Kenneth Noland - Circle Painting

Untitled, 1977;  Watercolor and graphite on canvas board; Signed Kenneth Noland and dated 1977 in graphite pencil lower left; Framed with two linen liners and a white wood frame.

To purchase this work or to visit the Art Gallery, CLICK HERE

In October of 1952 Helen Frankenthaler, after a trip to Nova Scotia, had a breakthrough with a painting entitled "Mountains and Sea."  The painting was abstract and rather than painting the landscape that she saw on her trip, the work portrayed the experience itself.  The abstract image was painted using a "soak stain" technique, whereby unprimed canvas duct is painted using oil paint that had been heavily thinned with turpentine.  The effects of the technique reinforced the abstract nature of the landscape painting; and when the artists Kenneth Noland and Morris Louis saw it in her studio in New York, their own painting styles were forever changed.

On the train ride back to Washington DC, Noland and Louis realized that Frankenthaler's painting was their key to finding their own paths.  Each made the decision to disregard all his own prior work and begin fresh.  Noland stated, "We were interested in Pollock but could gain no lead from him.  He was too personal.  But Frankenthaler showed us a way - a way to think about and use color."  Morris Louis found is structure for his color field paintings first with the unfurl series; and soon after Kennth Noland found his, with the circle paintings.  "I knew what a circle could do.  Both eyes focus on it.  It stamps itself out, like a dot.  This, in turn, causes on's vision to spread, as in a mandala in Tantric art," Kenneth Noland.

The circle paintings in the 1960's were Noland's first color format; but would be followed over the years by chevrons, strips, plaids, and irregular painting series.  Noland would return to these early formats in the 1990's using opaque and bold acrylics, however the soak stain technique from the 1960's are by far his greatest achievement.  

Close-up without the frame

In 1977 the famous art critic and writer Kenworth Moffett published, probably the best, monograph on Kenneth Noland.  On several of the canvas board covers, Noland painted his iconic circle paintings and this is one of those paintings.  The circles of color are applied in such a way as to bleed from their edges making the color float above it's ground.  The center purple is applied heavy to force the eyes deep into the center of the canvas, that is then surrounded by unpainted canvas.  Next, is iconic use of blue and pink of the same light value, that Noland had used in so many works in the past.  The blue stains into either side of it's unpainted canvas and next you can see the pencil line followed by white paint.  The junction between the white and the pink is jagged creating a wonderful optical effect!  The small amount of white is then followed by a controlled application of the pink, such that it does not bleed past it's clean outer circular perimeter.

The price of Kenneth Noland circle paintings is extremely high, in some cases reaching over a million dollars for works from the 1960's.  Because this was done in 1977 the price is less, however it is a wonderful way to acquire an iconic stain color field painting!

Signature and date

#noland #kennethnoland #colorfield #art #circlepainting#artcollecting #kenworthmoffett #morrislouis #frankenthaler #helenfrankenthaler

Joan Miro - "Prise À L’Hamecon (Catch With the Hook)"

Joan Miro signed and numbered etching, aquatint, and carborundum titled Prise À L’Hamecon (Catch With the Hook), 1969.  This work is on Arches paper and is numbered 39/75 in pencil lower left and hand signed Miro in pencil lower right.  Framed using an acid free linen mat, a black and brown frame, and UV conservation glass.

To purchase this work or to visit the Art Gallery, CLICK HERE

Joan Miro was a wonderful printmaker who was skilled in a variety of media, including lithography, etching, aquatint, woodcutting, engraving, and drypoint.  However, Miro's introduction to carborundum in 1967 allowed him to make a significant breakthrough that took his printmaking to new highs.  Carborundum is an engraving technique that uses an abrasive ground that is added to the etching plate in order to create a textured or granulated surface.  This technique was combined with others such as etching and particularly aquatinting; that allowed Miro to create prints that were on the level of paintings.  The carborundum aquatint prints were made between 1967 and 1969 and showcase Miro at his highest level of printmaking.

