http://www.wyethalexander.com Wyeth Alexander Wed, 22 May 2013 15:47:59 +0000 http://www.wyethalexander.com en http://www.wyethalexander.com/Julije-Knifer http://www.wyethalexander.com/following/wyethalexander.com/Julije-Knifer Wed, 22 May 2013 15:47:59 +0000 Wyeth Alexander 1499035 .project_thumb { display: none!important; }Julije Knifer (Croatian 1924-2004) Paintings and Drawings <img src="http://payload.cargocollective.com/1/3/96632/1499035/julije-knifer2.jpg" width="400" height="463" width_o="400" height_o="463" src_o="http://payload.cargocollective.com/1/3/96632/1499035/julije-knifer2_o.jpg" data-mid="7327932" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1499035/julije-knifer.jpg" width="670" height="776" width_o="670" height_o="776" src_o="http://payload.cargocollective.com/1/3/96632/1499035/julije-knifer_o.jpg" data-mid="7326634" border="0" align="left"/>Untitled, 10 3/4 in x 8 5/8 in, Acrylic on Canvas (sold) Artist's Biography Julije Knifer was a Croatian painter and founding member of the prominent 60s Croatian art group known as, Gorgona Group. The central motif of Knifer’s art is the meander which he had been creating from 1960 in various techniques: print, oil, acrylic paint, collage, mural, etc.[1] An example of which is the colossal meander created by Knifer on a 20 x 30 m canvas in a quarry in Tübingen (1975). He was one of the founding members of the Gorgona Group, whose members from 1959 to 1966 were: Miljenko Horvat, Ivan Kožarić, Marijan Jevšovar, Dimitrije Bašičević (who works under the name Mangelos), Matko Meštrović, Radoslav Putar, Đuro Seder and Josip Vaništa. In 1961 he participated at the first New Tendencies’ exhibition in Zagreb. He exhibited at many national and international shows including, The New Tendencies exhibitions (1961, 1963, 1969 and 1973), Art Abstrait Constructif International at the Denise René Gallery (Paris, 1961–1962), Konstruktivisten at the Städtisches Museum Leverkusen (Leverkusen, 1962), Oltre l’informale (San Marino, 1963), the Venice Biennale (1976 and 2001), the São Paulo Art Biennale (1973 with Juraj Dobrović and Vjenceslav Richter, 1979 and 1981). He collaborated with the Dany Keller Gallery in Munich, the Hoffmann Gallery in Friedberg and the Frank Elbaz Gallery in Paris. This increased the number of his works in private and museum collections which are now held in many prominent institutions across the world including the Centre Georges Pompidou in Paris. In 1994 he moved to Paris where he lived until his death. His first posthumous exhibition was organized by Arnauld Pierre at the Frank Elbaz Gallery in Paris (2010). In 2002 he was the recipient of the Vladimir Nazor Life Achievement Award. Julije Knifer (Croatian 1924-2004) Paintings and Drawings Untitled, 10 3/4 in x 8 5/8 in, Acrylic on Canvas (sold) Artist's Biography Julije Knifer was a... http://www.wyethalexander.com/Gottfried-Honegger http://www.wyethalexander.com/following/wyethalexander.com/Gottfried-Honegger Wed, 22 May 2013 15:47:59 +0000 Wyeth Alexander 1443746 .project_thumb { display: none!important; }GOTTFRIED HONEGGER (Swiss, 1917) Paintings and Drawings <img src="http://payload.cargocollective.com/1/3/96632/1443746/honneger2a.jpg" width="643" height="636" width_o="643" height_o="636" src_o="http://payload.cargocollective.com/1/3/96632/1443746/honneger2a_o.jpg" data-mid="7034765" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1443746/honneger2.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload.cargocollective.com/1/3/96632/1443746/honneger2_o.jpg" data-mid="7034764" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1443746/honneger3.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload.cargocollective.com/1/3/96632/1443746/honneger3_o.jpg" data-mid="7034766" border="0" align="left"/> Z 596, 1969 40 1/2 in x 40 1/2 in Acrylic on cast epoxy (Sold) Artist's Biography Gottfried Honegger is a Swiss painter, sculptor and printmaker. He studied at the Kunstgewerbeschule, Zurich, and first worked as a designer. From the age of 20 he concentrated on graphic and commercial art, and it was not until 1957, with the creation of his first 'tableau-relief', that his career really began. Painting abstract works influenced by Zurich Concrete art and by contemporary American painting