Murray Hantman Art
Shaped by his life experiences and a commitment to the practice of making art, the work of Murray Hantman represented a career of personal exploration and aesthetic refinement that took him from New York to Los Angeles, back to New York and eventually to the serene, yet dramatic, the coast of Maine, where he worked as part of the artists’ colony on Monhegan Island. Born in Pennsylvania in 1904, Hantman’s family moved many times to follow his father’s business opportunities, eventually settling in New York. A childhood of economic instability and dislocation formed Murray Hantman’s early years, making him independent and self-reliant from a very early age. Hantman’s father owned movie theatres and photography studios and, recognizing his son’s artistic ability, employed him to print hand-color photographs as a child. When he was eleven and living in Michigan, a public school teacher arranged for Hantman to receive a scholarship to the Detroit Museum of Art School, where after a year he was awarded another scholarship to study at the Detroit School of Design. He studied in Detroit for a year until his family abruptly moved to Alabama, interrupting his artistic and academic studies until the family moved to New York at the end of the first World War. As a young man, Hantman supported himself by working many different jobs in New York and New Jersey. Steady work with his brother at the Hartford and New Haven Railroad office in New York City finally allowed Hantman to pursue his artistic studies formally. In 1928, he enrolled in the Art Students League and became part of a social circle of artists and activists. While at the Art Students League, he worked with faculty members Boardman Robinson and Thomas Hart Benton on two mural projects. During the years around the Great Depression, Hantman worked in Los Angeles with a group of artists known as the Bloc of Painters. Recruited through an advertisement to attend a course on fresco painting, the Bloc group was headed by Mexican muralist David Alfaro Siqueiros, who had recently been exiled from Mexico for political activism. Through his work with Siqueiros, Hantman became motivated by social and political issues and their creative expression. In 1934, He returned to New York and found the community of artists there equally engaged in social justice issues. While enrolling at the newly-formed Artists’ Union to advocate for the labor rights of creative workers, Hantman met sculptor Jo Levy who would become his wife. Like many artists at the time, he found work through the Federal Art Project as a member of the Easel Painting Division, which strove to create “works of art for the public which have a definite social value to the community”. Along with the work he exhibited as a member of the WPA group, Hantman’s work from this period was in the style of Social Realism he learned from Siqueiros. Hantman and his wife, Jo Levy, believed in creating art for the public good. Their Artists’ Union friends and colleagues from the Federal Art Project formed the nucleus of their social circle and would become the community of artists who worked together during summers on Monhegan Island off the coast of Maine. In 1945, Hantman had his first solo painting show at Marquee Gallery in New York and visited Monhegan Island for the first time. The following summer, he and Levy spent the summer in Maine and would continue to do so for the next thirty years. The landscapes and seascapes of Maine would become a central subject in his work after 1946. The dramatic coastline of Monhegan Island had been an inspiration for other New York artists before Hantman, including George Bellows and Rockwell Kent. As Hantman matured as an artist he began to reject academic narrative in his work, moving towards a more expressionistic and abstract style. During this shift into abstraction, nature remained central to his work and the seascape and Maine light provided continual inspiration. In the late 1940s, Hantman began to reduce the landscape into elemental forms of color and shape. As he pursues this mode of painting, his work moves further into abstraction, juxtaposing large blocks of saturated color to convey the drama of sea and sky. Always a student and teacher, Hantman distilled the ideologies of Abstract Expressionism and synthesized its concepts into his work. Throughout the 1950s, he experimented with Action Painting, color, form and expression. By the late 1950s, Hantman’s mature style had developed into abstract works of pure color masses in simple geometric forms. His mastery of color and form continued into his late work, always reflecting the beauty of the natural world around him. Dedicated to the idea of exploration in his art, Hantman made hundreds of small color and form studies that hint at the large-scale works that would follow in the late 1960s and beyond. Hantman’s work from the ‘70s and ‘80s shows even more intensity of color and distillation of composition. The landscape of the Maine coast remained his muse throughout, the stark lines suggesting the flat plane of sea and horizon line beyond. Hantman and Jo Levy lived in New York and summered on Monhegan Island until 1975, followed by summers in Owls Head and New Harbor, Maine, until 1988, the year of his last solo exhibition, at the Portland Museum of Art. In 1989, Hantman showed with Levy in a group exhibition. Levy died in 1996, followed by Hantman in 1999.
to
2
4
4
2
2
Overall Height
to
Overall Width
to
4
4
4
6,952
3,301
2,514
1,213
4
3
1
1
1
Artist: Murray Hantman
Abstract Expressionist Watercolor Fiery Sky
By Murray Hantman
Located in Surfside, FL
Genre: Expressionist
Subject: Landscape
Medium: Watercolor
Surface: Paper
Country: United States
Dimensions w/Frame: 16" x 28"
Murray Hantman (1904–1999) was a painter, muralist, an...
