Salvatore Michael Romano (American, 1925-2015). "NO" gouache on paper, 1960. Artist, title, medium, and date are inscribed on the verso. A fascinating painting by Salvatore Romano that at first glance appears to be non-representational and solely about the act of painting as Romano's loose brushstrokes of red, white, and blue hues emphasize freedom and spontaneity akin to the improvisation of jazz. However, upon closer inspection, one notices that Romano painted the word "NO" in white and of a large scale, very close to the picture plane. A fascinating piece, as Romano by featuring the word "NO" with sweeping Action Painting brushstrokes was reflecting the transition between Abstract Expressionism and Pop Art in 1960! Size (sight view): 15.25" L x 19.5" W (38.7 cm x 49.5 cm) Size (frame): 16.25" L x 20.25" W (41.3 cm x 51.4 cm)

About the artist: Born in Cliffside, New Jersey Salvatore Romano studied painting and drawing at the Art Students League in New York and the Academie de la Grande Chaumiere in Paris during the 1950s after serving in the U.S. Navy during the 1940s. His work has been exhibited in Soho and Chelsea galleries in New York City as well as Brazil and Italy. Romano was a member of the cooperative New York City gallery called the Brata Gallery which included many artists interested in Minimalism. In addition, Romano's work was featured in the iconic "Primary Structures" exhibition at the Jewish Museum in 1965. By the 1970s, he created works of an immense scale akin to fellow Minimalists Tony Smith and Ronald Bladen. Romano was included in many other exhibitions as well as installations at the Sculpture Center in Manhattan, the Brooklyn Bridge, and at Socrates Sculpture Park, Long Island City. Many of his installations involved water and kinetic elements. Furthermore, Romano's copper and brass constructions were exhibited at Rutgers University as well as several galleries in New York. He also was a sculpture professor for 30 years at the City University of New York Lehman College.

Artist Statement: "The theme of my work remains complexity and contradiction. My sculpture embodies the idea of change, of fluidity of motion on the one hand, and of minimal forms pushed to their essence, in some instances made transparent, in others impermeable bulk, but in every case serving as vehicles of movement and reflection." (artist's website)

Provenance: private John Lindemann collection, Broomfield, Colorado, USA, inherited from brother, Eugene Lindemann, Brooklyn, New York, USA

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#178019

Artist, title, medium, and date inscribed on verso. Painting is mounted behind glass in a custom metal frame. It has not been examined outside the frame but appears to be in very nice condition save normal toning to unpainted paper. Slight scuffs to the frame.