Paolo Minoli Art

"Day at the Coast" by Robert Glick is a captivating 30" x 30" acrylic on canvas that masterfully blends the realms of abstraction and geometry. As part of...

Acrylic on canvas. Signed, titled, and dated on verso. 86 x 74 in. 87.25 x 75.25 in. (framed) Please note: This work was re-framed AFTER photography was completed. The frame seen in the photos was original, and has since been replaced with a solid maple floater, finished in a polyurethane clear coat (see other listings for an example of this frame). Provenance Steve Chase Design, Palm Springs, CA Ronnie Landfield was born in the Bronx, NY on January 9, 1947 - the same day as his older brother. As a teenager, he was encouraged to pursue a career as an artist, subsequently creating his first real paintings around the age of 14. He was particularly influenced by a Life magazine article from 1961 on the Abstract Expressionists, most notably: Jackson Pollock, Willem de Kooning, Adolph Gottlieb, Hans Hofmann, Mark Rothko, Clyfford Still, Robert Motherwell and Franz Kline. After stints at the Art Students League, the Kansas City Art Institute, the San Francisco Art Institute, and the University of California at Berkeley, Landfield’s professional career as a painter began in New York in 1965. The following year, after completing a major series of hard-edge border paintings, success as a painter began to materialize. The famous architect and collector Philip Johnson and the collector Robert Scull each acquired large paintings works, as did the Sheldon Memorial Museum in Lincoln, Nebraska. In 1967, Landfield was invited to participate in the Whitney Annual at the end of the year. His work attracted considerable attention, and he was invited to participate in important group exhibitions at the Bykert, Bianchini, and Park Place Galleries in New York. Landfield joined the David Whitney...

Paul Brach (American, 1924-2007). Cluster #3 Acrylic on canvas with collage metal stars on it. Paul Henry Brach, (born March 13, 1924 in New York City - d.November 16, 2007 in Easthampton, New York) was an American abstract painter and a lecturer and educator. As an abstract painter Paul Brach exhibited his work in New York with the Leo Castelli Gallery, the Cordier & Eckstrom Gallery, and with the André Emmerich Gallery and then later with Flomenhaft Gallery. Paul Brach's estate is represented exclusively by Eric Firestone Gallery. Paul Brach was born in New York City and was raised in Brooklyn and the Bronx. He went to the University of Iowa where he studied painting with Grant Wood. He served in the US Army during World War II. After the war, he finished school in Iowa on the GI Bill. At the University of Iowa he met the artist Miriam Schapiro and in 1946 they married. By 1951 they moved back to New York City and befriended many of the artists in the downtown Abstract expressionist New York School, including Joan Mitchell, Larry Rivers, Knox Martin and Michael Goldberg. He was associated with the New York print studio Atelier 17 (Stanley Hayter) During the early 1960s Brach had part-time teaching jobs at The New School, Cooper Union, The Parsons School of Design and Cornell University's New York City Program. In 1967 Brach and his wife Miriam Schapiro moved to Southern California. He became the Dean of the CalArts program in Los Angeles in 1969. As dean of the School of Art at the California Institute from 1969 to 1975, Mr. Brach hired John Baldessari, Allan Kaprow and the critic Max Kozloff, among others. He helped to create a freewheeling experimental atmosphere out of which emerged artists like David Salle, Eric Fischl, Barbara Bloom...

Untitled geometric abstract oil painting by Martin Canin, measuring 60x50-inch. Martin Canin’s work can be linked to two 1960s movements: Color field and Op Art. Like many artists of...