Category
Mid-20th Century Abstract Expressionist Murray Hantman Art
Materials
Watercolor
Night Rays, Abstract Expressionist Watercolor
By Murray Hantman
Located in Surfside, FL
Genre: Expressionist
Subject: Landscape
Medium: Watercolor
Surface: Paper
Country: United States
Dimensions: 16.75" x 23"
Dimensions w/Frame: 18" x 24.5"
Murray Hantman (1904–1999) ...
Category
Mid-20th Century Abstract Expressionist Murray Hantman Art
Materials
Watercolor
Industrial Composition
By Murray Hantman
Located in Wilton Manors, FL
Murray Hantman (1904-1999). Industrial Composition, c.1948-50. Oil on canvas measures 18 x 24 inches, 19 x 25 inches in original simple wood strip frame. Signed lower right. Excellent condition with no conservation. Exhibition label affixed en verso. Provenance: estate of Murray Hantman. This piece was included in the exhibition Murray Hantman: From Image to Abstraction, Portland Museum of Art, 2005. Anonymous lender.
Biography:
Shaped by his life experiences and a commitment to the practice of making art, the work of Murray Hantman represents a career of personal exploration and aesthetic refinement that took him from New York, to Los Angeles, back to New York and eventually to the serene, yet dramatic, coast of Maine where he worked as part of the artists’ colony on Monhegan Island. Born in Pennsylvania in 1904, Hantman’s family moved many times to follow his father’s business opportunities, eventually settling in New York. A childhood of economic instability and dislocation formed Hantman’s early years, making him independent and self-reliant from a very early age. Hantman’s father owned movie theatres and photography studios and, recognizing his son’s artistic ability, employed him to print and hand-color photographs as a child. When he was eleven and living in Michigan, a public school teacher arranged for Hantman to receive a scholarship to the Detroit Museum of Art School where after a year he was awarded another scholarship to study at the Detroit School of Design. He studied in Detroit for a year until his family abruptly moved to Alabama, interrupting his artistic and academic studies until the family moved to New York at the end of the first World War.
As a young man, Hantman supported himself by working many different jobs in New York and New Jersey. Steady work with his brother at the Hartford and New Haven Railroad office in New York City finally allowed Hantman to pursue his artistic studies in a formal way. In 1928, he enrolled in the Art Students League and became part of a social circle of artists and activists. While at the Art Students League, Hantman worked with faculty members Boardman Robinson and Thomas Hart Benton on two mural projects. During the years around the Great Depression, Hantman worked in Los Angeles with a group of artists known as the Bloc of Painters. Recruited through an advertisement to attend a course on fresco painting, the Bloc group was headed by Mexican muralist David Alfaro Siqueiros who had recently been exiled from Mexico for political activism. Through his work with Siqueiros, Hantman became motivated by social and political issues and their creative expression. In 1934, Hantman returned to New York and found the community of artists there equally engaged in social justice issues. While enrolling at the newly-formed Artists’ Union to advocate for the labor rights of creative workers, Hantman met sculptor Jo Levy who would become his wife.
Like many artists at the time, Hantman found work through the Federal Art Project as a member of the Easel Painting Division which strove to create “works of art for the public which have a definite social value to the community”. (1) Along with the work he exhibited as a member of the WPA group, Hantman’s personal work from this period was in the style of Social Realism he learned from Siqueiros. Hantman and his wife, Jo Levy, believed in creating art for the public good. Their Artists’ Union friends and colleagues from the Federal Art Project formed the nucleus of their social circle and would become the community of artists who worked together during summers on Monhegan Island off the coast of Maine.