from 1950 onwards, Honegger developed as an artist during his stay in New York where his first exhibition was held at the Martha Jackson Gallery in 1960. Honegger settled in Paris in 1961, where he continued to experiment in painting and sculpture. His pictures were composed following a system and use simple, geometric forms in relief, executed in monochrome but with particular attention to technique and surface presentation. His shapes (squares, circles) are placed inside an orthogonal frame, following a pattern established beforehand and always based on numerical calculation. The paintings are made up of sharp-edged cardboard pieces placed, with strengthened backing, on to canvas and covered with several layers of paint. In this manner, the artist obtained a relief effect on the surface that catches the light and gives the composition a changeable quality (e.g. Tableau-Relief 'Sibyl' Z 699, 1971; Dallas, TX, Mus. F.A.). Honegger also desired to allow chance to play a role in the programming of his works. His sculpture, which he produced from 1968 onwards, uses cubes, spheres and their multiples, producing system-based structures and relationships. Numerous public commissions in Europe and the USA since 1971 enabled Honegger to apply his theories on a monumental scale. ADDITIONAL LINKS L'Espace de l'Art Concrete GOTTFRIED HONEGGER (Swiss, 1917) Paintings and Drawings Z 596, 1969 40 1/2 in x 40 1/2 in Acrylic on cast epoxy (Sold) Artist's Biography Gottfried Honegger is... http://www.wyethalexander.com/Jean-Francois-Dubreuil http://www.wyethalexander.com/following/wyethalexander.com/Jean-Francois-Dubreuil Wed, 22 May 2013 15:47:58 +0000 Wyeth Alexander 1498687 .project_thumb { display: none!important; }Jean-François Dubreuil (French, 1946) Paintings and Drawings <img src="http://payload.cargocollective.com/1/3/96632/1498687/Dubreuil_qrow.jpg" width="670" height="232" width_o="670" height_o="232" src_o="http://payload.cargocollective.com/1/3/96632/1498687/Dubreuil_qrow_o.jpg" data-mid="7320337" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1498687/Dubreuil_q1.jpg" width="670" height="947" width_o="670" height_o="947" src_o="http://payload.cargocollective.com/1/3/96632/1498687/Dubreuil_q1_o.jpg" data-mid="7320333" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1498687/Dubreuil_q2.jpg" width="670" height="947" width_o="670" height_o="947" src_o="http://payload.cargocollective.com/1/3/96632/1498687/Dubreuil_q2_o.jpg" data-mid="7320334" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1498687/Dubreuil_q3.jpg" width="670" height="947" width_o="670" height_o="947" src_o="http://payload.cargocollective.com/1/3/96632/1498687/Dubreuil_q3_o.jpg" data-mid="7320335" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1498687/Dubreuil_q4.jpg" width="670" height="947" width_o="670" height_o="947" src_o="http://payload.cargocollective.com/1/3/96632/1498687/Dubreuil_q4_o.jpg" data-mid="7320336" border="0" align="left"/>Q1, Q2, Q3, Q4 18 1/2 in x 12 3/4 in, Acrylic on canvas, laid on panel Artist's Biography The starting point for this work is figurative, or at least highly referential. In this case, that means printed information: weekly and above all daily publications (local, national, foreign). Each painting stems from the visual translation not of the content of these newspapers, but of the surface organization of their columns, either on the front page or throughout the whole issue. Colour respects similar constraints, based on an immutable underlying grid: red for ads, black for photos, grey or white for everything not covered by the other colours. This chromatic underpinning might be complemented by other colours whose function is determined by the series in progress and whose order is established by a random draw. Excerpt for a preface by J.M. Huitorel Born in 1946 in Tours Jean-François Dubreuil (French, 1946) Paintings and Drawings Q1, Q2, Q3, Q4 18 1/2 in x 12 3/4 in, Acrylic on canvas, laid on panel Artist's Biography The... http://www.wyethalexander.com/Charles-Bezie http://www.wyethalexander.com/following/wyethalexander.com/Charles-Bezie Wed, 22 May 2013 15:47:57 +0000 Wyeth Alexander 1498765 .project_thumb { display: none!important; }Charles Bézie (French, 1934) Paintings and Drawings <img