Atributed to : Leonard L Nelson ( no coa ) Size: 24"w x 36"H . Year Created ; No Dated Signature: Signed Medium/Ground: oil and Acrylic on canvas . in the style of: Leonard L. Nelson Born: 1912 - Camden, New JerseyDied: 1993 - Philadelphia, PennsylvaniaKnown for: Color field painting, abstract sculptures, printmaking, teachingLeonard L Nelson : Leonard L NelsonAn example of work by Leonard L NelsonArt images copyright© of artist or assigneePreviousNextBiography from the Archives of askARTPhoto of Leonard L. NelsonLeonard Nelson, leader of the Philadelphia School of Art, was born Leonard Louis Nelson in Camden, New Jersey on March 5, 1912 to Anna (nee Bryen) and Morris Nelson. Nelson's father owned several local businesses and provided a comfortable lifestyle for his family, but tragedy struck in 1928 when both Nelson's parents died in their early 40s (his mother from unexplained causes, his father from a heart attack). Nelson was then 16 years old. He and his two sisters lived on trust funds until the stock-market crash of 1929 left them completely destitute.In the autumn of 1936, lacking both a portfolio and formal art instruction, Nelson won a scholarship to the Pennsylvania Academy of the Fine Arts* in Philadelphia. Nelson so impressed the school with his work that he was awarded the Cresson Traveling Fellowship* in 1939.After six weeks of touring both Eastern and Western Europe, Nelson returned to Philadelphia for another year of study at the Academy, earning his certificate in 1939. He took classes at the Barnes Foundation* in Merion, Pennsylvania from 1939 to 1941 and became friendly with Dr. Barnes and the British philosopher and mathematician Bertrand Russell. In 1942, Nelson was drafted into the Army and became a Private in the Medical Detachment at Fort Eustis, Virginia. During Nelson's time in the service, he designed murals and humorous drawings for the hospital to which he was assigned, as well as for the Works Progress Administration*.After his Honorable Discharge from the Army on September 15, 1943, Nelson focused all his attention on his art, holding shows and participating in exhibitions in Philadelphia and New York City. The influences of Native American art and the Native American-inspired murals of Rufino Tamayo and Diego Rivera can be seen in his work from this period.By the mid 1940s, Nelson made two important contacts who would assure his ascendancy in the nascent New York School*: the art dealers Peggy Guggenheim and Betty Parsons. He began to exhibit in the New York galleries, in particular Parsons' gallery*, and his work reflected the Abstract Expressionist* style made famous by this school. Nelson counted among his contemporaries at this time Jackson Pollock, Lee Krasner, Willem de Kooning, Adolph Gottlieb, and many others from the New York School.The late 1940s and early 1950s took Nelson in a new direction. He began to teach art, most notably at the Moore College of Art* in Philadelphia, where his Abstract Expressionist works metamorphosed into a new style that was all his own. This style was a combination of gestural Abstract Expressionism, Color Field*, and landscape art. It would go on to become his signature style, but to his dismay, the New York art world disavowed it. Nelson was told that in order to remain a heavyweight in the New York scene, he would have to adhere to the Abstract Expressionist style that had brought him to prominence in the first place. Feeling that New York was impeding the direction he was taking his work, Nelson immediately relocated to Philadelphia, where he would reside for the remainder of his life. This quieter art scene allowed him to work unfettered and un-judged. Nelson was aware that his relocation could isolate him into obscurity, yet he was willing to take the chance in order that his new style would thrive.Nelson spent his time in the 1950s and 1960s teaching at Moore, traveling, painting, and exhibiting. It was during the 50s and 60s that he perfected his vision of landscape color field painting that is the earliest representation of the Philadelphia School of Art. In 1963 he married Alma Neas, a former Moore student.Although New York had rejected Nelson's new style, his aesthetic began to influence Philadelphia painters such as Warren Rohrer, Murray Dessner, and Stephen Estock, all of whom incorporated Nelson's tonal*, atmospheric, and perceptual qualities suggesting landscape - the hallmarks of the Philadelphia School of Art. Moore College of Art and select Philadelphia galleries regularly exhibited Nelson, with Moore hosting his retrospective in 1977. In 1985 he and Alma moved to their permanent home in Berwyn, Pennsylvania, a Main Line town on the outskirts of Philadelphia.Nelson's luminous* canvases of the 1970s and 1980s were described by art historian Sam Hunter in his 2001 text Leonard Nelson: A Life in Art, as "pathbreaking." Hunter believed that Nelson's name should be mentioned on par with color field artists Noland, Olitski, and Frankenthaler, and he ranked Nelson as one of Philadelphia's most important painters. Leonard Nelson died on November 23, 1993 but posthumously has become recognized for his originating the Philadelphia School of Art...good conditions only the passage of time .. and you can see a little bit of oxidation in some parts .......................... It is sold without an official certificate of authenticity (COA), explicit provenance, or formal documentation. In accordance with terms of sale, all attribution, authorship, or period descriptions are provided solely as a statement of opinion and do not constitute verified facts or warranties of any kind. Overall Condition: The work is offered in "As Is

good conditions only the passage of time .. and you can see a little bit of oxidation in some parts ...... Sold without an official certificate of authenticity (COA), explicit provenance, or formal documentation. In accordance with the conditions of sale, any attribution, authorship, or period description is offered solely as an opinion and does not constitute verified facts or guarantees of any kind. General condition: The work is offered "as is," with all faults and without express or implied warranties. It is in a stable and very good general condition consistent with a work of its era, displaying natural signs of aging characteristic of the medium and period. Surface and technique: The impasto and paint layers exhibit excellent texture and vibrant coloration. Slight surface dust accumulation and mild oxidation are visible, typical of an aged oil or enamel medium. There are no signs of active paint loss, flaking, or structural lifting. Canvas and reverse: The textile support retains good tension on the wooden stretcher. The reverse shows natural, uneven toning, oxidation marks, and age-related spotting (foxing) typical of a period canvas. No punctures, tears, or previous repairs or patches are detected on the canvas. Frame: The frame shows slight wear, surface scuffs, and some dust in the crevices, but remains structurally sound. Note to bidders: Bidders are strongly advised to carefully examine all high-resolution photographs, request additional information if necessary, and conduct their own independent research before bidding. By placing a bid, the buyer fully accepts the lot's current state, description, and "as-is" condition. All sales are final; no returns, refunds, or cancellations will be accepted.