In this particular work, the carborundum texture can be seen in all the bold black elements.  Miro was known for his use of black in carrying other colors and for it's stark contrast to the paper ground.  Bold pure stokes of blue, green, red, and yellow are used to pull the image from the ground and the application of aquatint is used to give the image a wonderful depth.  "Prise À L’Hamecon" showcases Miro's printmaking skill and has a powerful impact on the viewer, as the framed size is an impressive 61 1/2" x 44"!

Close up of Miro's signature - I always thought he has one of the coolest signtures!

Framed Prise À L’Hamecon (Catch With the Hook)

#miro #joanmiro #carborundum #printmaking #aquatint #etching#art #artcollecting

Andy Warhol - "The Witch"

The Witch From Myths, 1981; Unique screenprint in colors with diamond dust on Lenox Museum Board; Signed Andy Warhol and numbered TP 4/30 in pencil lower left; Published by Ronald Feldman Fine Arts, Inc., NY.

To purchase this work or to visit the Art Gallery, CLICK HERE

In 1981 Warhol created a series of works that he called Myths.  They were all portraits of iconic figures and included, "The Star" a portrait of Greta Garbo from the film Mata Hari, "Uncle Sam," "Mammy," "Howdy Doody," "Superman," "The Witch," "Dracula," "Mickey Mouse," "Santa Claus," and "The Shadow," a profile portrait of Andy Warhol in red casting a shadow on a wall beside him.  In addition to Warhol's use of bold graphic colors, he added diamond dust to the prints.  Diamond dust was Andy's term for the finely crushed glass that was added to the lines and/or the background of his serigraphed prints.  The resulting works were spectacular, and the diamond dust was the magical sparkle that seemed to make the works even more mythical!

Andy had wanted to photograph each myth himself, if possible, and then create silkscreens from his polaroid photographs.  In the case of the "The Witch," he was able to do just that!  He flew Margaret Hamilton, the actress who played the Wicked Witch of the West in the 1939 film The Wizard of Oz, to New York.  She brought with her the costume she originally wore in the film and Andy photographed her with his Big Shot Polaroid camera.  The result was a cackling Wicked Witch of the West, and I think, one of the best prints in the set of ten!  

Along with the standard edition of 200 prints of each image, Warhol created trial proofs (TPs).  The TPs can vary in both their colors and the placement of the diamond dust as compared to the standard edition and from another TP.  This difference allowed the creation of truly unique prints, where the colors and effect of the image could be radically changed.  There were thirty TPs created for each Myth, and as each stands as a one-of-kind Warhol!

Numbered 4/30 and Andy Warhol's signature

In the case of this particular TP, just about every color has been changed compared to the standard edition; including the face, background, and even the line colors.  There is diamond dust along each outline around the Witch's face and her hat.

Framed Witch TP using an acid free mat, black high gloss wood exterior frame, and UV conservation clear glass.

#warhol #andywarhol #myths #wickedwitch #witch #margarethamilton #wizardofoz #artcollecting

UNTITLED ART GALLERY - It's finally here!

I am so pleased to finally open my own on-line art gallery!

CLICK HERE TO VISIT: UNTITLEDARTGALLERY.COM

In retrospect, I should have done this years ago; but it is here; finally!  Besides having the art, what do you need for an on-line Gallery: photographs, edit them, create a web site, set up a company, get a Federal Tax ID Number, state business license, and a city license.  It has been a bit stressful along the way, but overall, just a bunch of fun!  

The Gallery is divided into three main sections, the main page is devoted to Andy Warhol, followed by tabs for Artists Name A-K, then L-Z, and last Disney Animation Art.  Artists A-K currently showcases works by the following: Arman, Peter Anton, Salvador Dali, Helen Frankenthaler, and Ellsworth Kelly.  Artists L-Z features works by: Joan Miro, Kenneth Noland, Pablo Picasso, Ad Reinhardt, James Rosenquist, Jonathan Seliger, and Karen Shapiro.  Disney Animation Art is divided by year and feature film.  The focus for animation are Disney Villains from the full length feature films, but there will be other "nice" characters added over time.  