src="http://payload.cargocollective.com/1/3/96632/1498765/charles_bezie_Primaire.jpg" width="664" height="996" width_o="664" height_o="996" src_o="http://payload.cargocollective.com/1/3/96632/1498765/charles_bezie_Primaire_o.jpg" data-mid="7320647" border="0" align="left"/> Primaire, 1982-84 57.25 in x 38.5 in, Acrylic Emulsion on Canvas Artist's Biography Born 1934 in Varades, lives and works in Paris. Bézie has an intuitive relation with numbers, they talk to him about human proportions and perfection, and about construction and painting, he interprets them within doing homage as he creates paintings using these series of numbers, like other artists paint landscapes. His pictorial research concretises itself by compositions where the division of the surface is playing with the superposition of several thickness of paint until he obtains a slight relief. The material of the canvas disappears progressively through a calculated thickness. Biography courtesy of Galerie Lahumiere Additional Links Artist Website Charles Bézie (French, 1934) Paintings and Drawings Primaire, 1982-84 57.25 in x 38.5 in, Acrylic Emulsion on Canvas Artist's Biography Born 1934 in Varades,... http://www.wyethalexander.com/Claude-Tousignant http://www.wyethalexander.com/following/wyethalexander.com/Claude-Tousignant Wed, 22 May 2013 15:47:57 +0000 Wyeth Alexander 1571581 .project_thumb { display: none!important; }CLAUDE TOUSIGNANT (Canadian, 1932) Paintings and Drawings <img src="http://payload.cargocollective.com/1/3/96632/1571581/tousignant_3.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/3/96632/1571581/tousignant_3_o.jpg" data-mid="7693896" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1571581/tousignant_2.jpg" width="670" height="668" width_o="670" height_o="668" src_o="http://payload.cargocollective.com/1/3/96632/1571581/tousignant_2_o.jpg" data-mid="7693895" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1571581/tousignant_0.jpg" width="669" height="670" width_o="669" height_o="670" src_o="http://payload.cargocollective.com/1/3/96632/1571581/tousignant_0_o.jpg" data-mid="7693894" border="0" align="left"/>Maquette de AL #37 sur fond brun, 1990 25 1/4 x 25 1/4 in (Framed), Acrylic on aluminum Artist's Biography One of Canada's foremost painters, Claude Tousignant has produced some astounding paintings. These works often shock the viewer with their simplicity, their reduction in formal vocabulary, and the frontality of their planes. In the context of Quebec art, Tousignant is a luminary of the first rank after Riopelle and Borduas. Tousignant came of age in the shadow of the Automatists. To him, the figure and ground relationship of the gestural "action painters" (Riopelle, Borduas), still implied landscape. Tousignant sought a greater purity in art. Influenced by the geometric abstractions of Piet Mondrian, the artist began to make his first hard-edged paintings in 1956. Rectangular in form, each painting featured two or three colours in vertical or horizontal format. Working in alkyd resin enamel, he applied many layers of paint with a roller - the defined edges achieved with masking tape. For Tousignant, the horizontals and verticals still carried an anecdotal reference to something outside the painted object. Seeking a way out of the Mondrian influence, Tousignant left the cultural baggage of the rectangle and began to explore the possibilities of the circular form. In these "bulls eye" paintings, concentric bands of colour vibrate inward and outward in a dazzling display of technical virtuosity. Whether working in rectangular or circular format, Tousignant is always in pursuit of the painting as an object rich with meanings only it could possess. The unique chromatic space of his work is possible because his practice always has as its anchor the goal of securing for a painting the radical status as object. In his 1999 catalogue essay on Claude Tousignant, James Campbell best describes the power of his work: "Claude Tousignant's paintings read as living distillations of colour and form. He has always used colour to express space, space to express colour. In doing so, his spaces lend colour a thick dimensionality and distended presence that can be genuinely eloquent and which can pull the viewer into a powerful gravitational orbit