Gayatri Gamuz

"Untitled wp20" Abstract Painting 22" x 18" inch by Gayatri Gamuz

2021

"Untitled wp19" Abstract Painting 22" x 18" inch by Gayatri Gamuz Watercolor on archival paper In search of silence, in search of the self. Her work em...

"Untitled wp18" Abstract Painting 22" x 18" inch by Gayatri Gamuz Watercolor on archival paper In search of silence, in search of the self. Her work em...

"Untitled wp18" Abstract Painting 22" x 18" inch by Gayatri Gamuz Watercolor on archival paper In search of silence, in search of the self. Her work emerges from the silence within...

"Untitled wp4" Abstract Painting 22" x 18" inch by Gayatri Gamuz Watercolor on archival paper In search of silence, in search of the self. Her work emerges from the silence within ...

"Relic" Abstract Painting 14" x 10" inch by Amal Nasr watercolor & ink on paper “New Horizon” series There is a constant quest to restore the joy of discovery and the pleasure of...

"Ethereum" Abstract Painting 14" x 10" inch by Amal Nasr watercolor & ink on paper “New Horizon” series There is a constant quest to restore the joy of discovery and the pleasure...

Time Travel Black & Gold Glyphs I by Cheryl R. Riley Metallic abstract geometric symbols Gouache and metallic ink on 140# cold press watercolor paper Feminist Art and Contemporary F...

Vision I by Cheryl R. Riley Metallic abstract geometric symbols, purple, yellow, gray, gold Gouache and metallic ink on 140# cold press watercolor paper Feminist Art and Contemporar...

Pink, orange, and red abstract watercolor on paper by Lynn R. Wolfe (1917-2019). Signed by the artist in the lower left corner. Presented in a custom frame with all archival materials measuring 27 ½ x 34 ¼; image size is 22 ¼ x 30 inches. Provenance: Estate of the Artist, Lynn R. Wolfe Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born 1917 Red Cloud, Nebraska Died 2019 Boulder, Colorado A versatile artist proficient in painting, sculpture, stained glass and mosaics, Wolfe grew up on his family’s dairy farm near Red Cloud, Nebraska. For much of his early life he was known as Bob until officially adopting the first name of Lynn in 1939. When he was six months old he contracted the "Spanish flu" in the 1918 influenza pandemic that stunted his growth, making him the smallest student in class. To compensate for his small stature, his family engaged a Black boxer to give him boxing lessons so he could always defend himself against any bullies he encountered at school. Before he started grade school in Red Cloud, one of his grandfathers - a Latin scholar - taught him how to read. His early connection with sculpture occurred when as a youngster he looked for clay in the sandpits near his home to mould figures, including a likeness of his older brother. Similarly, his adult interest in archaeology developed from their search for arrowheads brought to the surface after rainstorms on the family farm. As a teenager he read The Temple Warriors in Chichen Itza, Yucatan, by Earl and Ann Morris with illustrations by Jean Charlot. After World War II Charlot taught fresco painting and worked with Lawrence Barrett on several editions of lithographs at the Colorado Springs Fine Arts Center. In 1947 Wolfe served as Charlot’s chauffeur when he came up to lecture at the University of Colorado in Boulder (CU), and in appreciation received one of the artist’s etchings personally inscribed to him. Following graduation as valedictorian of his high school class, Wolfe enrolled in 1935 as an undergraduate on scholarship at the University of Nebraska at Lincoln, earning his B.A. degree in fine art in 1940. He studied art with Frederick Dwight Kirsch (himself a student of fellow Nebraska native Robert Henri at the Art Students League in New York) who served as Chairman of the Art Department and Director of the University Art Galleries – now the Sheldon Museum - until 1950 when he became director of the Des Moines Art Center. In Nebraska Wolfe painted representational scenes of local buildings such as grain elevators in a landscape setting and small-town street scenes with automobiles. It took Wolfe five years to earn his undergraduate degree because he worked while going to school. In his final year he worked to pay the taxes on the family farm to avoid foreclosure during the Great Depression. While at the University, he prepared fossils and did low relief sculptures of prehistoric animals for the Nebraska State Museum located in Morrill Hall on campus. He also participated in Pleistocene fossil digs in Nebraska and Texas. One of his first jobs after graduation was supervising fossil preparation in Lincoln by twenty-nine workers employed in a Depression-era project sponsored by the federal government. In 1939 he met his future wife Arlene at a sock hop at the University of Nebraska. His first impression of her was a "stunning blond across the room" with whom he shared an interest in the arts and travel. During World War II when she was living and working in Omaha, he proposed to her from New Guinea where he was stationed in the South Pacific. He said that he would take her to Florida if she married him. He later took her and their family on a number of trips to most of Europe, and to Morocco, Algeria, Turkey, China, Japan and Fiji. During the last year of the war he taught photo intelligence in Orlando, Florida, while stationed at the local Air Force base. Prior to the Japanese attack on Pearl Harbor and America’s entry into the war, he worked in the Engineer Corps doing color, texture and illusion. During the war he spent four years in the military, shipping out as a buck private and later advancing to the rank of captain. His classroom experience in Florida helped transition him at war’s end to the University of Nebraska where he taught art for two semesters to fellow intelligence officers studying there on the G.I. Bill. In the summer of 1946 he also was a visiting artist at the University of Alaska where he taught watercolor. In 1947 he relocated to CU in Boulder for his Master of Fine Arts degree on the G.I. Bill. As part of his application earning him a graduate fellowship, he included a photograph of his wife and himself in his captain’s uniform. He took painting and sculpture courses with Muriel Sibell Wolle...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. This one is influenced by California Abstract Expressionist artist Sam Francis. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

Black & Gold Glyphs II by Cheryl R. Riley Metallic abstract geometric symbols Gouache and metallic ink on 140# cold press watercolor paper Feminist Art and Contemporary Feminist / G...

Dominic Mingolla (1922 – 1999) Mingolla created paintings in many different materials and genres. Best known for his large abstract expressionist watercolor paintings similar in style to Paul Jenkins and for his Enamel work. His work bears affinities both to Lyrical Abstraction and to Tachisme artists such as Nicolas de Staël, Serge Poliakoff, Andre Lanskoy, Hans Hartung, Jean-Paul Riopelle, Gustave Singier, Alfred Manessier, Roger Bissiere, "Lyrical Abstraction arose in the 1960s and 70s, following the challenge of Minimalism and Conceptual art. Many artists began moving away from geometric, hard-edge, and minimal styles, toward more lyrical, sensuous, romantic abstractions worked in a loose gestural style. These "lyrical abstractionists" sought to expand the boundaries of abstract painting, and to revive and reinvigorate a painterly 'tradition' in American art. At the same time, these artists sought to reinstate the primacy of line and color as formal elements in works composed according to aesthetic principles – rather than as the visual representation of sociopolitical realities or philosophical theories." "Characterized by intuitive and loose paint handling, spontaneous expression, illusionist space, acrylic staining, process, occasional imagery, and other painterly techniques, the abstract works included in this exhibition sing with rich fluid color and quiet energy. Artists associated with Lyrical Abstraction include: Natvar Bhavsar, Lamar Briggs, Friedel Dzubas, Sam Francis, Ronnie Landfield, Pat Lipsky...