In 1945, Hantman had his first solo painting show at Marquie Gallery in New York, and visits Monhegan Island for the first time. The following summer, he and Levy spend the summer in Maine, and would continue to do so for the next thirty years. The landscapes and seascapes of Maine would become a central subject in his work after 1946. The dramatic coastline of Monhegan Island had been inspiration for other New York artists before Hantman, including George Bellows and Rockwell Kent. As Hantman matured as an artist he began to reject academic narrative in his work, moving towards a more expressionistic and abstract style. During this shift into abstraction, nature remained central to his work and the seascape and Maine light provided continual inspiration. In the late 1940s, Hantman begins to reduce the landscape into elemental forms of color and shape. As he pursues this mode of painting his work moves further into abstraction, juxtaposing large blocks of saturated color to convey the drama of sea and sky. Always a student and teacher, Hantman distilled the ideologies of Abstract Expressionism and synthesized its concepts into his own work. Throughout the 1950s, he experimented with Action Painting, color, form and expression. By the late 1950s, Hantman’s mature style had developed into abstract works of pure color masses in simple geometric forms. His mastery of color and form continued into his late work, always reflecting the beauty of the natural world around him.
Dedicated to the idea of exploration in his art, Hantman made hundreds of small color and form studies that hint at the large-scale works that would follow in the late 1960s and beyond. Hantman’s work from the ‘70s and ‘80s shows even more intensity of color and distillation of composition. The landscape of the Maine coast remained his muse throughout, the stark lines suggesting the flat plane of sea and horizon line beyond.
Hantman and Jo Levy lived in New York and summered on Monhegan Island until 1975, followed by summers in Owls Head and New Harbor...
Category
Mid-20th Century Abstract Geometric Murray Hantman Art
Materials
Canvas, Oil
Composition (Abstract Expressionist mid-century gestural action painting)
By Murray Hantman
Located in Wilton Manors, FL
Murray Hantman (1904-1999). Composition, 1951. Watercolor on paper, 14 x 21 inches. Unframed. Signed lower left. Signed, dated and titled en verso. Provenance: estate of Murray Hantman.
Biography:
Shaped by his life experiences and a commitment to the practice of making art, the work of Murray Hantman represents a career of personal exploration and aesthetic refinement that took him from New York, to Los Angeles, back to New York and eventually to the serene, yet dramatic, coast of Maine where he worked as part of the artists’ colony on Monhegan Island. Born in Pennsylvania in 1904, Hantman’s family moved many times to follow his father’s business opportunities, eventually settling in New York. A childhood of economic instability and dislocation formed Hantman’s early years, making him independent and self-reliant from a very early age. Hantman’s father owned movie theatres and photography studios and, recognizing his son’s artistic ability, employed him to print and hand-color photographs as a child. When he was eleven and living in Michigan, a public school teacher arranged for Hantman to receive a scholarship to the Detroit Museum of Art School where after a year he was awarded another scholarship to study at the Detroit School of Design. He studied in Detroit for a year until his family abruptly moved to Alabama, interrupting his artistic and academic studies until the family moved to New York at the end of the first World War.
As a young man, Hantman supported himself by working many different jobs in New York and New Jersey. Steady work with his brother at the Hartford and New Haven Railroad...
Category
Mid-20th Century Abstract Expressionist Murray Hantman Art
Materials
Watercolor
Related Items
Balancing act 2 (Abstract Painting)
By Tracey Adams
Located in London, GB
Balancing act 2 (Abstract Painting)
Gouache, graphite and ink on Rives paper. Unframed.
Balancing Act 2 is part of a series of works on paper started in 2016.
They are created in the evenings and aptly named after busy days of teaching and other responsibilities.
The artist establishes parameters involving the use of a particular palette, certain mark-making gestures and amount of time spent on each drawing.
This work incorporates graphite, ink, and gouache, and is a combination of intuition-based and planned execution.
Tracey Adams is an American abstract painter and printmaker. Her artworks reflect a strong interest in musical patterns, rhythms, lyrical compositional elements and what she calls a sense of performance. She lives and works in Carmel, California.
Work by Adams is part of the permanent collections of several museums, including the Bakersfield Art Museum, the Monterey Museum of Art, the Fresno Art Museum, the Tucson Art...
