Samuel Bookatz

ABSTRACT WOMEN

ca 1985

Bookatz's artistic practice embodies a dynamic and multifaceted approach to creation. His canvases resonate with an improvisational interplay, a reflection reminiscent of the nuance...

Friedel Dzubas, a prominent figure in the New York School, made a significant mark within the Color Field painting movement during the mid-twentieth century, persisting in his artist...

In her paintings, Christine Hayman concerns herself with space. She is interested in how forms are energized by the space around them, especially when incorporated into paintings wit...

Sherry Giryotas' abstract paintings in this series are reminiscent of Paul Klee’s paintings with orange hues and geometrical shapes which almost take o...

Valerie Beller’s abstract paintings encourage visual exploration. Organic forms are both revealed and concealed amidst layers of paint. The streaked and stained surfaces of the canva...

Valerie Beller’s abstract paintings encourage visual exploration. Organic forms are both revealed and concealed amidst layers of paint. The streaked and stained surfaces of the canva...

Jim’s of Lambertville is proud to offer this artwork. Signed lower right Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in C...

This work, "We Could Sit Outside" by contemporary female painter Dorothy Fitzgerald is part of the artist's Smile Art series, created during the quarantine a...

A modern abstract expressionist oil painting signed illegibly and dated 1956.

Three masks abstract by Novak (American, 20th Century). Presented in a white wooden frame. Signed "Novak" lower right. Image: 28.5"H x 26"W.

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Abstract expressionist figure by R. Navarro. Signed "R. Navarro" and dated "2000" lower right. Sand Francisco bay area find by undiscovered artist. Image, 30"H x 20"W.