Once you click on the image of given work of art, you will get a blow up photograph with a complete description below.  There may also be a link to take to you to my blog, where I discuss that particular work in some detail.  My goal is to update the Gallery pages often, so please bookmark me and drop by from time to time.

If you should see any errors in the pages, please let me know; as I will strive to be as accurate as possible.  In addition please give me any feedback, or if you have any questions please write to me using the Contact link.

Best,
GREG

#untitledartgallery #andywarhol #arman #peteranton #salvadordali #helenfrankenthaler #ellsworthkelly #joanmiro #kennethnoland #pablopicasso #adreinhardt #jamesrosenquist #jonathanseliger #karenshapiro #disneyanimation

"Sunshine After Rain," 1987 by Helen Frankenthaler

Sunshine After Rain, 1987; Etching, aquatint and drypoint in colors, on Fabriano paper, with full margins; Signed Frankenthaler and dated `87' in pencil lower right and numbered 43/67 in pencil lower left; Published by 2RC Edizioni d'Arte, Rome (with their blindstamp); Catalogue Raisonne Harrison 126 & cover of the book; Size - Image: 34 x 27 1/2", Sheet: 46 1/4 x 36 1/2", Frame 50 1/2 x 42"; Framed with an acid free mat, wood frame, and UV conservation glass.

To purchase this work or to visit the Art Gallery, CLICK HERE

Helen Frankenthaler is, without a question, one of the greatest artists of the twentieth century and is one of the very few female artists that would be included in such a list. She was married to the abstract expressionist artist Robert Motherwell, and had an intimate relationship with the famous art critic Clement Greenberg; so her connections within the art community run very deep. Frankenthaler was initially involved in the abstract expressionist movement but was looking for a path forward. Then, after a trip in October to Nova Scotia, had a breakthrough with a painting entitled "Mountains and Sea," 1952. The painting was abstract, and rather than painting the landscape seen on her trip, the work portrayed the experience itself. The composition was painted using a "soak stain" technique, whereby unprimed canvas duct is painted using oil paint that had been heavily thinned with turpentine. The effects of the technique reinforced the abstract nature of the landscape painting; and when the artists Kenneth Noland and Morris Louis saw it in her studio, their own painting styles and working methods were forever changed.

Close up of the Frankenthaler signature and date '87.

Close up of the edition number 43/67.

Photograph of "Sunshine After Rain" framed.

This work, "Sunshine After Rain," 1987 is a wonderful example of Helen Frankenthaler at her best! The technique is an etching, aquatint, and drypoint on paper; and the image was used for the cover of her catalogue raisonne (pictured below). When the work was created, it existed as a horizontal (imagine in your mind's eye, rotating the composition 90 degrees counterclockwise). However, Helen felt the work was too literal consisting of a landscape with the sun soaked yellow sky, falling rain drops, pool of water, and the brown soil ground; so she rotated the artwork. The result is a powerful abstract composition that reads much better than it's former horizontal self.

Dust jacket cover of the catalogue raisonne of Frankenthaler prints 1961-1994.

#frankenthaler #helenfrankenthaler #printcollecting #noland #colorfield #artcollecting #etching #drypoint #aquatint

Peter Anton - Sweetheart Sampler

Sweetheart Sampler, 2010; Mixed media sculpture; Titled "Sweetheart Sampler", copyright 2010, signed Peter Anton, and inventory # PA721B0176 in black marker verso;
Box: 24" x 24" x 4 1/4", Chocolates about 5" x 5" x 4"

To purchase this work or to visit the Art Gallery, CLICK HERE

Using food as subject matter is not a new idea; from the wonderfully painted 17th century food still life pictures to the POP and photorealistic artists of the 1960's, food has been front and center on the canvas.  Sweets and desserts were wonderfully rendered by Wayne Thiebaud by building up the paint when making his cake paintings, in order to portray the look of real icing.  Claus Oldenburg is famous for his draftsman and sculpting skills that are used to portray food as works of art.  His sculptures are loose interpretations with paint splatters and spills that reinforce the hand of the artist.