from which he or she only reluctantly escapes." Tousignant's work is represented in most museum collections across Canada. Additional Links Watch Video CLAUDE TOUSIGNANT (Canadian, 1932) Paintings and Drawings Maquette de AL #37 sur fond brun, 1990 25 1/4 x 25 1/4 in (Framed), Acrylic on aluminum Artist's... http://www.wyethalexander.com/Richard-Paul-Lohse http://www.wyethalexander.com/following/wyethalexander.com/Richard-Paul-Lohse Wed, 22 May 2013 15:47:56 +0000 Wyeth Alexander 1477339 .project_thumb { display: none!important; }Richard Paul Lohse (Swiss, 1902-1988) Prints and Editions Richard Paul Lohse (Swiss, 1902-1988) Prints and Editions http://www.wyethalexander.com/Ellsworth-Kelly http://www.wyethalexander.com/following/wyethalexander.com/Ellsworth-Kelly Wed, 22 May 2013 15:47:55 +0000 Wyeth Alexander 1483444 .project_thumb { display: none!important; }Ellsworth Kelly (American, 1923) Prints and Editions <img src="http://payload.cargocollective.com/1/3/96632/1483444/00326008.jpg" width="574" height="588" width_o="574" height_o="588" src_o="http://payload.cargocollective.com/1/3/96632/1483444/00326008_o.jpg" data-mid="7250833" border="0" align="left"/> Black Variation 4, 1975 45 3/4 x 45 in, Screenprint on Rives paper, Edition of 25 (Framed) (Sold) Artist's Biography Ellsworth Kelly, evading critical attempts to classify him as a Color Field, hard-edge, or Minimalist painter, has redefined abstraction in art, establishing himself through his drawings, paintings, sculptures, and prints as one of the most important artists working today. Kelly's visual vocabulary is drawn from observation of the world around him—shapes and colors found in plants, architecture, shadows on a wall or a lake—and has been shaped by his interest in the spaces between places and objects and between his work and its viewers. He has said, "In my work, I don't want you to look at the surface; I want you to look at the form, the relationships." Kelly (born 1923) has been the subject of major exhibitions at The Museum of Modern Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum, New York, and his work is in many public collections, including those of the Centre Pompidou, Paris, the Museo Nacional Centro de Arte Reina Sofía, Madrid, and Tate Modern, London. Kelly lives and works in Spencertown, New York.Ellsworth Kelly, evading critical attempts to classify him as a Color Field, hard-edge, or Minimalist painter, has redefined abstraction in art, establishing himself through his drawings, paintings, sculptures, and prints as one of the most important artists working today. Kelly's visual vocabulary is drawn from observation of the world around him—shapes and colors found in plants, architecture, shadows on a wall or a lake—and has been shaped by his interest in the spaces between places and objects and between his work and its viewers. He has said, "In my work, I don't want you to look at the surface; I want you to look at the form, the relationships." Kelly (born 1923) has been the subject of major exhibitions at The Museum of Modern Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum, New York, and his work is in many public collections, including those of the Centre Pompidou, Paris, the Museo Nacional Centro de Arte Reina Sofía, Madrid, and Tate Modern, London. Kelly lives and works in Spencertown, New York.Ellsworth Kelly, evading critical attempts to classify him as a Color Field, hard-edge, or Minimalist painter, has redefined abstraction in art, establishing himself through his drawings, paintings, sculptures, and prints as one of the most important artists working today. Kelly's visual vocabulary is drawn from observation of the world around him—shapes and colors found in plants, architecture, shadows on a wall or a lake—and has been shaped by his interest in the spaces between places and objects and between his work and its viewers. He has said, "In my work, I don't want you to look at the surface; I want you to look at the form, the relationships." Kelly (born 1923) has been the subject of major exhibitions at The Museum of Modern Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum, New York, and his work is in many public collections, including those of the Centre Pompidou, Paris, the Museo Nacional Centro de Arte Reina