Raymond Parker

Untitled

1970

Among America’s leading abstract artists, Dan Christensen (1942-2007) was devoted over the course of forty years to exploring the limits, range, and possibilities of paint and pictor...

We are pleased to offer this work by second generation AbEx painter Robert Natkin and painted in delicious colors of yellow, tangerine, blue, red and purple. It fits well within a variety of decor settings. Described as the "author of a dappled infinite," Natkin created some of the most innovative color abstractions of the late 20th century. Populated by stripes, dots, grids, and an array of free-floating forms, his light- filled canvases are sensuous, playful, and visually complex. While attending the school of the Art Institute of Chicago from 1948 to 1952, Natkin was afforded the opportunity to study the museum's world-class collection of French post-impressionist art and decided to turn his attention to painting instead. During these formative years, Natkin was inspired by the examples of Pierre Bonnard and Henri Matisse, who used decorative patterning and arbitrary color to evoke mood. Most importantly, he also discovered the work of Paul Klee, the Swiss-German artist whose whimsical, semi-abstract paintings reflected his belief that "art does not reproduce the visible but makes visible"--a credo that nurtured Natkin's burgeoning interest in emotional content. In 1952, he lived briefly in New York, where he saw and was influenced by the bold canvases of Willem de Kooning. In 1959, aware of the limited patronage for abstract art in Chicago, Natkin and Dolnick moved to New York, where Natkin joined the stable of artists associated with the Poindexter Gallery, known for its support of emerging painters and sculptors. Immersed in the dynamism of the New York art world, where Abstract Expressionism and Color-Field painting were the dominant styles of the day, Natkin's aesthetic approach continued to evolve. In 1961, he adopted a serial approach to painting, a practice he would adhere to throughout his career. Natkin began to develop a more intricate style (indebted to Klee), depicting diamonds, polygons, ovals, squiggles and other shapes against textured, delicately toned backgrounds interspersed with seemingly randomly placed dots and daubs of pigment and areas of crosshatching. This new style is evident in the "Intimate Lighting" series works. In 1970 Natkin put aside his brushes and began to use sponges...

Exhibited: Tibor de Nagy Poulis is a color field painter associated with the abstract expressionist school. One critic describes his work thusly: "These paintings are about mark-...

If ever the art world could be said to have a Renaissance Man (excluding Da Vinci!) it would be Jack Roth, abstract expressionist painter, poet, photographer and mathematician. He received degrees in chemistry and fine art, did graduate work in mathematics, and would teach mathematics and art throughout his career. Roth is a second-generation Abstract Expressionist painter, known for his Colorfield work. Though he was fully two decades younger than some of the elder statesmen...

David Einstein's gestural abstraction has a semiotic quality to it. It is a study of how meaning is created, not what is. Indeed, the artist calls himself "a mark maker," as much as ...

Cleve Gray (1918-2004) was admired for his large-scale, vividly colorful and lyrically gestural abstract compositions and achieved his greatest critical recognition in the late 1960's and 70's after working for many years in a comparatively conservative late-Cubist style. Inspired in the 1960's by artists like Jackson Pollock, Clyfford Still, Mark Rothko and Helen Frankenthaler, Gray began to produce large paintings using...

acrylic on canvas The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. The silver deposit paintings began in 20...

Large scale, compelling abstract titled "Open Window" by Canadian abstract painter Sasha Rogers (Canadian, b. 1969), daughter of premier art...

1974 Acrylic on canvas mounted on board 6 x 13 in. Titled and dated, verso Framed

1981 Magna acrylic on canvas mounted on board 5 7/8 x 15 in. (14.9 x 38.1 cm) Unique Titled and dated, /81 45" x 116" "HOT PURSUIT" on the reverse Framed

1974 Acrylic on canvas mounted on board 7 x 6 in. Titled and dated, verso Framed

1976 Magna acrylic on canvas mounted on board 10 x 9 in. (25.4 x 22.9 cm) Unique Signed, lower margin; Titled and dated, #265 + B. 72 x 72" "ROYAL COOL" 1976, verso Framed