sam-gilliam

[sam-gilliam]

Fog In The Hollow, 1974, Sam Gilliam

[sam-gilliam]

Buoy Landscape II, Sam Gilliam, 1982, Minneapolis Institute of Art: Prints and Drawings

geometric design; a variety of triangles in red, blue, yellow; large grey rectangle with one corner missing in center background; blue square center left Size: 31 5/8 x 24 1/4 in. (80.33 x 61.6 cm) (sheet, approximately) 36 x 27 13/16 in. (91.44 x 70.64 cm) (mount) Medium: Color intaglio and screenprint

https://collections.artsmia.org/art/95965/

[sam-gilliam]

Bluest, 1998, Sam Gilliam

[sam-gilliam]

Wall Forest, Sam Gilliam

https://www.wikiart.org/en/sam-gilliam/wall-forest

[sam-gilliam]

Fire, Sam Gilliam, 1972, Minneapolis Institute of Art: Prints and Drawings

abstract image; vertical band of dappled orange and red color in center, flanked by vertical bands of cooler layered tones of green, blue and pink pigments on right and left sides Sam Gilliam’s art often breaks boundaries. Like other Color Field painters, he eliminated the brush and poured dilute colors directly onto unprimed canvases. He famously went a step further and eliminated the stretchers to let his canvases drape like banners. Sometimes he balled up his canvases, folded them, or twisted them, causing colors to offset or blend in unpredictable ways. This spirt of freedom and willingness to let chance play its part is reflected in Fire in the irregular, layered, patchy, roughly-mirrored application of semi-transparent colors. This is one of Gilliam’s first engagements with printmaking, an activity that became a significant part of his artistic practice. Size: 24 3/16 × 18 3/4 in. (61.44 × 47.63 cm) (sheet) 25 1/2 × 20 1/4 × 1 in. (64.77 × 51.44 × 2.54 cm) (outer frame) Medium: Color lithograph on Unryu mulberry paper

https://collections.artsmia.org/art/131226/

[sam-gilliam]

Untitled, 1952, Cy Twombly

[sam-gilliam]

A Warmth, A Lightness, A Glow and Then, 1968, Sam Gilliam

[sam-gilliam]

Untitled, 1978, Agnes Martin

[sam-gilliam]

Tapestry, 2000, Sam Gilliam

[sam-gilliam]

1951-52, Clyfford Still, 1951, Art Institute of Chicago: Contemporary Art

In the late 1940s, Clyfford Still, along with Barnett Newman and Mark Rothko, originated the type of Abstract Expressionism known as Field Painting, a term used to describe large canvases dominated by one uniform color or a few colors closely related in hue and value. In contrast to Newman and Rothko, who usually applied paint thinly and uniformly, Still used a palette knife, creating textural effects that give the surface a complex, nearly sculptural sense of materiality. Named after the years of its creation, 1951–52 is a rare, nearly all-black work in the artist’s oeuvre. A vertical white line to the right of center and a thin streak of red-orange along the left side provide the sole interruptions in the black field. The subtle modulations of texture and finish support the artist’s claim that “I do not oversimplify—in fact, I revel in the extra complex.” Wirt D. Walker Fund; gift of John Stephan Size: 301.8 x 396.2 cm (118 ¾ x 156 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/15569/

[sam-gilliam]

[Untitled], Sam Gilliam, ca. 1975, Brooklyn Museum: Contemporary Art

Size: framed: 30 x 30 in. (76.2 x 76.2 cm) Medium: Acrylic on canvas

https://www.brooklynmuseum.org/opencollection/objects/219353

[sam-gilliam]

Study for "Coffee Thyme", Sam Gilliam, 1980, Minneapolis Institute of Art: Prints and Drawings

Expressionist sketch of quickly drawn, overlapping lines in red, blue, orange, yellow, green, purple and pink; the lower half of the composition consists of a smaller rectangular drawing characterized by the same lines and a predominantly light blue center Size: 31 5/8 x 42 1/8 in. (80.33 x 107 cm) Medium: Color oil crayon on paper

https://collections.artsmia.org/art/8845/

[sam-gilliam]

Buoy Landscape II, 1982, Sam Gilliam

https://www.wikiart.org/en/sam-gilliam/buoy-landscape-ii-1982

[sam-gilliam]

Untitled, Elaine de Kooning, 1981, Minneapolis Institute of Art: Paintings

abstract painting in white, pink, yellow, purple and green pigment; large, pronounced brushstrokes in pink, purple, white, yellow and green in the upper left quadrant; streaky yellow brushstrokes in upper right quadrant; large white brushstrokes on bottom; grayish-blue squiggly lines overlap colored sections Size: 23 15/16 × 18 1/8 in. (60.8 × 46.04 cm) (panel) 24 5/8 × 18 ¾ × 1 5/8 in. (62.55 × 47.63 × 4.13 cm) (outer frame) Medium: Acrylic on board

https://collections.artsmia.org/art/128238/

[sam-gilliam]

Red Linger, 1972, Sam Gilliam

https://www.wikiart.org/en/sam-gilliam/red-linger-1972

[sam-gilliam]

Merritt Parkway, 1959, Willem de Kooning

Medium: oil,canvas

[sam-gilliam]

Coffee Thyme I, Sam Gilliam, 1980, Minneapolis Institute of Art: Prints and Drawings

Abstraction featuring a small rectangle and overlapping triangle in the lower half of the page; the surrounding space is a blend of colors, predominantly red, yellow and blue Size: 30 1/4 x 40 1/2 in. (76.84 x 102.87 cm) (image, sheet) Medium: Color lithograph and rubber stamp

https://collections.artsmia.org/art/58746/