Elisa Niva

Holi powder Tantra painting #4 - Colorful abstract tantric stain painting

2022

from the smoke and ash - Abstract tantric stain painting, acrylic on raw canvas by contemporary artist Elisa Niva33 inches x 29 inches. One of the main i...

'summer solstice moon' 26"x24" acrylic and oil pigment stick on raw cotton canvas by Abstract painter Elisa Niva. This earthy and soft painting uses the soak- method created by He...

'Earthen Tantra painting #6' - Abstract tantric stain painting 31" x 31" acrylic and powder on raw cotton canvas by abstract painter Elisa Niva One of the main inspirations of this ...

Earthen Tantra painting #3 - Abstract tantric stain painting 28" x30" Acrylic and oil pigment stick on raw cotton canvas by abstract artist Elisa Niva. One of the main inspiration...

Earthen Tantric Painting #3- tantric soak stain meditation painting by abstract artist Elisa Niva 30”x40” Acrylic on cotton canvas. One of the main inspirations of this soak-stain ...

Earth and Sky #2 - Abstract color field stain painting, acrylic on raw canvas by Abstract painter Elisa Niva. 31 inches by 29 inches This bright and cheerful color field painting ...

Maria Jose Concha lived for 7 years in the Chilean Patagonia, the world’s southernmost landscape, an experience, which transformed her work and becomes the focus of her expressive pa...

Maria Jose Concha lived for 7 years in the Chilean Patagonia, the world’s southernmost landscape, an experience, which transformed her work and becomes the focus of her expressive pa...

Gabriele Evertz Untitled, 1993 Acrylic on canvas 48 x 48 inches Provenance: The artist Private Collection, Long island (acquired from the above) G...

Washes of sun yellow are edged in dashes of bright colors - mauve, cerise, lime and rust -- in this monumental color-field canvas by Milly Ristvedt. "Summer Window" from 1973 was cr...

"Untitled, 1975" by Claudia Sisemore, acylic on canvas, 41.5 x 50 inches, $4,800. "I have a vague idea of what I am going to paint. I read that many artists are inspired by an idea before they begin their work and plan their approach and process based on that idea or muse. Others become inspired after they have begun working and watching colors, shapes and designs form. I basically belong the second group. Usually, after painting begins in a loose, free manner, I become excited by certain colors and patterns and continue from there." -Claudia Sisemore -- Caudia Sisemore says she was teaching English when artist David Chaplin (an equally popular and influential teacher) was at Weber and initially got her into landscape painting. “Then he took me to a show at the Art Barn and Lee [Deffebach] was showing there [with Don Olsen...

Thomas Victor Downing (1928 - 1985) Nineteen, 1968 Acrylic on canvas 35 1/2 x 16 1/2 inches Signed on the reverse Provenance: Estate of the artist Henri Gallery, Washington, D.C. Private Collection, Washington, D.C. Thomas Downing was born in Suffolk, Virginia. In 1950, after graduating from Pratt Institute in New York City, he received a grant from the Virginia Museum of Fine Art to study in Europe. Upon returning from Europe, he settled in Washington, DC to teach at Catholic University. In 1954 Downing became a friend of Kenneth Noland, whose life drawing course he attended. From 1955 to 1956 Downing shared a studio with Howard Mehring, another artist who came to be identified with the Washington Color School. Downing had his first one-man show at the Washington Workshop Center for the Arts in 1959. That year, Downing, Mehring, and Betty Pajac founded Origio, a cooperative art gallery in Washington. In 1959 Downing first began using the small dot in his work, a motif he explored fully into the 1970s. In the early works colorful dots determined the structure of the painting in their size, position, and repetition within a grid. Often there was a sense of concentration and expansion of the composition from the center to the edge of the canvas, achieving a visual impression of expanding open space. Looking for the fusion between the grid and color, Downing eliminated overlapping dots in 1962. The dots arranged in grids seem to project from the canvas surface, giving the impression the color floats unrestricted by the square format of his paintings. Downing’s position in the Washington Color School came from his consistent approach to color. The canvas was the receptacle of color, on which Downing often worked in tonal modulations of a hue. Downing developed shaped canvases in 1966 as a structural solution to his deeper consideration of the “spatial definition” of color. After first working in a parallelogram shape, Downing next worked in chevron-shaped canvases that examined the illusionistic qualities of color. He exhibited these works in a solo exhibition at the Corcoran Gallery in 1966-1967 and later at the Allan Stone Gallery in New York in 1967. Downing’s second series of shaped canvases titled Folds were created in 1968. In the Fold series he discovered a new effect of relief and spatial depth within a flat work that could be enhanced by color. The projections and folding in the Fold paintings suggest the paintings exist in a world without gravity. Downing exhibited in a group show at Jefferson Place Gallery in 1960 and had his first solo exhibition there in the spring of 1961. Downing had solo exhibitions in New York at Allan Stone Gallery in 1962, 1967, and 1968. He also had solo exhibition in New York at Stable Gallery in September 1963 and January 1965. In the early 1970s Downing had regular solo exhibitions at the Pyramid Galleries in DC. In the 1960s Downing was included in important museum exhibitions, including: Post Painterly Abstraction at Los Angeles County Museum of Art, 1964 (Clement Greenberg curated and included three of Downing’s dial paintings); The Responsive Eye at the Museum of Modern Art, 1965; Colorists, 1950-1965 at the San Francisco Museum of Art, 1965; Systemic Painting at the Solomon R. Guggenheim Museum, New York, 1966; and Color Field Painting at the Philadelphia Museum of Art in 1970. Thomas Downing: Recent Paintings was held at the Corcoran Gallery of Art in December 1966 - January 1967. A solo exhibition of his paintings from 1962 to 1968 was held at the La Jolla Museum of Art then travelled to the Phoenix Art Museum in 1968. Downing had a solo exhibition at the Phillips Collection in 1985. Downing taught at the Corcoran School of Art and Design, Washington, DC from 1965 to 1968. There he was influential for the next generation of DC color...