Sofía, Madrid, and Tate Modern, London. Kelly lives and works in Spencertown, New York.Ellsworth Kelly, evading critical attempts to classify him as a Color Field, hard-edge, or Minimalist painter, has redefined abstraction in art, establishing himself through his drawings, paintings, sculptures, and prints as one of the most important artists working today. Kelly's visual vocabulary is drawn from observation of the world around him—shapes and colors found in plants, architecture, shadows on a wall or a lake—and has been shaped by his interest in the spaces between places and objects and between his work and its viewers. He has said, "In my work, I don't want you to look at the surface; I want you to look at the form, the relationships." Kelly (born 1923) has been the subject of major exhibitions at The Museum of Modern Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum, New York, and his work is in many public collections, including those of the Centre Pompidou, Paris, the Museo Nacional Centro de Arte Reina Sofía, Madrid, and Tate Modern, London. Kelly lives and works in Spencertown, New York. Biography courtesy of Matthew Marks Gallery Ellsworth Kelly (American, 1923) Prints and Editions Black Variation 4, 1975 45 3/4 x 45 in, Screenprint on Rives paper, Edition of 25 (Framed) (Sold) Artist's... http://www.wyethalexander.com/Sol-Lewitt http://www.wyethalexander.com/following/wyethalexander.com/Sol-Lewitt Wed, 22 May 2013 15:47:55 +0000 Wyeth Alexander 1470007 .project_thumb { display: none!important; }Sol Lewitt (American, 1928-2007) <img src="http://payload.cargocollective.com/1/3/96632/1470007/sol_lewitt_gouache.jpg" width="670" height="727" width_o="670" height_o="727" src_o="http://payload.cargocollective.com/1/3/96632/1470007/sol_lewitt_gouache_o.jpg" data-mid="14527422" border="0" align="left"/> Untitled, 2004 10.38 in x 11 in Gouache on paper (Sold) <img src="http://payload.cargocollective.com/1/3/96632/1470007/Main Image_lewitt arcs_1.jpg" width="670" height="336" width_o="1200" height_o="603" src_o="http://payload.cargocollective.com/1/3/96632/1470007/Main Image_lewitt arcs_1_o.jpg" data-mid="7199598" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/96632/1470007/lewitt arcs_2.jpg" width="670" height="659" width_o="800" height_o="788" src_o="http://payload.cargocollective.com/1/3/96632/1470007/lewitt arcs_2_o.jpg" data-mid="7199599" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/96632/1470007/lewitt-arcs_6.jpg" width="670" height="502" width_o="800" height_o="600" src_o="http://payload.cargocollective.com/1/3/96632/1470007/lewitt-arcs_6_o.jpg" data-mid="7199591" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/96632/1470007/lewitt-arcs_4.jpg" width="670" height="669" width_o="800" height_o="799" src_o="http://payload.cargocollective.com/1/3/96632/1470007/lewitt-arcs_4_o.jpg" data-mid="7199593" border="0" align="left"/> Arcs From Sides or Corners, Grids & Circles: Two Plates, 1972, Sheet 14 7/8 x 14 7/8 in. (2) Two screenprints in colors, on wove paper, both signed in pencil, Editions of 100, (Sold) <img src="http://payload.cargocollective.com/1/3/96632/1470007/Sol Lewitt Vertical Not Straight Lines Not Touching on Color.jpg" width="670" height="618" width_o="1749" height_o="1614" src_o="http://payload.cargocollective.com/1/3/96632/1470007/Sol Lewitt Vertical Not Straight Lines Not Touching on Color_o.jpg" data-mid="7191896" border="0" align="left"/> Vertical Not Straight Lines Not Touching on Color, 1991 Series of 6 From Edition of 30 47 1/4 in x 33 in (Full Sheet), 50 3/8 in x 36 1/8 in ( Framed) Etching and aquatints in colors (Sold) <img src="http://payload.cargocollective.com/1/3/96632/1470007/lewit arcs_big.jpg" width="670" height="1214" width_o="670" height_o="1214" src_o="http://payload.cargocollective.com/1/3/96632/1470007/lewit arcs_big_o.jpg" data-mid="14527338" border="0" align="left"/> Arcs, Circles & Grids, 1972 72.5 in x 40 in Silkscreen on wove paper Edition of 144 (Sold) Artist's Biography American artist SOL LEWITT (1928-2007) is renowned as a founding member of both Minimalist and Conceptual art. Working in New York from the 1960’s onward, Minimalist artist LeWitt endeavored to reduce art to the most basic shapes, colors, and lines as is evident in the present work. The