With this work, Peter Anton has chosen as his subject matter the "Sweetheart Sampler," an instantly recognizable chocolate assortment contained in a heart shaped box and created as a photorealistic wall hanging sculpture.  One of the most interesting aspects of his work is the size and therefore the scale to the viewer.  The box is a whopping 24 x 24 x 4 1/4" and individual chocolates are about 5" each.  By placing the box not on a table but on the wall, he emphasizes the idea of presentation and therefore submits the art to the viewer.  This increase in size as well as the realistic interpretation, makes the viewer just want to take a bite!

Close ups of chocolates

Anton's chocolate boxes are known for having a bitten cherry cordial and an empty paper wrapper.  These two features further conveys to the viewer that this box is for eating and not just for looking.  This box also contains the green foil covered chocolate, the milk chocolate almond topped square, the milk truffle topped with lemon curd and the orange swirl.  Details such as powder sugar hanging onto the sides of the box, the gooey cherry cordial center oozing out of the half eaten piece, and the squished in and tasted blue cream truffle on the left; just makes our mouth water!

Back of the box with title and signature

#peteranton #chocolatebox #heartbox #chocolate #truffle #artcollecting #art #sweetheart

Andy Warhol - Lobster

Lobster, 1982; Unique Serigaph on Lenox Museum Board; Printed by Rupert Jasen Smith, New York; Stamped authenticated on the verso lower right; Size - Sheet: 40" x 22"; Image 24" x 20"; Frame 49" x 31"; Catalogue Raisonne: Feldman/Schellmann: IIIA.30

To purchase this work or to visit the Art Gallery, CLICK HERE

Andy Warhol decided in 1972 to purchase (along with Paul Morrissey) a home in or around the Hamptons.  He ended up purchasing a 20 acre compound, referred to as the Church estate, located on the tip of Montauk that had wonderful views of the Atlantic ocean from its peak on top of the wind swept cliffs.  The property had five small houses designed by the architect Stanford White, along with the main house complete with seven bedrooms, five bathrooms, four fireplaces, and large living areas that were perfect for entertaining a large numbers of guests.  The $500,000 price was equally split between Warhol and Morrissey and it ended up being a huge investment because in 2007 the property sold for a bit below $30 million.

Warhol, in his usual mode of wanting to make money, rented Montauk to Lee Radziwill who is the younger sister of Jackie Onasis, the fashion designer Halston, and also to Mick Jagger and the Rolling Stones; who began recording for their next tour on the property.  The list of visitors to Warhol's estate included Jackie Onasis with her children Caroline and John John, Jerry Hall, Liza Minelli, John Lennon, Elizabeth Taylor, and of course the entire cast of characters from Warhol's New York Factory.

The natural choice for food in the Hamptons and for Montauk was and still is, seafood.  Lobsters and crabs can easily be acquired from fresh seafood markets and quickly steamed or used for outdoor lobster/crab bakes.  There is little question that Warhol's exposure to Montauk's fresh seafood led him to use the lobster as POP Art subject matter.

The Lobster print is very rare, as only a few impressions were ever made.  This work is even more unique because of it's composition.  The Lobster is created from negative space as a result of blocking off the silkscreen and then screening black onto the white paper.  It seems that the black screen had either been damaged during the screening process or that Warhol modified it in order to create a unique backdrop.  Whatever the reason, the black background has a wonderful Morris Louis/Clyfford Still veil painting effect, which seems to enhance the white Lobster.  The piece comes stamped "Andy Warhol Art Authentication Board, Inc. Authentic" on the verso.

Framed Lobster

#warhol #andywarhol #popart #artcollecting #lobster #Montauk #Halston