Abby M. Taylor Fine Art LLC is dedicated to exceptional American and European paintings, works on paper and sculpture. AMTFINEART is the name the gallery uses on a daily basis. The gallery has an extensive inventory and is renowned for its sculpture department.
The strength and uniqueness of the gallery is its diverse inventory. Few galleries can effectively approach handling the cross section of American and European paintings and sculptures from the 19th century forward. Below are the movements within this framework in which the gallery has inventory.
Hudson River School
American Academic & Expatriot
Symbolist & Pre-Raphaelite
Select Contemporary Works
Norman BluhmBiography of the Artist
(1920 - 1999)
Study #12819, 1969
Acrylic on canvas
24 x 30 inches
Framed: 24 1/4 x 30 1/2 inches
Signed, titled and dated on verso: Bluhm, '69, Study #12819
Acquired directly from the artist by Martha Jackson Gallery, New York, New York (label on verso) Private collection, Connecticut
(1920 - 1999)
Norman Bluhm embraced abstraction and propelled it forward, blending figurative elements, eroticism and calligraphic agility to arrive at a sensibility all on his own. His work was informed less by movements and orthodoxies than by his own exceptional biography and his rich knowledge of, and respect for, the history of art. He was able to move his art forward while being a stalwart steward of its past. Bluhm was justifiably secure enough in his talent and training to honor Europe and the history of art without compromising his identity as an American painter.Alongside Alfred Leslie, Joan Mitchell, Sam Francis, and John Chamberlain, Norman Bluhm was one of a group of artists who followed in the path of Jackson Pollock as one of America’s second generation Abstract Expressionist painters beginning in the 1950’s. Bluhm’s works such as Untitled 1959 from this early part of his career have an openness where the strokes are longer and seem to drip and the spaces seem to widen. In 1958, Bluhm participated in a show at Leo Castelli that served as examples of Pollock’s “dead heat” approach to painting. They reveal Bluhm’s innate color sense and his openness to accident. With characteristic incisiveness Bluhm stated that “sometimes the art is the mistake.” His paintings during the 50’s like Untitled 1959 are lyrical and their color is original. The curator, James Harithas comments, “This is Bluhm;s moment of perfecting his métier and setting the highest standards for himselfs and his painting.” Born in Chicago’s South Side Bluhm initially studied the Bauhaus approach to architecture while also spending his spare time learning to fly. After the attack on Pearl Harbor during World War II, Bluhm became a B-Pilot and flew 44 missions over North Africa and Europe before getting wounded and sent home. After the war he decided to discard his career as an architect and moved to Paris where he attended art classes at the Académie de la Grande Chaumiére and Ecole des Beaux Arts. In 1956 he returned to New York and began a lifelong successful career as an Abstract Expressionist painter. He was part of a vibrant and glamorous "movement", socializing with a handful of art-world titans and collaborating with the curator and poet Frank O'Hara to create a legendary collection of "Poem Paintings." An important figure in the heyday of Abstract Expressionism, Bluhm enjoyed substantial critical success during his lifetime. His work is included in the collections of the Metropolitan Museum of Art , the Whitney and the Museum of Modern Art. However he found greater solace in painting than in fame or academic theorizing about art. Gradually he moved farther and farther from New York, eventually settling in a still corner of Rural Vermont. Bluhm was in thrall with painting itself not fame or public relations. For him the studio was the center of the art universe and whether in Paris, New York, or Vermont he allowed himself to be led by its constant demands. Norman Bluhm died at his home in East Wallingford , Vermont on February 3, 1999.