Doug Edge

"Irak" Oil Painting on Board by Doug Edge

2008

This mesmerizing oil painting celebrates the Abstract Expressionism movement with its vivid brushstrokes that move dynamically, from abstract lines to fully formed shapes. The warm h...

In this composition, Californian artist Wesley Johnson invites us to contemplative stillness. The abstract essence of this work flourishes into a living entity, enriched by a blend o...

Against a backdrop of deep, brilliant yellow gold, two distinct zones emerge: the outlines of a shadow formed by a pair of human silhouettes, probably a couple, appear. The golden ba...

In this oil painting on thick paper, the Armenian artist Vahan Yervandyan presents an abstract composition that ignites a dialogue between two opposite worlds. The interplay of form ...

In this abstract expressionist painting by Shant, the tension between black and white creates an immediate, palpable sense of unease, which could recall the chaos and turmoil often associated with Lebanon's complex history. Indeed, Shank was born in Lebanon in Beirut in '71. From 1975 to 1992, Lebanon was the scene of a multifaceted war. Very deadly for the civilian population, it involved various protagonists, and a civil war broke out in 1975-1976, then again in 1983-1985. Whether consciously or unconsciously distancing from these events, having been exposed to them directly or through the tragic experiences of families who remained in the country, the bold brushstrokes and swirling circular shapes evoke a sense of urgency, reflecting the inner turmoil and external conflicts that may have shaped the artist's experience. Abstract expressionism is a free universe where everyone can interpret a painting according to its history, its current events, whatever the resonance may be between the personal history of the spectator and that of the artist. The chaotic composition of this piece invites us to explore our inner worlds as we navigate through the painting's complex layers of meaning. Shant fills space with dynamic energy, creating an organization of forms, a dialogue that challenges traditional notions of order and structure. It is impossible to separate Shant's artistic expression from the socio-political context of Lebanon. The artist's education undoubtedly influences his point of view, infusing the work with a questioning that resonates on a profoundly universal level. Ultimately, Shant's abstract expressionism in this painting transcends mere representation, inviting viewers to confront the complexities of the human condition and the lasting impact of conflict on the individual and collective psyche. He was born in 1971 in Beirut, Lebanon, where Shant Beudjekian’s art practice was discovered at 14, after gaining recognition from the Swiss national youth soccer team and winning many trophies and medals then. In 1995, after moving to California, San Diego, he completed a 4 year Bachelor's degree in Fine Arts with a minor in Ceramics at Otis College of Art and Design in Los Angeles. He also attended a one-year internship in landscape architecture at the Rhode Island School of Design. He returned to Southern California in 2004, where he practiced as a full-time Artist in the Local Art Communities of Southern California. He has been painting for 25 years while receiving appreciative acceptances from curators and Gallery Directors from the East Coast. He exhibited in several cities on the East Coast of the United States, along with exhibitions in the Chelsea District of Manhattan, New York. Now living on the West Coast, Beudjekian has been notable for exhibiting Art and selling on numerous occasions at the San Diego Art Institute of the Living Artists, Del Mar Art Center, San Diego Hospice and Palliative Care, and Forest and Ocean Gallery...

This gouache reveals a butterfly tree with wings covered in multiple eyes towards the observer. In this primitive kaleidoscope playing with perspectives, the artist Rupert Picott leads us into a dance of forms, half-animal, half-vegetal. Here, we can breathe a nature distanced from civilization, a shattered, psychedelic dimension that opens the doors of a hallucinated perception. This gouache transcends its physical form. Like a dream woven into reality, it beckons viewers to question the boundaries of their consciousness. Each brushstroke becomes a portal to a realm where the mundane and the mystical intertwine, blurring the lines between what is seen and felt. In this dialogue between forms and colors, Rupert Picott offers us not just a painting but a glimpse into the infinite expanse of the human experience, echoing William Blake’s timeless wisdom: ‘If the doors of perception...

The artist has painted the work in matte black and gloss black. It a sense this is also an optical art “Op Art” in that it changes as the light changes. Jimmy Ernst was a major figure of the New York School of abstract painting and part of The Irascibles, and son of Max Ernst: Provenance: Grace Borgenicht Gallery, New York, New York; Joseph H. Hirshhorn, New York and Washington, D.C. (acquired from the above in 1966); Joseph H. Hirshhorn bequest, Hirshhorn Museum, Washington, D.C., 1981; Sotheby's Arcade, New York, New York, February 24, 1995, lot 331; The Jeanne and Carroll Berry...

Wesley Kimler (born 1953) an American artist based in Chicago, Illinois, is known for his colossal paintings, up to 15 feet high and 27 feet wide. According to critic Kevin Nance, th...

Alan Fenton (1927 - 2000) Pond I, 1958 Oil on canvas 81 x 90 inches Signed, titled and dated on the reverse Fenton's quiet and contemplative nonobjective paintings and drawings were...

Alan Fenton (1927 - 2000) Untitled, 1958-1960 Oil on canvas 90 x 84 inches Fenton's quiet and contemplative nonobjective paintings and drawings were widely recognized for their demanding yet understated means of revealing a serious and sober essence. He identified greatly with Mark Rothko, a friend, as well as Adolph Gottlieb and Jack Tworkov, with whom he had studied privately. Fenton painted in New York City in the late 50's as the explosion of Abstract Expressionism turned into a rebellion against gestural, emotional painting. More concerned about his art than his posture, he expanded upon a tradition in painting with influences as diverse as Whistler and Turner as well as Ad Reinhardt and Joseph Albers. Alan Fenton was born in Cleveland in 1927, studied at the Cleveland School of Art, The Arts Students League, The New School, and at NYU, earning his BFA at Pratt Institute, where he later taught painting for many years. At seventeen, Fenton served in the Merchant Marines where he began a career as a professional boxer, a skill he had honed on the streets. He moved successfully through the graphic design business en route to becoming a painter in New York at the height of the art revolution of the fifties and sixties. Fenton enjoyed success with his subtle washes and pencil drawings as well as large abstract...

Alan Fenton (1927 - 2000) Untitled, 1958-1960 Oil on canvas 90 x 84 inches Fenton's quiet and contemplative nonobjective paintings and drawings were widel...

Alan Fenton (1927 - 2000) Untitled, 1958-1960 Oil on canvas 88 x 82 1/2 inches Signed on the stretcher Fenton's quiet and contemplative nonobjective paintings and drawings were widely recognized for their demanding yet understated means of revealing a serious and sober essence. He identified greatly with Mark Rothko, a friend, as well as Adolph Gottlieb and Jack Tworkov, with whom he had studied privately. Fenton painted in New York City in the late 50's as the explosion of Abstract Expressionism turned into a rebellion against gestural, emotional painting. More concerned about his art than his posture, he expanded upon a tradition in painting with influences as diverse as Whistler and Turner as well as Ad Reinhardt and Joseph Albers. Alan Fenton was born in Cleveland in 1927, studied at the Cleveland School of Art, The Arts Students League, The New School, and at NYU, earning his BFA at Pratt Institute, where he later taught painting for many years. At seventeen, Fenton served in the Merchant Marines where he began a career as a professional boxer, a skill he had honed on the streets. He moved successfully through the graphic design business en route to becoming a painter in New York at the height of the art revolution of the fifties and sixties. Fenton enjoyed success with his subtle washes and pencil drawings as well as large abstract canvases...