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Antique American Female Modernist Abstract Expressionist Florida Museum Painting

1964

Nice modernist American school painting. Oil and watercolor and gouache on board. Signed. Framed. Image size, 18L x 23H.

Antique American modernist landscape signed painting. Watercolor and gouache on paper. Signed. Framed.

Antique American modernist abstract oil painting. Oil on canvas. Framed. Signed illegibly.

Antique American modernist abstract oil painting. Oil on canvas. Framed. Signed.

Vintage modernist harbor view by Aksel Jorgensen (1883 - 1957). Oil on board, circa 1957. Signed. Displayed in a period frame. Image size, 24"L x ...

Antique American modernist abstract painting by Yngve Olsen (American, 1905 – 2000). Watercolor on board, circa 1940. Signed. Displayed in a...

A striking, bold colourist painting by Vietnamese artist Ngoc Dung (1931-2000), dating from circa 1960. His highly individualistic art is hard to categorise. In the artist"s own wor...

Amish Farmscape #3, 1984, oil on canvas, 40 x 30 inches, signed and dated lower right; signed, dated, and titled verso About the Painting Amish Farmscape #3 is part of a multi-painting series of barns completed in the early 1980s for an exhibition at New York’s prestigious Sid Deutsch Gallery. Lewandowski painted this work at an important point in his career. It was the first major project undertaken by Lewandowski after his retirement from serving as the Chairman of Winthrop University’s Art Department, the last academic position he held after teaching for nearly thirty years. Lewandowski had been inspired to work on the series by a visit to Lancaster County, Pennsylvania. Like his friend and mentor, Charles Sheeler, Lewandowski had always been fascinated by vernacular architecture and the Amish barns of Pennsylvania brought back memories of rural scenes Lewandowski had painted in the Midwest much earlier in his career. Amish Farmscape #3 is a strong example of Lewandowski’s late precisionist work. The complexity of the composition and Lewandowski’s technical acumen are on full display. Being relieved of the burdens of teaching and administering a university art department likely allowed Lewandowski greater freedom and most importantly more time to complete the Amish Farmscape series. Although Lewandowski’s brand of precisionism changed throughout the years, he never deviated from the core tenets of the Immaculate School artists. In this work, we see simplified and flattened forms, the use of ray-lines to define light and space, the elimination of extraneous details, a polished almost machine-like finish, and the complete lack of visible brushstrokes, all hallmarks of the precisionist painters. Lewandowski was the last of the 20th century precisionists and in Amish Farmscape #3, we see just how successfully he continued to work in this style until his death in 1998. About the Artist Edmund Lewandowski was among the best of the second-generation precisionist painters. He was born and raised in Milwaukee, Wisconsin and studied at the Layton School of Art with Garrett Sinclair. Lewandowski achieved early success when in 1936 two of his watercolors were shown at the Phillips Collection as part of a Federal Art Project exhibition. Then, in 1937, his work was first exhibited at Edith Halpert’s Downtown Gallery which represented Lewandowski into the 1950s. Under Halpert’s guidance, Lewandowski continued to explore watercolor as his main medium during the 1930s and 1940s, since the gallery already represented Charles Sheeler, who worked primarily in oils. Sheeler became Lewandowski’s major influence as the primary leader of the ill-defined, but very recognizable Immaculate School artists, which included other Downtown Gallery painters, Niles Spencer, George Ault, and Ralston Crawford, as well as Charles Demuth and Preston Dickinson, both of whom died at a young age and had been represented by the Charles Daniel Gallery. Sheeler is credited with giving Lewandowski technical advice on how to make his paintings more precise and tightly rendered and by all accounts, Sheeler was a fan of Lewandowski’s work. Through the Downtown Gallery, Lewandowski’s paintings were accepted into major national and international exhibitions and purchased by significant museums and collectors. Franklin and Eleanor Roosevelt and Nelson Rockefeller acquired works by Lewandowski. He was included in the Museum of Modern Art’s important 1943 exhibition, American Realists and Magic Realists as well as juried exhibitions at the Whitney Museum of American Art, the Pennsylvania Academy of Fine Arts, and the Art Institute of Chicago. Lewandowski also completed commissions for magazines during the 1940s and 1950s, including several covers for Fortune. Throughout his career, Lewandowski explored urban and rural architecture, industry, machinery, and nautical themes. Looking back on his career, Lewandowski wrote, “My overwhelming desire as an artist through the years has been to record the beauty of man-made objects and energy of American industry on canvas. For as far back as I can recall, the cityscapes, farms and depictions of industrial power and technological efficiency has had a great attraction for me. I try to treat these observations with personal honesty and distill these impressions to a visual order.” Lewandowski is credited with extending precisionism to the Midwest and successfully continuing the style into the 1990s, three decades after Sheeler’s death and six decades after Demuth’s passing. Late in his career, Lewandowski enjoyed a resurgence of popularity as he was represented during the 1980s by New York’s Sid Deutsch and Allison Galleries...