Category
2010s Abstract Expressionist Murray Hantman Art
Materials
Paper, Ink, Gouache, Graphite
Moon and Harbour
Located in Aberdeen Dyce, GB
WILLIAM LITTLEJOHN RSA (1929-2006)
Distinguished painter in oil, watercolour and mixed media, who played a significant part in the history of Scottish art. Studied at Gray's School o...
Category
20th Century Abstract Geometric Murray Hantman Art
Materials
Canvas, Oil
The Dancer, Chromatic Collision Series, Abstract Geometric Line Painting
By Robert Petrick
Located in Los Angeles, CA
Robert Petrick's "The Dancer" is a fusion of meticulous geometry and bold abstract expression. From the artist's Chromatic Collisions series, this pie...
Category
21st Century and Contemporary Abstract Geometric Murray Hantman Art
Materials
Canvas, Oil
H 36 in W 24 in D 1.25 in
Electric Jazz. 2018, canvas, oil, 90x110 cm
By Igor Leontiev
Located in Riga, LV
Electric Jazz. 2018, canvas, oil, 90x110 cm
Abstract composition in red, blue, yellow colors
Igor Leontiev (1957) - one of the leading independent paint...
Category
2010s Abstract Geometric Murray Hantman Art
Materials
Canvas, Oil
Abstract Expressionist Gouache on Paper.
Located in Cotignac, FR
Lyrical abstract expressionist gouache on paper by French artist Michel Loiseau. Signed bottom right.
Michel Loiseau-Rizzo, born in 1937 is an illust...
Category
Late 20th Century Abstract Expressionist Murray Hantman Art
Materials
Paper, Gouache
Large Modernist Abstract Expressionist Watercolor Painting Bauhaus Weimar Artist
By Pawel Kontny
Located in Surfside, FL
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. 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...
Category
Mid-20th Century Abstract Expressionist Murray Hantman Art
Materials
Watercolor, Archival Paper
Balancing act 4
By Tracey Adams
Located in London, GB
Gouache, graphite and ink on Rives paper. Unframed.
Balancing Act 4 is part of a series of works on paper started in 2016.
They are created in the evenings and aptly named after busy days of teaching and other responsibilities.
The artist establishes parameters involving the use of a particular palette, certain mark-making gestures and amount of time spent on each drawing.
This work incorporates graphite, ink, and gouache, and is a combination of intuition-based and planned execution.
Tracey Adams is an American abstract painter and printmaker. Her artworks reflect a strong interest in musical patterns, rhythms, lyrical compositional elements and what she calls a sense of performance. She lives and works in Carmel, California.
Work by Adams is part of the permanent collections of several museums, including the Bakersfield Art Museum, the Monterey Museum of Art, the Fresno Art Museum, the Tucson Art...
Category
2010s Abstract Expressionist Murray Hantman Art
Materials
Paper, Ink, Gouache, Graphite
With Geraniums At the Window and Doves On the Roof
By Gloria Matuszewski
Located in Burlingame, CA
'With Geraniums At the Window and Doves On the Roof' is 60 x 12 inches. Matuszewski creates meditative and harmonious color field paintings to invoke a sense of peace through a visua...
Category
21st Century and Contemporary Abstract Geometric Murray Hantman Art
Materials
Canvas, Oil, Graphite
Noir et rouge
Located in Deddington, GB
Heidi Archer – Noir et rouge is an original oil and acrylic abstract painting with charcoal on canvas board.
Inspired by the boats, equipment and ropes in around our local harbour a...
Category
21st Century and Contemporary Abstract Geometric Murray Hantman Art
Materials
Acrylic, Board, Canvas, Charcoal, Oil
Summer Mists, Contemporary Expressionist Style Seascape Painting, Coastal Art
Located in Deddington, GB
This painting reflects the summer sun over Skye on the break of day as the mist lies low in the valleys and the promise of a beautiful day. Using vibrant turquoises to convey the fee...
Category
21st Century and Contemporary Abstract Expressionist Murray Hantman Art
Materials
Paper, Ink, Acrylic, Watercolor
H 9.85 in W 9.85 in D 0.04 in
Color is Life — Mid-Century Abstract Expressionism
Located in Myrtle Beach, SC
Ernest A. Dieringer, Untitled ('Color is Life'), watercolor, 1959. Initialed 'ED' and dated ' '59' in red pencil at the top and bottom sheet edges—the artist's indication that the work can be viewed from either side. Signed 'Dieringer' in pencil, in the bottom support board margin.
