Charles G. Shaw
1892–1974
Charles G. Shaw with his painting Abstract Composition-8 (1943); Photographer unknown, Charles Green Shaw Papers, 1874-1979, Archives of American Art, Smithsonian Institution, Washington, DC
Works Available
- Untitled (Conductor), c.1934
- oil on canvas
- 30 x 22 inches / 76.2 x 55.9 cm
- signed
- Plastic Polygon Abstract Form No.6, 1936
- oil on canvas
- 15 1/8 x 18 inches / 38.4 x 45.7 cm
- signed
- Untitled (Intersecting Trapezoids No.2), c.1936
- oil on canvasboard
- 18 x 15 inches / 45.7 x 38.1 cm
- Untitled, 1939
- oil on wood cut out mounted to panel with artist's frame
- 11 1/4 x 7 1/2 inches / 28.6 x 19.1 cm
- signed
- Non Objective Arrangement in Brown and White, 1940
- oil on canvasboard
- 12 x 9 inches / 30.5 x 22.9 cm
- signed
- Untitled, c.1940
- oil and wood construction
- 11 x 16 1/2 x 1 1/4 inches / 27.9 x 41.9 x 3.2 cm
- Untitled, 1941
- oil on canvasboard
- 16 x 12 inches / 40.6 x 30.5 cm
- signed
- Untitled, 1942
- oil on Masonite
- 22 x 30 inches / 55.9 x 76.2 cm
- signed
- Untitled, c.1942
- oil on canvasboard
- 15 3/4 x 20 inches / 40 x 50.8 cm
- signed
- A Room With a View, 1945
- oil on canvasboard
- 23 7/8 x 20 inches / 60.6 x 50.8 cm
- signed
- Untitled (Atomic Flight), 1945
- oil on canvasboard
- 22 x 30 inches / 55.9 x 76.2 cm
- signed
- East Fifty Sixth (Coal Truck), 1946
- oil on Masonite
- 30 x 22 inches / 76.2 x 55.9 cm
- signed
- Piano Lesson, 1946
- oil and ink on Masonite
- 28 x 24 inches / 71.1 x 61 cm
- signed
- Cheer Leader, 1948
- oil on canvasboard
- 30 x 22 inches / 76.2 x 55.9 cm
- signed
- Nantucket Waterfront No.3, 1948
- oil and sand on Masonite
- 50 x 32 inches / 127 x 81.3 cm
- signed
- Untitled (Sailboats), c.1948
- oil on canvasboard
- 22 x 16 1/8 inches / 55.9 x 41 cm
- signed
All artworks displayed above are currently available. To inquire about additional works available by this artist, please contact the gallery.
Biography
What I have termed the plastic polygon—a several sided figure divided into a broken pattern of rectangles—developed in the course of years from certain experiments made by myself in 1933. In the main these experiments were founded upon the New York scene—or rather the Manhattan skyline—treated semi-cubistically. Quite naturally the vertical line predominated.
Gallery Exhibitions
Publications