Signed & dated Verso. 1965 Paul Reed in 1970. He favored “staining” untreated canvas. Paul Reed, the last surviving member of the Washington Color School, who explored the complexities of color and form in vibrant bio-morphic and hard-edge abstract paintings, died on Sept. 26 at his home in Phoenix. He was 96. His death was confirmed by his daughter, Jean Reed Roberts. Mr. Reed acquired his public identity as an artist when he was included, along with Gene Davis, Kenneth Noland, Morris Louis, Thomas Downing and Howard Mehring, in “The Washington Color Painters,” a landmark traveling exhibition that began at the Washington Gallery of Modern Art in 1965. All of the other painters had been shown, the year before, in “Post-Painterly Abstraction,” a 31-artist exhibition at the Los Angeles County Museum of Art organized by the critic Clement Greenberg in an effort to write a new chapter in the historic march of abstract art. Like his fellow Washington artists, Mr. Reed rejected the hot, gestural approach of Abstract Expressionism and explored color and abstract forms in a cooler mode. Working with diluted acrylic paint, in discrete series that methodically explored formal issues, he created luminous fields of color by letting the paint bleed into, or stain, untreated canvas. “I have a saying: Pollock dripped, Frankenthaler poured,” he told The Washington Post in 2011, referring to the artist Helen Frankenthaler. “Morris Louis poured. Howard Mehring sprinkled. I blot.” In his first stained series, “Mandala,” color radiated from a circular central image. The nearly 100 paintings in his “Disk” series, which he called “a matrix for exploiting color,” consisted of a central circle and two triangles positioned at the corners of the canvas. Over the next decade he moved to hard-edge geometric zigzags and stripes in the vertical “Upstart” series, color grids and shaped canvases that allowed for more complex experiments in form and color relations. He also made welded steel sculptures and, in the “Quad” series of the 1980s, collaged photographs. “Reed was, in a sense, the ‘little master’ of that first batch of Washington colorists,” the critic Benjamin Forgey wrote in The Washington Post in 1997. “He was a latecomer — he didn’t turn seriously to painting until he was in his mid-30s — but he never considered becoming anything other than an abstract painter. And when he was ready to show, in his early 40s, he was a very good abstract painter indeed.” Mr. Reed gave himself a more modest assessment in an interview with NPR last year. “I’m sort of low man on the totem pole of that group of six,” he said. Paul Allen...

Colin Lawson says "I work primarily with oil on canvas. Attention to detail, precision, and accuracy in the application of pigment is my main concern when constructing the surface of...

Artist: Arthur Boden Title: Sea Deep Year: 1970 Medium: Acrylic on Canvas, signed verso Size: 87 in. x 51 in. (220.98 cm x 129.54 cm) (can be hung vertically as well)

Martin Canin's Dichotos is a large 60 x 50 geometric abstract oil painting, dating 1967. Martin Canin’s work can be linked to two 1960s movements: Color field and Op Art. Like many a...

LeRone Wilson (1968) is a sculptor and painter living and working in New York. His primary medium is encaustic, the oldest form of painting, used by the ancient Egyptians to fuse hieroglyphics. His sculpted encaustic paintings explore the complexities of the historical and cultural inferences of spirituality, history and identity. His work represents a medley of different textures that stimulate the senses, making the art not just a thing of beauty to be admired from a distance, but something we can feel connected to through the expression of touch. It’s a way of revealing an image without actually being able to control it, letting it come about itself. The work varies in shapes with 1 to 4 inches of wax built up on the surface. Their elegant abstract details invoke minimalist historical references that are surprisingly compelling. The results are unrecognizable surfaces that encourage kind of curiosity as to their function as paintings. Minimalism can be defined as the perfection that an artifact achieves when it is no longer possible to improve it by subtraction. This is the quality LeRone wants to achieve with the texture of the encaustic. Every component, every detail and every function has been reduced or condensed to the essential. The simplicity of his work explores the possibility of working creatively without disrupting the purity of the material. A finalist for the Louis Comfort Tiffany Award and winner of Best in Show for the Carroll Harris Sims Award, his works have also appeared in live auctions...

Artist: Peter Mack Title: Circulars 2 Year: circa 1980 Medium: Acrylic on Canvas, Signed l.r. Size: 54 x 54 in. (137.16 x 137.16 cm)

Minimalistic 'Yearning' glows with pink, peach, blue and green and is inspired by Taoist teachings and meditations, with a focus on color, rhythm and flow. Matuszewski creates medita...

Bonr on December 18, 1940 in Vestignè (Turin) in Italy, Ferruccio Gard is considered to be a central figure in Programmed Art, Kinetic Art and Constructivism since the 1970s. Gard i...