A fine abstract expressionist work; watercolor on white wove paper, with fresh, bright colors; the image extending to the sheet edges, spot glued to the original cream wove backing board, in very good condition. Image size 9 x 10 15/16 inches; backing board size 13 1/2 x 16 3/4 inches. Archivally matted to museum standards, unframed.
Provenance: ex. Collection Alexander Raydon. The collector/dealer's well-known 'Raydon Gallery' was established in 1962 on 82nd Street and Madison Avenue, New York City.
ABOUT THE ARTIST
Ernest Dieringer studied at the Art Institute of Chicago on a National Scholastic Scholarship, beginning his career with the Chicago-based Wells Street Gallery in 1957. He showed his work with other abstract artists, including Robert Natkin and John Chamberlain. The gallery was considered a vanguard space in Chicago for exhibiting emerging abstract artists from the surrounding area. Artists associated with the gallery eventually became known as the Wells Street Group. Due to the success of the gallery, Dieringer and other group members were invited by the Manhattan-based contemporary art dealer...
Category
1950s Abstract Expressionist Murray Hantman Art
Materials
Watercolor
Rain Storm Approaching Mixed Media Painting by Nicola Wiehahn, 2019
By Nicola Wiehahn
Located in Deddington, GB
Rain storm approaching by Nicola Wiehahn [2019]
Watching a massive storm approaching and only just had time to collect my paints and run from the coast pat...
Category
21st Century and Contemporary Abstract Expressionist Murray Hantman Art
Materials
Watercolor, Paper, Mixed Media
H 26.78 in W 34.65 in D 0.79 in
Previously Available Items
Double-sided color study 1183
By Murray Hantman
Located in Wilton Manors, FL
Murray Hantman (1904-1999). Double-sided color study Composition #1183, c. 1960s. Oil on illustration board, 6 x 7 inches. Unframed. Unsigned. Accession number lower right TL.86.1183. Provenance: estate of Murray Hantman.
Biography:
Shaped by his life experiences and a commitment to the practice of making art, the work of Murray Hantman represents a career of personal exploration and aesthetic refinement that took him from New York, to Los Angeles, back to New York and eventually to the serene, yet dramatic, coast of Maine where he worked as part of the artists’ colony on Monhegan Island. Born in Pennsylvania in 1904, Hantman’s family moved many times to follow his father’s business opportunities, eventually settling in New York. A childhood of economic instability and dislocation formed Hantman’s early years, making him independent and self-reliant from a very early age. Hantman’s father owned movie theatres and photography studios and, recognizing his son’s artistic ability, employed him to print and hand-color photographs as a child. When he was eleven and living in Michigan, a public school teacher arranged for Hantman to receive a scholarship to the Detroit Museum of Art School where after a year he was awarded another scholarship to study at the Detroit School of Design. He studied in Detroit for a year until his family abruptly moved to Alabama, interrupting his artistic and academic studies until the family moved to New York at the end of the first World War.
As a young man, Hantman supported himself by working many different jobs in New York and New Jersey. Steady work with his brother at the Hartford and New Haven Railroad office in New York City finally allowed Hantman to pursue his artistic studies in a formal way. In 1928, he enrolled in the Art Students League and became part of a social circle of artists and activists. While at the Art Students League, Hantman worked with faculty members Boardman Robinson and Thomas Hart Benton on two mural projects. During the years around the Great Depression, Hantman worked in Los Angeles with a group of artists known as the Bloc of Painters. Recruited through an advertisement to attend a course on fresco painting, the Bloc group was headed by Mexican muralist David Alfaro Siqueiros who had recently been exiled from Mexico for political activism. Through his work with Siqueiros, Hantman became motivated by social and political issues and their creative expression. In 1934, Hantman returned to New York and found the community of artists there equally engaged in social justice issues. While enrolling at the newly-formed Artists’ Union to advocate for the labor rights of creative workers, Hantman met sculptor Jo Levy who would become his wife.
Like many artists at the time, Hantman found work through the Federal Art Project as a member of the Easel Painting Division which strove to create “works of art for the public which have a definite social value to the community”. (1) Along with the work he exhibited as a member of the WPA group, Hantman’s personal work from this period was in the style of Social Realism he learned from Siqueiros. Hantman and his wife, Jo Levy, believed in creating art for the public good. Their Artists’ Union friends and colleagues from the Federal Art Project formed the nucleus of their social circle and would become the community of artists who worked together during summers on Monhegan Island off the coast of Maine.
