Peter Jordan

What is is what is not is not, small red abstract oil painting

2024

Original artwork by Sara Freeman. Cosmos Unfolding, wax and egg tempera on board, 115 cm x 150 cm, 2024. Signed on reverse. Hangs on D-rings. The painting...

Original artwork by Sara Freeman. The Defeat of Mara, wax and egg tempera on board, 120cm x 120cm, 2023. Signed on reverse. Hangs on D-rings. The mark-mak...

Original artwork by Sara Freeman. In the space before time, wax and egg tempera on board, 120cm x 120cm, 2023. Signed on reverse. Hangs on D-rings. ‘The ...

Original artwork by Peter Jordan. Morning star, oil on board, 90cm x 60cm, 2019. Jordan’s abstract works, some in oil paint and others using acrylic on board are powerful in colour and content. The titles of the works offer an intriguing insight into the creator's mind and open more questions than they provide answers. Examples are; The first principle, Postern Gate, and Stand before it and there is no beginning. Peter Jordan divides their time between studios in Canberra and the Far South Coast of New South Wales, often with Sara Freeman...

Ben WIlson Lightness, ca. 1980 Oil on masonite board 21 × 25 × 3/10 inches Stamped by artist's estate, Hand signed by the artist on the front AND stamped by the artist's estate on the back Unframed Hand signed by the artist on the front and stamped by the artist's estate on the back. Acquired from the Estate of Ben Wilson. This poignant painting is done by the second generation Abstract Expressionist artist Ben Wilson - one of the youngest artists to be given a show at prestigious ACA Gallery in 1940. Ben Wilson was born in Philadelphia in 1913 to Jewish parents who had emigrated from Kiev and settled in New York City. He was educated in Manhattan public schools and graduated from City College in 1935. To gain exposure to a wider range of styles, he also studied at the National Academy of Design and at the Educational Alliance. Admired by critics throughout his long career, Wilson was singled out as a “discovery” by the New York Times art critic Edward Alden Jewel even before his first one-man show at the Galerie Neuf in 1946. His paintings of the ’30s and ’40s were expressionistically rendered, often Biblical parables, filled with what he called “the grief of the intolerable” and reflecting an acute awareness of the agony of the time, from the Holocaust to the Spanish Civil War. A WPA artist who identified strongly with the plight of the Jews in Europe, he relentlessly explored themes of war, torment, and futility in his early decades of painting. When times changed and social pressures subsided, Wilson’s mood lifted. He spent 1952-54 in Paris working at the Academie Julien. During the ’50s his involvement with specific imagery persisted but became more psychological and mythic in orientation. Influenced by Cubism, he created a vocabulary of interlocking shapes and bold, sweeping gestures that served as a transition between his early figurative expressionism and his later abstract constructivist concerns. Towards the end of the decade Wilson reached a crossroads, moving towards abstraction and searching for what he called “a scaffolding under the externals.” By 1960, influenced by the Russian Constructivists, Mondrian, and Abstract Expressionism, Wilson turned to abstraction. Reexamining the basic elements of painting, he evolved his own personal vocabulary and structure, fusing the cerebral and the emotive. He became increasingly experimental, using house paint, sand, and other unorthodox materials in paintings that he worked from all directions, dripping, spraying, stenciling, and collaging. He employed elements of disjunction, repetitions of geometric motifs, linear networks, and complex overlays to create the transparent, multi-layer development of space that characterizes his later paintings. A consummate draftsman, Wilson filled notebook after notebook with drawings that he amplified in his paintings. Eschewing popular movements, Wilson was always one to pursue a personal aesthetic. Despite more than 30 one-man shows and 50 years of teaching, he increasingly withdrew from the gallery scene but continued to paint daily until his death at age 88 in 2001 in Blairstown, New Jersey, where he and his sculptor wife Evelyn...

Robert Motherwell Two Figures No.7 1958 Oil on paperboard mounted on board 18.9 x 23.9 cms (7 7/16 x 9 7/16 ins) RM14236 W36 Motherwell painted this work in Saint-Jean-de-Luz during...

Robert Motherwell Two Figures No. 12 1958 Oil on paperboard 19.1 x 24.1 cms (7 1/2 x 9 1/2 ins) RM12376 W41 Motherwell painted this work in Saint-Jean-de-Luz during the summer of 19...

Dan McCaw's "Resilient" created in 2024, is a striking oil painting measuring 22 x 18 inches. This original artwork features an abstract composition of a figure, rendered with rich t...