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An arrival hangs low in the sky over the Loop, beginning its bank northward, then again to the west as it aligns to the runways at O'Hare.  Many styles of the Modern movement inspire the various elements of this figurative work. The tall slender dimensions and the vast solid blue sky pay homage to the Color Field works of Barnett Newman’s “zips”. On close inspection however, other areas of this work draw upon a broad range of Deconstructionist styles. The use of Abstract Expressionism can be seen in the approach to how the pedestrians and other details are realized. “Non-Objective Abstract" elements are in play, evidenced by the use of simple color blocks, or by the Jackson Pollock-esque effect seen in the barren tree at the lower right. Still other elements draw upon the techniques of impressionism, or harken to the more traditional figurative traditions of Hopper or Wyeth. All of these juxtaposed stylistic elements work in harmony to achieve this Postmodern composition. This work is painted in acrylic on a gessoed 3/8 inch thick poplar panel measuring 42 inches tall by 7.5 inches wide and is ready for framing.

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© Bryan Gammage
An arrival hangs low in the sky over the Loop, beginning its bank northward, then again to the west as it aligns to the runways at O'Hare.  Many styles of the Modern movement inspire the various elements of this figurative work. The tall slender dimensions and the vast solid blue sky pay homage to the Color Field works of Barnett Newman’s “zips”. On close inspection however, other areas of this work draw upon a broad range of Deconstructionist styles. The use of Abstract Expressionism can be seen in the approach to how the pedestrians and other details are realized. “Non-Objective Abstract" elements are in play, evidenced by the use of simple color blocks, or by the Jackson Pollock-esque effect seen in the barren tree at the lower right. Still other elements draw upon the techniques of impressionism, or harken to the more traditional figurative traditions of Hopper or Wyeth. All of these juxtaposed stylistic elements work in harmony to achieve this Postmodern composition. This work is painted in acrylic on a gessoed 3/8 inch thick poplar panel measuring 42 inches tall by 7.5 inches wide and is ready for framing.

Interested in this artwork? OFFERS ARE WELCOME:

Please use the "Make an Offer" link below the "Add to Cart" button to submit your offer. Thanks!

© Bryan Gammage

1267 Views

12

View In My Room

Arrival Painting

Bryan Gammage

United States

Painting, Acrylic on Wood

Size: 7.5 W x 42 H x 0.3 D in

Ships in a Crate

SOLD
Originally listed for $3,560

1267 Views

12

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An arrival hangs low in the sky over the Loop, beginning its bank northward, then again to the west as it aligns to the runways at O'Hare. Many styles of the Modern movement inspire the various elements of this figurative work. The tall slender dimensions and the vast solid blue sky pay homage to t...

Year Created:

2018

Subject:
Medium:

Painting, Acrylic on Wood

Rarity:

One-of-a-kind Artwork

Size:

7.5 W x 42 H x 0.3 D in

Ready to Hang:

Yes

Frame:

Black

Authenticity:

Certificate is Included

Packaging:

Ships in a Crate

Delivery Cost:

Shipping is included in price.

Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

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14-day return policy. Visit our help section for more information.

Handling:

Ships in a wooden crate for additional protection of heavy or oversized artworks. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

United States.

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Scenes from life and visualization of thoughts. Postmodern ideology strongly influences my work. In the post-script to his novel “The Name Of The Rose”, author Umberto Eco eloquently explains the relationship between Modernism and Postmodernism perhaps better than anyone else has. Eco states, “I believe that postmodern is not a trend to be chronologically defined, but, rather, an ideal category …a way of operating …The avant-garde destroys, defaces the past: Les Demoiselles d’Avignon is a typical avant-garde act. Then the avant-garde goes further, destroys the figure, cancels it, arrives at the abstract, the informal, the white canvas, the slashed canvas, the charred canvas. In architecture and the visual arts, it will be the curtain wall, the building as stele, pure parallelepiped, minimal art; in literature, the destruction of the flow of discourse, the Burroughs- like collage, silence, the white page; in music, the passage from atonality to noise to absolute silence (in this case, the early John Cage is modern). But the moment comes when the avant-garde (the modern) can go no further, because it has produced a metalanguage that speaks of its impossible texts (conceptual art). The postmodern reply to the modern consists of recognizing that the past, since it cannot really be destroyed, because its destruction leads to silence, must be revisited: but with irony, not innocently. I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows he cannot say to her, “I love you madly,” because he knows that she knows (and that she knows that he knows) that these words have already been written by Barbara Cartland. Still, there is a solution. He can say, “As Barbara Cartland would put it, ‘I love you madly’.” At this point, having avoided the false innocence, having said clearly that it is no longer possible to speak innocently, he will nevertheless have said what he wanted to say to the woman: that he loves her, but loves her in an age of lost innocence. If the woman goes along with this, she will have received a declaration of love all the same. Neither of the speakers will feel innocent, both will have accepted the challenge of the past, of the already said, which cannot be eliminated.; both will consciously and with pleasure play the game of irony. But both will have succeeded, once again, in speaking of love.

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