execution of his work was much less important to LeWitt than was the original concept. Sol LeWitt held solo exhibitions at the Museum of Modern Art, the San Francisco Museum of Modern Art, the Tate Gallery in London, and the Stedelijik Museum in Amsterdam, among other venues. In 2000, the artist's work was featured in his major retrospective at the Whitney Museum of American Art in New York. ADDITIONAL LINKS Sol Lewitt (American, 1928-2007) Untitled, 2004 10.38 in x 11 in Gouache on paper (Sold) Arcs From Sides or Corners, Grids & Circles: Two Plates, 1972, Sheet... http://www.wyethalexander.com/Michael-Scott http://www.wyethalexander.com/following/wyethalexander.com/Michael-Scott Wed, 22 May 2013 15:47:52 +0000 Wyeth Alexander 1436011 .project_thumb { display: none!important; }MICHAEL SCOTT (American 1958) Paintings and Drawings <img src="http://payload.cargocollective.com/1/3/96632/1436011/michaelscott_4a.jpg" width="670" height="494" width_o="670" height_o="494" src_o="http://payload.cargocollective.com/1/3/96632/1436011/michaelscott_4a_o.jpg" data-mid="7016794" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_4_crop.jpg" width="670" height="672" width_o="1048" height_o="1052" src_o="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_4_crop_o.jpg" data-mid="7016721" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_4.jpg" width="670" height="1005" width_o="1200" height_o="1800" src_o="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_4_o.jpg" data-mid="7016668" border="0" align="left"/>#30 1988, 30 in x 30 in, Acrylic on canvas (Not for sale) <img src="http://payload.cargocollective.com/1/3/96632/1436011/michaelscott_1.jpg" width="670" height="494" width_o="670" height_o="494" src_o="http://payload.cargocollective.com/1/3/96632/1436011/michaelscott_1_o.jpg" data-mid="7016586" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_1.jpg" width="670" height="1005" width_o="1200" height_o="1800" src_o="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_1_o.jpg" data-mid="7016466" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_1_crop.jpg" width="670" height="1003" width_o="952" height_o="1426" src_o="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_1_crop_o.jpg" data-mid="7016498" border="0" align="left"/>Untitled 1989, Dimension: 40 in x 27in, Enamel on wood <img src="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_3maina.jpg" width="670" height="493" width_o="760" height_o="560" src_o="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_3maina_o.jpg" data-mid="8911419" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_3_crop.jpg" width="644" height="1626" width_o="644" height_o="1626" src_o="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_3_crop_o.jpg" data-mid="8911406" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_3.jpg" width="670" height="1005" width_o="1200" height_o="1800" src_o="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_3_o.jpg" data-mid="8911408" border="0" align="left"/>Untitled, #27 1989, Dimension: 60 in x 27in, Enamel on wood <img src="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_2main.jpg" width="670" height="493" width_o="760" height_o="560" src_o="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_2main_o.jpg" data-mid="8911504" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_2_crop.jpg" width="670" height="964" width_o="1004" height_o="1446" src_o="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_2_crop_o.jpg" data-mid="8911505" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_2.jpg" width="670" height="1005" width_o="1200" height_o="1800" src_o="http://payload.cargocollective.com/1/3/96632/1436011/Michael_Scott_2_o.jpg" data-mid="8911506" border="0" align="left"/>Untitled, #20 1989, Dimension: 34 in x 24in, Enamel on wood Artist's Biography New York-based artist Michael Scott was born in Paoli, Pennsylvania in 1958. He received his BA from Hamilton College in Clinton, NY. He studied at the Skowhegan School of Painting and Sculpture in Maine and then received his MFA from Hunter College in New York City. His work has been exhibited at Le Consortium, Dijon, France; PS1, LIC, New York; Le FRAC, Nord-Pas de Calais, France; Musée des Beaux Arts, La Chaux de Fonds, Switzerland; Centre National d'art Contemporain de