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I used to fancy myself an abstractionist and took a lot of pictures like this.Now images like this bore me.
Collections of satanic drawings, photographs and other graphics of gay Satanism (No. 1401-1500) for immersion in spiritualization by Satan. Collection SatanArt No. 15
Album theme: Abstract satanism art and satanic totems
Addition to the grimoire "Gay Lust".
By releasing collections of Satanic drawings, photographs and other graphics of gay Satanism for immersion in the spirituality of Satan SatanArt, I am starting an irregular and periodic publication of graphics of gay Satanism for Satanists and all spiritualized people of our world. This art album SatanArt No. 15 from Slut Sodomia is dedicated to the abstract art of Satanists, Satanic totemic icons and the spiritualization of Satanists in painting.
Abstractionism is an art direction that rejects realistic depictions of objects and phenomena. Abstractionists experiment with shape, color, planes and lines. The main goal of the abstract art artists is to evoke emotions with their creations.
Abstractionism differs from classicism and realism in that it does not show us the real world in images that are familiar to us. And in comparison, with the same cubism, which in itself is also far from realism, our style has smoother lines. Some people confuse abstractionism and surrealism. But the surrealists distorted reality, created a kind of augmented reality, and abstractionists, refusing to depict real objects as they really are, wanted, first of all, to convey feelings and emotions, without pushing away from the world of things . Abstraction in Satanism is not necessarily divorced from the real things of our world, but its true satanic meaning is divorced from the things depicted. Therefore, the sword with the motto, along the outline, is also Satan, and not just an image of any sword. You can call satanic abstractionism a subtype of surrealism. For the album of paintings SatanArt #15, I prefer the term abstraction, because the painted things serve to convey satanic spirituality.
As you already know from the first album SatanArt No. 1, there are no clear canons of belonging to Satanism and there are no classical images of Satanism either. All pictures are my personal perception of artistic graphics, which I attribute to satanic. However, Antichrist Slut Sodomia hopes that these images will become an additional tool for the satanic spiritualization of a large number of people around the world, through mental immersion in the spiritualization of Satan, through visual images.
Photo by Campus Photos USA. The Mosaic Mural on the exterior wall of the University of Kentucky Medical Center, Lexington, KY was designed by Richard Haines, an American Muralist, Modernist, and Geometric Abstractionist.
See more at:
See www.kew.org/henry-moore/explore/sculpture01.shtml for more on this piece.
Shot with a Nikon 18-200mm on a Nikon D50 by a rank amateur. Once again, I preferred others. No accounting for taste. :-)
The more of his pieces I see the more I think they need people - and not just for scale. I like all the images - but I'm coming around to thinking that I'm trying to out-abstract an abstractionist without some sort of human touch.
Abstract satanism art and satanic totems. Addition to the grimoire "Gay Lust". The names of the paintings are in English.
The album was compiled by His Majesty Satan's Fag Slut Sodomia ⚣ aka Antichrist SlutSodomia
2024 English version. Collection for 2021-2024
By releasing collections of Satanic drawings, photographs and other graphics of gay Satanism for immersion in the spirituality of Satan SatanArt, I am starting an irregular and periodic publication of graphics of gay Satanism for Satanists and all spiritualized people of our world. This art album SatanArt No. 15 from Slut Sodomia is dedicated to the abstract art of Satanists, Satanic totemic icons and the spiritualization of Satanists in painting.
Abstractionism is an art direction that rejects realistic depictions of objects and phenomena. Abstractionists experiment with shape, color, planes and lines. The main goal of the abstract art artists is to evoke emotions with their creations.
COMPLETE VIDEO ALBUM "Abstract satanism art and satanic totems" YOU CAN WATCH HERE IN VIDEO FORMAT: youtu.be/j1noM4sT4ZE
Thompson, Bob (1937–1966)
Judgement of Paris
Oil and graphite on canvas
10 1/8 x 8 inches
1963
In his brief but prolific career, Robert Louis Thompson rejected traditional expectations of the African American artist to create narrative genre scenes descriptive of Black life in the United States. He was equally uninterested in pure abstraction as a means of expressing universal experiences, a common objective of modern artists. Instead, Thompson followed the examples of Romare Bearden and Sam Gilliam in his exploration of aesthetic, rather than sociopolitical issues. Often described as a figurative abstractionist, Thompson’s simplification of forms and manipulation of color to convey emotional intensity has inspired comparisons with Gauguin’s Fauvist style.
