Abstract painting with low horizon line, deep blue above horizon and dark greenish-brown below horizon; brown abstract form left of center, and bright white swirling brushstroke right of center.
This work is an abstracted landscape scene at night with an organic form in brown, evoking the shape of a tree, on a dark blue background and a bright white swirling brushstroke to the right representational of the moon.
Abstract painting in muted colors with shades of blacks, browns, and white. The composition consists of bold diagonal lines and blocks of black, brown, and white.
Soulages’ use of bold, gestural strokes resulted in comparisons to Abstract Expressionism; however, Soulages’ work, while appearing spontaneous, was actually the culmination of concentrated and deliberate layering, often over a period of several months.
Abstract painting dominated by brushstrokes in vivid yellows on white background with light blues in center and left side of canvas, large area of light brown in upper right and lower left, and brushstrokes in dark red in left center of canvas. Signed “hans hofmann” in lower right.
In “Untitled,” Hofmann’s use of shapes, colors, lines, and space echoes nature, producing a new type of landscape; one that is composed, not of trees and land, but of the balance and tension between form, vibrating colors and energetic brushwork.
Abstract painting composed of long broad brushstrokes in black and white with a small area of red in the upper left quadrant.
“Untitled” is typical of Kline’s work during the 1950s and 60s, his use of strong lines of black and white paint imparts a sense of the artist’s hand, creating a cacophony of line and gesture. Despite the appearance of the accidental, this work is actually very carefully conceived and consciously constructed. The balance between black and white, volume and void, is precisely thought out while expressing an urgency and vitality.
Abstract painting, primarily white with a large squarish area of dark green in the top left quadrant. Loose brushwork varies from wide, full strokes to the short, rapid strokes at the compositions center. Pigment application ranges from a very thin wash to heavy impasto.
In "White Territory," the title of the work along with its gestural brushwork strongly evoke the memory or sensation of a landscape. It is a reflection upon personal associations and inner domains that the artist calls "internal weather."
Large stoneware abstract sculpture with two balanced lateral crescent-shaped forms branching off a central conical structure. Brown with loosely-painted broad brushstrokes in black and incised decoration of rows of dots in a “stitching-like” pattern
Drawing inspiration from Japanese ceramics, American Abstract Expressionist painting, and improvisational jazz, Voulkos pushed the limits of his medium and moved beyond the realm of the ceramic vessel to a new level of sculpted and painted ceramic form.
Inspired by the large-scale, unpremeditated form, free-energy and bold gestural strokes of abstract expressionism, his work became marked by mass and size, spontaneous form, and a bold, painterly use of glazes.