery. His involvement with visual art however was apparently life long. In a brief introduction to his solo show at Galerie Mai in Paris in June of 1949, Jen Luc de Rudder, reports that Karoly began painting at the age of 12 in Budapest. After several years of studying, then working in London, Paris and Berlin, Karoly emigrated to the United States in 1925 or 1926 (he probably first came to the US on a work visa in 1925). In New York, Karoly worked in women’s fashion as a designer. In 1948 Karoly worked in a manner than was clearly influenced by the work of such European surrealists as Max Ernst, creating spiked automatic bi-chromatic paintings. His style progressed into a progressively more biomorphic vein, similar to explorations by Theodore Stamos, Daphnis, Milton Avery and Mark Rothko around the same period. He was supported with patronage during this period by Mrs. Mimi Baliff, who apparently supported the “Industrial Design Workshop” that she helped open to feature Karoly’s designs in 1948. By the early 1950’s (1951) Karoly started experimenting with the drip and splatter process as well. Drip paintings dominated his process until the late 50’s-early 60’s, when linear compositional elements began to reemerge. By the late 50’s multi-layered drip grid motifs asserted a masque of spatial organization over looser washed fields and splatters of paint that Karoly worked off of. This development was consistent with concurrent explorations into the grid by artist Agnes Martin and others. By the mid-50’s Karoly’s style began another transition into a more surface concerned “Color Field” style of painting. There are elements still reminding one of Abstract Expressionist concerns as such painters as Clifford Still. But the works that began to emerge from Karoly’s studio in 1958 presaged the Morris Lewis fan motifs and Friedl Dzubas’s epic and romantic color spewing expanses of canvas. In 1959 Karoly began experiments using washes of turpentine diluted oil paint directly onto raw linen, and all of these subsequently suffered the consequences of oil oxidation and acidity upon the surfaces. However, many of Karoly’s washes in color field happily occurred on lightly prepared primed canvas surfaces as well. By 1960 Karoly began reintroducing imagistic references to his visual content. There were also various references to Japanese and Zen influences. He experimented with a variety of processes that included mixed media and marbleized surfaces achieved by the intermixture of oil and water mediums. A calligraphic element also enter Karoly’s work in the early 60’s. Then in 1961 glued and assembled objects begin to show up in Karoly’s work in earnest. The influence of early POP artists, particularly Jasper Johns, and Robert Rauschenberg, become apparent. From 1961-63, a series of the assemblage works transition from canvas to the sculptural to pieces obviously intended for full scale installation. Many of these pieces were among the most fragile of his works primarily due to their reliance upon the of gluing of objects such as plastic or paper cups on flexible surfaces of stretched linen or canvas. In the mid-60’s Karoly apparently produced a number of photo-silk screened series of Picasso, De Kooning and other significant artists of his generation. These were executed in a style somewhere between Rauschenberg’s and Roy Lichtenstein’s, primarily because of their reliance upon half tones and Ben-Day dot effects. Then Karoly began a series of paintings conflating his drip and grid styles with super imposed and painted over string. In the late 60’s Karoly embarked upon a series of multi-paneled stretched linen constructions often with slits and fiber optic back-lit elements that were prescient of the work of Dan Flavin and others. It was this body of work that was shown at Hofstra University’s Emily Lowe Gallery, and it was these works that suffered perhaps the most irreparable damage from a steam/water infiltration in a space where they were being stored. The late professional start that Karoly had into the art world was balanced by his long life span and early immersion into the design issues of modernism as it emerged in turn of the century Europe and later evolved in America. He was clearly an artist who subscribed to the ethos of the new in abstraction and was obviously impressionable and in some instances prescient with regard to various trends in abstraction. Several noteworthy and influential collectors and institutions during his 40 years of professional engagement acquired his work. The Whitney Museum of American Art had and may still own a large Karoly canvas from 1960, but this is doubtful as the artist failed to list it on the vitae he filed with MoMA in 1965. His work was recognized and honored by the Whitney with its inclusion in four of their annual survey shows (1951,1953, 1963 and 1964). The artist’s surrealist influenced paintings from 1948-1950 were the focus of a solo exhibition held of his work by the Museo de Art in Sao Paulo and eight years later a ten year survey of his work was the focus of a solo show at the Miami Museum of Modern art. The Sao Paulo Museum in Brazil, and the Museo de Bellas Artes in Buenos Aires, Argentina each acquired Karoly paintings for their collections in the 1950’s. One of Karoly’s surrealist pieces was apparently purchased by Christian Zervos, Picasso’s designated chronicler, who apparently also wrote a piece on Karoly in Cahiers D’Art in 1949. A 60’s piece of Karoly art that is in the New York University’s permanent collection is included in the MoMA Library’s catalog...

Los Angeles artist Marc Raphael's abstract expressionism paintings are influenced by New York's abstract expressionist movement. After encountering Jackson Pollock’s work for the fir...

Marc Raphael’s "Cocktails and Sinatra" captures the carefree glamour of mid-century sophistication through the language of contemporary abstract expressionism. This original drip pai...

Syril Frank (American, 1929-2021) Untitled, c. 1963 Oil on canvas 44 1/2 x 47 3/4 in. Provenance: Estate of the Artist Syril Harriet Frank was born in Br...

Superb original abstract painting by the contemporary British abstract artist Robert Somerton, born 1972. Bright, vivid blue shapes all make up this highly unique and appealing abs...

Sepia Abstract Expressionist Composition in Acrylic on Paper A bold abstract painting in in sepia-toned brush strokes and deep red and bright yellow accents with contrasting black a...

Antique American modernist abstract expressionist oil painting. Oil on canvas. Signed. Framed.

“Crimson Depths” is a bold abstract expressionist painting by Finnish multidisciplinary artist Emmi Iida. With its visceral palette of deep reds, earthy browns, blacks, and flashes o...

MELISSA MEYER (American, b. 1946), 'Chance' Oil on Canvas 2006 Hand signed, dated and titled, verso Height: 30 inches, Width: 28 inches Provenance: Rebecca Ibel Gallery, Columb...