Thompson developed an interest in the arts as a teenager growing up in a middle-class family in Louisville, Kentucky. When Thompson’s father was killed in a car accident in 1950, the thirteen-year-old was sent to live with his sister and her husband, Robert Holmes. A painter, Holmes cultivated young Thompson’s artistic inclinations, offering guidance and encouragement. Following graduation from an academically rigorous all-Black high school in 1955, Thompson enrolled as a pre-medicine student at Boston University. He quickly realized, however, that painting—not science—was his true passion and transferred to an art program at the University of Louisville. During these years, Thompson’s early abstractionist style gave way to a more figural approach, a shift the artist credited to a summer spent in Provincetown, Massachusetts in 1958. There, Thompson met a group of emerging artists—including Red Grooms, Emilio Cruz, and Gandy Brodie—who, in contradiction to prevailing New York trends, embraced the figural in their work. Deeply influenced by these artistic rebels, Thompson likewise modified his own style.
Thompson relocated to New York City in 1959, where he encountered an artistic atmosphere that matched his own boundless energy and appetites. He settled in a dilapidated tenement building on the Lower East Side near Benny Andrews's residence and became a regular at the Five Spot, a local jazz café frequented by artists and writers. These creative forces helped Thompson refine his signature mature style. By appropriating and adapting the compositions of European masters, Thompson transformed familiar scenes—now modernized by faceless forms rendered in deep, vibrant colors—into exuberant contemporary allegories. The colorful and symbolic intensity of his paintings captivated viewers when they were exhibited in 1960, first at the Delancey Museum and later at Zabriskie Gallery.
On the heels of these exhibitions, Thompson won a series of notable awards which financed travels through Europe from 1961 to 1963, including extended studies in Paris and Spain. Upon his return to New York in 1963, Thompson was welcomed with a series of solo exhibitions at various galleries in both New York and Chicago, attracting the patronage of influential private collectors such as Walter P. Chrysler Jr. and Joseph H. Hirshhorn. Public collections have since followed suit, and the artist’s works are today represented at the Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, Art Institute in Chicago, and Detroit Institute of Art. Tragically, Thompson died shortly before his twenty-ninth birthday and so did not live to see the impact of his career on the American art scene. His oeuvre continues to command attention and, in 1998, was the focus of a Whitney Museum traveling exhibition of over one hundred works.
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All the Small Things
TJC Gallery, Spartanburg SC
February 19, 2025 – April 4, 2025
thejohnsoncollection.org/all-the-small-things/
Size matters in art. The scale of a work when seen in person can be an essential ingredient in its visual impact. And the received canon of fine art in the West has a clear bias for BIG things—from the monumental statuary of antiquity to the massive canvases in the contemporary art scene. Indeed, for the past four hundred years, artists have been highly incentivized to “go big,” as larger works commanded more prestige. Within the hierarchy of art genres inherited from the seventeenth century and the standardized measurements that evolved in the art industries of the nineteenth century, the largest canvases and commissions have traditionally been reserved for imposing landscapes and full-length portraits. Against this grain, the present exhibition celebrates the wondrous world of small art—in this case, paintings of no more than twenty inches.
Why might an artist work on a small scale? For some the motivation may be economic. Larger paintings mean more material costs, from more paint to bigger frames and heftier shipping prices. Thus, the size of an artwork potentially reveals unequal financial challenges faced by, for instance, women artists, self-taught artists, or artists of color. At the same time, the cheaper costs of smaller works make them well-suited for preliminary studies (as with Aaron Douglas’s The Toiler) or for trial efforts with new styles and techniques (such as Theodoros Stamos’s experiments with abstraction in Flow). Smaller art is more portable, making it ideal for artists working in the plein-air tradition or those working rapidly for tourist markets. Finally, although petite paintings have historically been relegated to subjects considered mundane or insignificant, these small works can instead confer an intimacy and humanity for the artist and viewer alike.
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See also: www.flickr.com/photos/ugardener/albums/72177720322921517/
THE JOHNSON COLLECTION - A Private Collection for Public Good
thejohnsoncollection.org/the-collection/
Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.
What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.
Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.
.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.
Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.
Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.
Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.
In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."
"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'
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"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.
Experience the Cultural District
Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.
Come experience how we put the art in SpARTanburg."