In 1945, Hantman had his first solo painting show at Marquie Gallery in New York, and visits Monhegan Island for the first time. The following summer, he and Levy spend the summer in Maine, and would continue to do so for the next thirty years. The landscapes and seascapes of Maine would become a central subject in his work after 1946. The dramatic coastline of Monhegan Island had been inspiration for other New York artists before Hantman, including George Bellows and Rockwell Kent. As Hantman matured as an artist he began to reject academic narrative in his work, moving towards a more expressionistic and abstract style. During this shift into abstraction, nature remained central to his work and the seascape and Maine light provided continual inspiration. In the late 1940s, Hantman begins to reduce the landscape into elemental forms of color and shape. As he pursues this mode of painting his work moves further into abstraction, juxtaposing large blocks of saturated color to convey the drama of sea and sky. Always a student and teacher, Hantman distilled the ideologies of Abstract Expressionism and synthesized its concepts into his own work. Throughout the 1950s, he experimented with Action Painting, color, form and expression. By the late 1950s, Hantman’s mature style had developed into abstract works of pure color masses in simple geometric forms. His mastery of color and form continued into his late work, always reflecting the beauty of the natural world around him.
Dedicated to the idea of exploration in his art, Hantman made hundreds of small color and form studies that hint at the large-scale works that would follow in the late 1960s and beyond. Hantman’s work from the ‘70s and ‘80s shows even more intensity of color and distillation of composition. The landscape of the Maine coast remained his muse throughout, the stark lines suggesting the flat plane of sea and horizon line beyond.
Hantman and Jo Levy lived in New York and summered on Monhegan Island until 1975, followed by summers in Owls Head and New Harbor...
Category
Mid-20th Century Abstract Murray Hantman Art
Materials
Oil, Illustration Board
Untitled (Abstract Expressionist mid-century gestural action painting)
By Murray Hantman
Located in Wilton Manors, FL
Murray Hantman (1904-1999). Untitled, 1952. Acrylic on paper, 12 x 18.5 inches. Unframed. Signed upper left. Signed, dated and titled en verso. Provenance: estate of Murray Hantman.
...
Category
1950s Abstract Expressionist Murray Hantman Art
Materials
Acrylic
Untitled (abstract expressionist painting)
By Murray Hantman
Located in Wilton Manors, FL
Murray Hantman (1904-1999). Untitled, 1955. Oil on canvas measures 30 x 40 inches, 31 x 41 inches in original simple wood strip frame. Signed lower right. Excellent condition with no...
Category
1950s Abstract Expressionist Murray Hantman Art
Materials
Canvas, Oil
Abstract Expressionist Watercolor Fiery Sky
By Murray Hantman
Located in Surfside, FL
Genre: Expressionist
Subject: Landscape
Medium: Watercolor
Surface: Paper
Country: United States
Dimensions w/Frame: 16" x 28"
Murray Hantman (1904–1999) was a painter, muralist, an...
Category
Mid-20th Century Abstract Expressionist Murray Hantman Art
Materials
Watercolor
Night Rays, Abstract Expressionist Watercolor
By Murray Hantman
Located in Surfside, FL
Genre: Expressionist
Subject: Landscape
Medium: Watercolor
Surface: Paper
Country: United States
Dimensions: 16.75" x 23"
Dimensions w/Frame: 18" x 24.5"
Murray Hantman (1904–1999) ...
Category
Mid-20th Century Abstract Expressionist Murray Hantman Art
Materials
Watercolor
Murray Hantman art for sale on 1stDibs.
Find a wide variety of authentic Murray Hantman art available for sale on 1stDibs. You can also browse by medium to find art by Murray Hantman in paint, watercolor, canvas and more. Much of the original work by this artist or collective was created during the 20th century and is mostly associated with the abstract style. Not every interior allows for large Murray Hantman art, so small editions measuring 21 inches across are available. Customers who are interested in this artist might also find the work of Ben Hancocks, Rene Couturier, and Stephen Greene. Murray Hantman art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $850 and tops out at $4,000, while the average work can sell for $1,300.