Modern blue toned tropical landscape painting by Texas born artist Clark Fox. The work features an abstract depiction of a sunset behind palm trees using pointillism, the practice of applying small strokes or dots of color to a surface so that from a distance they visually blend together. Signed and dated in the front lower left corner. Currently hung in a light wood floating frame. Dimensions Without Frame: H 24 in. x W 30 in. Artist Biography: Clark V. Fox was born in Austin, TX, in 1946. His father in the Army Air Forces, Clark spent the first five years of his life in Honolulu before the family moved to several cities throughout Texas, including Galveston, Houston, Corpus Christi, Hereford and Amarillo. In 1960 just before Clark entered high school, the family settled in Washington, D.C. Clark attended high school in Alexandria, Virginia, a period during which he had a studio with fellow classmates, David Lynch and Jack Fisk. Clark studied with Japanese art master Unichi Hiratsuka at the Japan-American Society of Washington, D.C. (1964-1965). Clark spent his first year of college at Pratt Institute in Brooklyn, New York (1965-66) with part-time stints at Andy Warhol’s “The Factory” studio, after which he returned to D.C., where he received his BFA in 1969 from the Corcoran School of Art. He soon became involved with the Washington Color School of Painting, where he apprenticed with artist Tom Downing...

"Head House" is a 18.125 x 22.25 inches, oil on canvas painting by American modernist, female artist Peter Miller. This abstract is painted in a softer, earthy color palette. The work is estate stamped #202056 on verso and framed in a natural wood floater frame. The canvas is signed Peter Miller" on verso, it is titled "Head", which is believed to be a title for a previous painting that she may have painted over. To honor her title in a more fitting we, the gallery renamed it "Head House". The painting has been conserved and inspected by conservation specialist, Gratz Gallery & Conservation Studio, Inc. American artist Peter Miller (1913-1996) was born Henrietta Myers in Hanover, Pennsylvania. She began using the name Peter Miller after concluding her studies at the Pennsylvania Academy of the Fine Arts in 1934 and her marriage to fellow artist and Academy student Earle Miller in 1935. She felt collectors and critics would take her paintings more seriously if she was identified as a male. In childhood, Henrietta and her best friend Ruth picked fictitious nicknames for themselves, and Henrietta reportedly decided upon the name Peter because she liked the idea that it was derived from the Greek word for “rock” or “stone”. Drawn to being one with the natural world would prove to be an essential inspiration to her creativity throughout her life. Miller is classified as an American Modernist, a reputation she earned for having shown at the prestigious gallery and premiere showcase for Surrealist painting of Julien Levy in New York in the 1940s. Reviewers of her exhibitions noted the unmistakable influence of the artists Joan Miró, whose work she owned and whom she knew, and Arthur Carles, whom she studied with, and sources in Native American culture, which came from sharing time between her home state of Pennsylvania and New Mexico. Peter and her husband Earle considered New Mexico their spiritual home, and in 1935 they built a ranch in Española, about 25 miles north of Santa Fe. Being neighbors of the indigenous people of the Tewa Pueblo, their crafts and religious beliefs fascinated Peter and the reliance of Native Americans upon the land and the animals permeated her work for most of her career. Their belief that all creatures could serve as intermediaries in communication with the spiritual world, inspired Miller to incorporate their symbols in her own paintings, along with signs drawn from indigenous pottery...

Abstract landscape painting of a white cloud in a light blue sky over a dark country field "Hayfield Two Thirty," painted by David Konigsberg in 2019 oil o...

Abstract landscape painting of a white cloud in a light blue sky over an expansive dark brown country field "West Wind," painted by David Konigsberg in 2019 18 x 24 x 2 inches Ready...