Susan Sharp

"Lit" Abstraction of blues, tan, black, deep red and cream in 2 panels

2016

"Birds of a Feather," Oil and Acrylic on 2 Panels, 48 x 60 Inches (Diptych). Abstraction in white, tan, yellow, cream, orange, burgundy, green and deep blue. This painting consists ...

ADDITIONAL PHOTOS OF THIS WORK WILL BE SENT UPON REQUEST. NOTE COLOR OF WOOD IS NOT QUITE AS YELLOW AS IIT APPEARS IN PHOTO AND IS IN KEEPING WITH OTHERS IN THIS SERIES: Jean Fein...

"Silent Stream," Oil on 2 Wood Panels, 48 x 36 Inches (Diptych) Abstraction in shades of gray, burgundy, white, black, blue and orange. This painting consists of 2 panels which can...

ADDITIONAL PHOTOS OF THIS WORK WILL BE SENT UPON REQUEST: Jean Feinberg is a NY based artist whose wall constructions - paintings on found wood and paintings on painted plywood - a...

Artist's Statement: "Around 30 years ago, not long after I had started painting seriously, I was at a one-man exhibition of the great Brice Marden at the Fort Worth Museum of Modern Art when I visited the annex to get a cocktail. There was one other guy at the small bar table in an otherwise empty room, waiting for his coffee to be handed to him. He turned and dumped half of it down my front. I immediately recognized him as none other than Brice Marden. He apologized profusely, but I stopped him and said: 'No problem: how often is it that Brice Marden dumps coffee on your pants? They're worth more now.' We both had a good laugh. At any rate - I was certainly channeling his early work when I began work on this series. They are made with oil and beeswax on wood panels...

A black and white painting by ink ad Acrylic on wood panel Known for his erratic and expressive abstract works, Daniel Diaz-Tai uses various mixed media including sumi ink and oil ...

Original oil paint and acrylic paint on wooden panel by the well known American artist, Syd Solomon. Signed lower left. Signed, titled and dated 1971 verso . Condition is very good. No restorations. Original frame. Overall framed measurements are 17 by 14 inches. Partial Saidenberg Gallery, New York City label verso. Provenance: A Long Island, New York collector. American, 1917-2004 SYD SOLOMON BIOGRAPHY: Written by Dr. Lisa Peters/Berry Campbell Gallery Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd. There, Solomon met and befriended many of the artists of the New York School, including Jackson Pollock, Franz Kline, Willem de Kooning, James Brooks, Alfonso Ossorio, and Conrad Marca-Relli. By 1959, and for the next thirty-five years, the Solomons split the year between Sarasota (in the winter and spring) and the Hamptons (in the summer and fall). In 1959, Solomon began showing regularly in New York City at the Saidenberg Gallery with collector Joseph Hirshhorn buying three paintings from Solomon’s first show. At the same time, his works entered the collections of the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Wadsworth Athenaeum in Hartford, Connecticut, among others. Solomon also began showing at Signa Gallery in East Hampton and at the James David Gallery in Miami run by the renowned art dealer, Dorothy Blau. In 1961, the Guggenheim Museum’s H. H. Arnason bestowed to him the Silvermine Award at the 13th New England Annual. Additionally, Thomas Hess of ARTnews magazine chose Solomon as one of the ten outstanding painters of the year. At the suggestion of Alfred H. Barr, Jr., the Museum of Modern Art’s Director, the John and Mable Ringling Museum in Sarasota began its contemporary collection by purchasing Solomon’s painting, Silent World, 1961. Solomon became influential in the Hamptons and in Florida during the 1960s. In late 1964, he created the Institute of Fine Art at the New College in Sarasota. He is credited with bringing many nationally known artists to Florida to teach, including Larry Rivers, Philip Guston, James Brooks, and Conrad Marca-Relli. Later Jimmy Ernst, John Chamberlain, James Rosenquist, and Robert Rauschenberg settled near Solomon in Florida. In East Hampton, the Solomon home was the epicenter of artists and writers who spent time in the Hamptons, including Alfred Leslie, Jim Dine, Ibram Lassaw, Saul Bellow, Barney Rosset, Arthur Kopit, and Harold Rosenberg. In 1970, Solomon, along with architect Gene Leedy, one of the founders of the Sarasota School of Architecture, built an award-winning precast concrete and glass house and studio on the Gulf of Mexico near Midnight Pass in Sarasota. Because of its siting, it functioned much like Monet’s home in Giverny, France. Open to the sky, sea, and shore with inside and outside studios, Solomon was able to fully solicit all the environmental forces that influenced his work. His friend, the art critic Harold Rosenberg, said Solomon’s best work was produced in the period he lived on the beach. During 1974 and 1975, a retrospective exhibition of Solomon’s work was held at the New York Cultural Center and traveled to the John and Mable Ringling Museum in Sarasota. Writer Kurt Vonnegut, Jr. conducted an important interview with Solomon for the exhibition catalogue. The artist was close to many writers, including Harold Rosenberg, Joy Williams, John D. McDonald, Budd Schulberg, Elia Kazan, Betty Friedan...

In Nobel's new works, overlapping shapes, rhythm and movement interact with grid systems to give both order and fluidity. The gridded images offer a sense of expansion towards or int...