Joanne and I at MAJESTIC ~ an evening of fabulous couturie designer creations by MERLIN CASTELL and stunning artworks by modern abstractionist MAURICIO SARAVIA
Bridget Riley, 1931-
Acrylic on linen
Bridget Riley defines nature as a "dynamism of visual forces -- an event rather than an appearance." Her aim is to express these forces in abstract depictions of rhythms, tempos, contrasts and reversals that parallel the range of human emotion. The rippling, vertical lines in Arrest 2 modulate from black to cool gray, creating vibrant spatial illusions taht both delight and frustrate the eye. Art critics of the 1960s dubbed Riley's optical painting style Op Art. By the time her work was exhibited at the Museum of Modern Art in New York in 1965, it already had been embraced by the fashion and design industry. Today her paintings are inspiring a new generation of abstractionists because of what they say about the magic of seeing.
Abstract Elements
Abstractionists play with the elements and principles of design to create art works that interpret the everyday world into the language of colour, form, line and texture. Art from this genre expresses abstract ideas that can include realistic, recognizable elements to complete abstraction of the inspiration for the piece. Scott Garant, Sann Sann Lam and Richard Manilla share their interpretations of the everyday world, playing along the continuum of abstraction in their show, Abstract Elements.
Gladstone’s The Art Bar (named after a weekly figure drawing class ongoing since 1957) is our storefront room with large windows facing Queen Street West. It is an intimate space for parties, meetings, conferences or exhibitions.
Photos by: Ann Gagno
Emily Mason
United States, 1932-2019
Practice Winter, 1962
Oil on canvas
Emily Mason is a marquee midcentury abstractionist and a pioneer in the exploration of color. Her work often referenced other Color Field painters such as Kenneth Noland (1924-2010) and Helen Frankenthaler (1928-2011), but differed in her use of primed canvas and her visible brushwork. Here in Maine, she was among the first work-study students at the Haystack Mountain School of Crafts, where she spent the summer of 1952 learning about color theory with textile designer Jack Lenor Larsen. Though Practice Winter dates from a decade later—when she returned to Maine to work alongside her husband, painter Wolf Kahn—Mason's layered yellows, pinks, and oranges under a blanket of white exemplify the lessons she learned with Larsen.
(From museum)
Models at at MAJESTIC ~ an evening of fabulous couturie designer creations by MERLIN CASTELL and stunning artworks by modern abstractionist MAURICIO SARAVIA
Wayne Thiebaud
American, 1920 - 2021
Tie Window - 1975
Wayne Thiebaud (born November 15, 1920) is an American painter best known for his colorful works depicting commonplace objects—pies, lipsticks, paint cans, ice cream cones, pastries, and hot dogs—as well as for his landscapes and figures. He is associated with the Pop art movement because of his interest in objects of mass culture, although his early works, executed during the fifties and sixties, slightly predate the works of the classic pop artists. Thiebaud uses heavy pigment and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements are almost always included in his work. Wayne Thiebaud was born to Mormon parents in Mesa, Arizona, U.S.A.. His family moved to Long Beach, California when he was six months old.[1] One summer during his high school years he apprenticed at the Walt Disney Pictures Walt Disney Studio making "in-betweeners" of Goofy, Pinocchio, and Jiminy Cricket making $14 a week. The next summer he studied at the Frank Wiggins Trade School in Los Angeles. From 1938 to 1949, he worked as a cartoonist and designer in California and New York. He served as an artist in the First Motion Picture Unit of the United States Army Air Forces from 1942 to 1945.[2]
In 1949, he enrolled at San Jose State College (now San Jose State University) before transferring to Sacramento State College (now California State University, Sacramento), where he earned a bachelor's degree in 1951 and a master's degree in 1952. Thiebaud subsequently began teaching at Sacramento City College. In 1960, he became assistant professor at the University of California, Davis, where he remained through the 1970s and influenced numerous art students. Thiebaud did not have much of a following among Conceptual artists because of his adherence to basically traditional disciplines, emphasis on hard work as a supplement to creativity, and love of realism. Occasionally, he gave pro bono lectures at U.C. Davis.
On a leave of absence during 1956–57, he spent time in New York City, where he became friends with Elaine and Willem de Kooning[1] and Franz Kline, and was much influenced by these abstractionists as well as by proto-pop artists Robert Rauschenberg and Jasper Johns. During this time, he began a series of very small paintings based on images of food displayed in windows, and he focused on their basic shapes.
Returning to California, he pursued this subject matter and style, isolating triangles, circles, squares, etc. He also co-founded the Artists Cooperative gallery, now Artists Contemporary Gallery, and other cooperatives including Pond Farm, having been exposed to the concept of cooperatives in New York.