Grenoble, Grenoble, France; Centre Georges Pompidou, Paris, France; Museum of Modern and Contemporary Art, Geneva, Switzerland; and MAMCO, Geneva, Switzerland. Additional Links 25 year survey of black and white line paintings at Gering & Lopez MICHAEL SCOTT (American 1958) Paintings and Drawings #30 1988, 30 in x 30 in, Acrylic on canvas (Not for sale) Untitled 1989, Dimension: 40 in x 27in, Enamel... http://www.wyethalexander.com/Richard-Wilson http://www.wyethalexander.com/following/wyethalexander.com/Richard-Wilson Wed, 22 May 2013 15:47:51 +0000 Wyeth Alexander 1508313 .project_thumb { display: none!important; }Richard Wilson (American, 1944) Paintings and Drawings <img src="http://payload.cargocollective.com/1/3/96632/1508313/richard_wilson1.jpg" width="670" height="342" width_o="670" height_o="342" src_o="http://payload.cargocollective.com/1/3/96632/1508313/richard_wilson1_o.jpg" data-mid="7368542" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/96632/1508313/richard_wilson2.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/3/96632/1508313/richard_wilson2_o.jpg" data-mid="7368543" border="0" align="left"/>Dixon, 1971 19.5 in x 29.5 in, Acrylic emulsion on board Artist's Biography RICHARD WISON I am most profoundly affected as a painter by space, light, color, proportion, and cadence. When successfully combined in art, these elements can be intellectually/emotionally moving, and even redemptive. To be able to achieve this through painting represents a daunting task, but the only one that makes sense to me. I seek the work a kind of equilibrium between what I see as “human nature” and “landscape nature”. Therefore, I use rectilinear/-architectural form combined with time, light, color, and atmosphere effects. These paintings are inspired by my surroundings in Northern California, by strong memories of my grandparents’ flower farm, the climate and color of the Santa Cruz coastline where I grew up, ad by the evocative qualities of music, particularly the rhythms of jazz. The relief paintings were developed to more profoundly focus on measure; with the visual effects and importance of area, amount, degree, length, depth, width, size, and number. The painting edges, along with the change of planes employed in the work rendered viewing all at once impossible, and allows the painting to unfold in time and space like music. The works’ surface qualities needed to be kept at a minimum: i.e. flattened acrylic paint carefully and evenly applied to the stretched canvas, and contained by precise boundaries in order to focus attention on the effects of color, shape, and proportion and cadence. Each painting was intuitively related to a particular piece by a jazz musician I greatly admire. My newest body of paintings, which I call “rises”, continued these previous concerns, along with a focus, for the first time in my career, on vertical construction. I became interested in what the effect of the painting taking a standard position would have on the reading of color, space, and movement. My previous work always seemed to conform to gravity, while the new paintings indicated action in opposition to it. The three word titles of the new works are derived from jazz standards. These words are obviously intended to cause rises of ideas and feelings in the listener. To me, this is a metaphor representing the manner in which concepts for the paintings take form. At the same time, I allow other influences, mentioned above, to participate. These experiences affect me in much the same manner that various unrelated nutrients cause a plant to grow in its own particular fashion of distillation and transformation. The work then is not simply about an outwardly observed thin, place, or event, but also a mental or intellectual territory. I want the paintings to reflect the equanimity, simplicity and order, as well as the strangely sensual characteristics found in ancient Greek architecture, zen gardens, the paintings of Camille Corot, Piet Mondrian, and both the furniture and architecture of Gerrit Rietveld. Richard Wilson, November, 2008 Biography courtesy Louis Stern Fine Arts Richard Wilson (American, 1944) Paintings and Drawings Dixon, 1971 19.5 in x 29.5 in, Acrylic emulsion on board Artist's Biography RICHARD WISON I am most...