«James Lee Byars ( 1932- 1997)was an American conceptual artist and performance artist specializing in installations and sculptures, as well as a self-considered mystic. He was best known for his use of personal esoteric motifs, and his creative persona that has been described as 'half dandified trickster and half minimalist seer'.
Byars' works are often noted as constantly incorporating specific personal themes and motifs, leaning towards the esoteric while simultaneously being ritualistic and materialistic: Robert Clark, writing for The Guardian on the occasion of a Milton Keynes exhibition of his work, described it as 'impenetrably yet intriguingly hermetic'.Most in particular was gold as a material, which served as an elemental identifier. As well as this, works of his demonstrate a fascination with the symbolism of numbers: Clark quotes in the same exhibition, referring to a specific piece of his, writing that he 'imbued the number 100 with symbolic significance, having made a symmetrical arrangement of 100 white marbles and draping 100 nude volunteers in a collective red garment'.A common theme in his works is perfection (especially upon the word 'Perfect'), which he extended into a personal journey that led to his ambiguously celebratory exploration of shapes, numbers and precious materials. A MoMA text explaining his oeuvre, in the context of his piece The Table of Perfect, noted that while it „looks pristine, it—like any other object—can only ever exist as a sign of perfection and can never embody the total concept.“

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Wolf Kahn (1927 – 2020) was a German-born American painter. “The unique blend of Realism and formal discipline of Color Field painting sets the work of Wolf Kahn apart. Kahn is an artist who embodies a synthesis of artistic traits — the modern abstract training of Hans Hofmann, the palette of Matisse, Rothko’s sweeping bands of color, and the atmospheric qualities of American Impressionism. The fusion of color, spontaneity and representation has produced a rich and expressive body of work. "

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Contemporary Israeli Artist «All my works are originals multi-layered acrylic on canvas combines the practical world of industrial architecture recycled materials, with symbols and concepts from the spiritual world. All are transformed together onto the canvas. „(ORNA ADORAM)

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«Born and raised in New York City, Emily Mason’s art education began at home with her mother Alice Trumbull Mason, a founding member of the American Abstract Artists. A graduate of New York City’s High School of Music and Art, she attended Bennington College and the Cooper Union. In 1956 she was awarded a two-year Fulbright grant to paint in Venice, Italy. There she studied at the Accademia delle Belle Arti where she first experimented with blotting and transferring paint onto the surface of the canvas. Afterwards, Mason moved into her own studio in the Giudecca. During her time in Venice, she married the painter Wolf Kahn. They have two daughters, Cecily and Melany.
Mason has spent more than six decades exploring her distinctive vein of lyrical, luminous abstraction. Robert Berlind wrote in Art in America, “Mason works within the improvisational model of Abstract Expressionism, though notably without angst or bravado. Her oil on canvas paintings are distinguished by a sense of intriguing intimacy combined with uncompromising, though gentle, intensity. They evince a sense of structure within open, luminous space and juxtapose robust color harmonies with vivid contrasts that create an engaging optical vibration.”Since her first solo show in 1960 at the Area Gallery, Mason has exhibited regularly in New York City. In 1979 she was awarded the Ranger Fund Purchase Prize by the National Academy. She taught painting at Hunter College for more than 25 years. Her work is included in numerous public and private collections.»

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«Her early work—large acrylic, figurative paintings—came to prominence in the 1970s New York art world, a time and place almost completely dominated and defined by Minimalist aesthetics and theories. The first body of work for which Rothenberg became known centered on life-size images of horses. Glyph-like and iconic, these images are not so much abstracted as pared down to their most essential elements. The horses, along with fragmented body parts (heads, eyes, and hands) are almost totemic, like primitive symbols, and serve as formal elements through which Rothenberg investigated the meaning, mechanics, and essence of painting. Rothenberg’s paintings since the 1990s reflect her move from New York to New Mexico, her adoption of oil painting, and her new-found interest in using the memory of observed and experienced events (a riding accident, a near-fatal bee sting, walking the dog, a game of poker or dominoes) as an armature for creating a painting. These scenes excerpted from daily life, whether highlighting an untoward event or a moment of remembrance, come to life through Rothenberg’s thickly layered and nervous brushwork. A distinctive characteristic of these paintings is a tilted perspective, in which the vantage point is located high above the ground. A common experience in the New Mexico landscape, this unexpected perspective invests the work with an eerily objective psychological edge.»

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John de Burgh Perceval (1923 – 2000) was a well-known Australian artist. Perceval was the last surviving member of a group known as the Angry Penguins who redefined Australian art in the 1940s. Other members included John Reed, Joy Hester, Sidney Nolan, Arthur Boyd and Albert Tucker. He was also an Antipodean and contributed to the Antipodeans exhibition of 1959.

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Henriette  Fauteux-Masse (1924 –2005) was a Canadian painter living in Quebec.  «Fauteux-Massé’s work has a particular elegance that derives from its  sense of restraint and composure, but also from an undercurrent of  whimsy that discloses the sensuousness of the impastoed surface and its  rhythmic brush marks.»

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Impressionist painting

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Italian Contemporary Artist

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Jiro Takamatsu (1936 –1998) became one of the most influential and important artists making art in Japan during the 1960s and 1970s. Working in the fertile ground between Dada, Surrealism, and Minimalism for almost four decades, Takamatsu used photography, sculpture, painting, drawing, and performance to create fundamental investigations into the philosophical and material origins of art.

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