In 1960, he had his first solo show in San Francisco at the San Francisco Museum of Modern Art, and shows in New York City at the Staempfli and Tanager galleries. These shows received little notice, but two years later, a 1962 Sidney Janis Gallery exhibition in New York officially launched Pop Art, bringing Thiebaud national recognition, although he disclaimed being anything other than a painter of illusionistic form.
In 1961, Thiebaud met and became friends with art dealer Allan Stone (1932–2006), the man who gave him his first "break."[2] Stone was Thiebaud's dealer until Stone's death in 2006.[3] Stone said of Thiebaud "I have had the pleasure of friendship with a complex and talented man, a terrific teacher and cook, the best raconteur in the west with a spin serve, and a great painter whose magical touch is exceeded only by his genuine modesty and humility. Thiebaud's dedication to painting and his pursuit of excellence inspire all who are lucky enough to come in contact with him. He is a very special man." After Stone's death, Thiebaud's son Paul Thiebaud (1960–2010) took over as his dealer. Paul Thiebaud was a successful art dealer in his own right and had eponymous galleries in Manhattan and San Francisco; he died June 19, 2010.
In 1962, Thiebaud's work was included, along with Roy Lichtenstein, Andy Warhol, Jim Dine, Phillip Hefferton, Joe Goode, Edward Ruscha, and Robert Dowd, in the historically important and ground-breaking "New Painting of Common Objects," curated by Walter Hopps at the Pasadena Art Museum (now the Norton Simon Museum of Art at Pasadena).[4] This exhibition is historically considered one of the first Pop Art exhibitions in America. These painters were part of a new movement, in a time of social unrest, which shocked America and the art world.
In 1963, he turned increasingly to figure painting: wooden and rigid, with each detail sharply emphasized. In 1964, he made his first prints at Crown Point Press, and has continued to make prints throughout his career. In 1967, his work was shown at the Biennale Internationale.
Wayne Thiebaud has been married twice. With his first wife, Patricia Patterson, he produced two children, one of whom is the model and writer Twinka Thiebaud. With his second wife, Betty Jean Carr, he had a son, Paul LeBaron Thiebaud, who became an art dealer. He also adopted Betty's son, Matthew.[5][6] Thiebaud is well known for his paintings of production line objects found in diners and cafeterias, such as pies and pastries. Many wonder if he spent time working in the food industry, and in fact he did. As a young man in Long Beach, he worked at a cafe named Mile High and Red Hot, where "Mile High" was ice cream and "Red Hot" was a hot dog.[7]
He was associated with the Pop art painters because of his interest in objects of mass culture, however, his works, executed during the fifties and sixties, slightly predate the works of the classic pop artists, suggesting that Thiebaud may have had an influence on the movement. Thiebaud uses heavy pigment and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements are almost always included in his work.[8]
In addition to pastries, Thiebaud has painted characters such as Mickey Mouse as well as landscapes, streetscapes, and cityscapes, which were influenced by the work of Richard Diebenkorn.[9] His paintings such as Sunset Streets (1985) and Flatland River (1997) are noted for their hyper realism, and have been compared to Edward Hopper's work, another artist who was fascinated with mundane scenes from everyday American life.[9]
Thiebaud considers himself not an artist, but a painter. He is a voracious reader and is known for reading poetry to his students. One of Thiebaud's students from Sacramento City College was the artist Fritz Scholder (1937–2005), who went on to become a major influence in the direction of American Indian art through his instruction at the Institute of American Indian Arts in Santa Fe, New Mexico (1964–1969). Another notable student is Mel Ramos, painter and retired professor of art at California State University, East Bay, who considers Thiebaud to be his mentor.
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Hernando R. Ocampo (1911 - 1978)
Abstract
signed and dated 1971 (lower left)
oil on board
11” x 8 1/2” (28 cm x 22 cm)
Opening bid: PHP 240,000
Provenance: Private collection, Sweden
ABOUT THE WORK
A renowned member of the Thirteen Moderns, Hernando R. Ocampo (also known as H.R. Ocampo) was an influential abstractionist force. H.R. made headlines when he won first prize at the 1951 Art Association of the Philippines (AAP) competition. Ocampo painted with his distinct and famous color scheme, which critic Ricaredo Demetillo described as “rich” with “pure greens, warm reds and oranges, lovely purples and juicy yellows.” This striking color scheme is notable with this untitled 1971 piece. Using deep browns, oranges, green, and teal, Ocampo mesmerizes with his mastery of hues and color shades. (Hannah Valiente)
Lot 2 of the Leon Gallery auction on December 2, 2023. Please see leonexchange.com and leon-gallery.com for more information.