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Alan Fenton
Casa Loma Stomp: Modern Abstract Oil Painting on Canvas, 1960s
1967

$28,000

£20,929.71

€24,422.06

CA$39,317.70

A$39,994.40

CHF 22,837.38

MX$483,754.25

NOK 266,295.78

SEK 270,375.95

DKK 182,572.77

About the Item

Oil on canvas by New York artist Alan Fenton, titled "Casa Loma Stomp," created in 1967. This original work measures 44 x 45 inches and is a strong example of Fenton's mature abstract practice, painted at the height of his involvement with the New York School. The composition moves with the energy its title implies — a stomp, a rhythm, a physical assertion of presence. Bold fields of color push against one another across the canvas with the confidence of an artist who had studied privately with both Jack Tworkov and Adolph Gottlieb, absorbing their lessons about gesture, scale, and the emotional weight of pure paint. The palette is warm and direct, the handling assured, and the surface carries the kind of physical intelligence that comes from years of serious engagement with the Abstract Expressionist tradition. Fenton (1927–) was born and raised in Cleveland and had already built a career as a commercial artist and designer before relocating to New York in 1955 to attend Pratt Institute, where he later taught. His circle was extraordinary: Tworkov and Gottlieb were both lifelong friends and mentors, and his influences ranged from Whistler and Turner to Ad Reinhardt and Josef Albers. In 1966 he converted the historic Tiffany factory at 333 Park Avenue South into one of Manhattan's first artist live-work spaces, attracting Gottlieb and Tworkov among others. His solo exhibitions included the Pace Gallery, the Phillips Collection, the New York Cultural Center Museum, and the University of Iowa Museum of Art. His work is in the permanent collection of the Hirshhorn Museum and Sculpture Garden, Washington, D.C., and has been reviewed in ArtNews, The New Yorker, The New York Times, and Art International. Condition note: There is craquelure in the green area of the painting, which may be intentional as it does not appear in the red and orange areas. The face of the frame has a two inch loss at the lower right corner. Provenance: Harvey Koizim, County Federal Savings and Loan; acquired by Bert Chernow; Private Collection, Connecticut.

Creator:
Alan Fenton (1927 - 2000, American)
Creation Year:
1967
Dimensions:
Height: 44 in (111.76 cm)Width: 45 in (114.3 cm)
More Editions & Sizes:
uniquePrice: $28,000
Medium:
Canvas,Oil
Movement & Style:
Modern
Period:
1960-1969
Framing:
Framing Options Available
Condition:
Condition Note: There is craquelure in the green area of the painting (which may be intended as it not in the red and orange painted areas). The face of the frame has a 2 inch loss, lower right corner.
Gallery Location:
New York, NY
Reference Number:
1stDibs: LU1977215522792

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Fenton's quiet and contemplative nonobjective paintings and drawings were widely recognized for their demanding yet understated means of revealing a serious and sober essence. He identified greatly with Mark Rothko, a friend, as well as Adolph Gottlieb and Jack Tworkov, with whom he had studied privately. Fenton painted in New York City in the late 50's as the explosion of Abstract Expressionism turned into a rebellion against gestural, emotional painting. More concerned about his art than his posture, he expanded upon a tradition in painting with influences as diverse as Whistler and Turner as well as Ad Reinhardt and Joseph Albers. Alan Fenton was born in Cleveland in 1927, studied at the Cleveland School of Art, The Arts Students League, The New School, and at NYU, earning his BFA at Pratt Institute, where he later taught painting for many years. At seventeen, Fenton served in the Merchant Marines where he began a career as a professional boxer, a skill he had honed on the streets. He moved successfully through the graphic design business en route to becoming a painter in New York at the height of the art revolution of the fifties and sixties. Fenton enjoyed success with his subtle washes and pencil drawings as well as large abstract canvases in acrylic, landing one-man shows at the prestigious Pace Gallery in New York, The New York Cultural Center Museum, The Barbara Fielder Gallery in Washington, et al. In his introduction to Fenton's exhibition catalogue for his one-man show at the Phillips Collection in Washington, Vincent Melzac wrote, ''Fenton is his own man, producing work that is uniquely his...in his work one feels that Fenton is testing the accepted and pushing for a newer and richer visual experience.'' In the late 60's he turned his artistic vision and business savvy towards developing creative environments where ''good and beautiful people'' could live and work together. His first endeavor was to turn the Tiffany Glass Building on lower Park Avenue into an artistic community where notable photographers, painters, and filmmakers moved in, setting the stage for a modern, hip, yet warm and friendly working space for the community which he had nurtured. He later developed the first live/work loft in Cleveland, where Fenton resided during his last years. Fenton said about his own work, ''All that happens in my work is natural and human, hard and soft, large and small, heaven and earth. All this with the image of man, (my glow) forms a system to attain the sublime. All of these paradoxes form a triad that is the way of everything. The line is the 'hard', the formless form and the imageless image is the 'soft'. They are inseparable, one cannot exist without the other.'' Fenton's work resides at The Hirschhorn Museum of Art, the Smithsonian American Art Museum, the Phillips Collection, the North Carolina Museum of Art, and The Cleveland Museum of Art, and countless others as well as in private collections.