Ricardo de Silva

Abstract Shape with Red, Yellow, and Black - Vintage Latin American School

1986

Figures and Portal in Red, Yellow, and Black - Abstract Latin American School Bold abstract painting by Latin American California-based artist, Ricardo de Silva (American/Brazil, 20...

Latin American School abstract expressionist original composition in acrylic on paper Stunning example of 1980s Latin American art bold abstract...

Abstract Expressionist Yellow Red Umber Acrylic Painting on Paper Stylized symbolic imagery in Umber yellow and Red by California-based artist, Ricardo de Silva (American/Brazil, 20...

Black, Orange, and Blue Abstract Expressionist Composition in Acrylic on Paper A colorful abstract painting by California-based artist, Ricardo de Silva (American/Brazil, 20th C). L...

Original work by the Spanish painter Rafael RUZ. Acrylic on canvas . Perfect condition. RUZ, Rafael (Barcelona 1956) While contemplating the painting of Ruz, we are inclined to talk ...

Ruz- original abstract acrylic painting. Virtual frame Original work of the artist RUZ Acrylic on paper Perfect state While contemplating the painting of Ruz, we are inclined to ta...

Steven H. Rehfeld (American, 1954) 'Resonance' 2018 Oil paint, tape, canvas, stretcher bars The artist signed the back of the painting. Steven Rehfeld's 'Resonance' is a vivid tapes...

Charles Green Shaw (American, 1892-1974) By the Dawn's Early Light, 1955 Oil on masonite Signed lower left, dated and titled verso 35.5 x 23.75 inches 38 x 26.25 inches, framed Provenance: The estate of the artist to Charles H. Carpenter Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...