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Norman W. Lewis

Untitled (Composition in Blue and Black)., 1954

Oil on cream wove paper
18 × 23 in
45.7 × 58.4 cm
Bidding closed
About the work
SAG
Swann Auction Galleries

508x603 mm; 18x23 inches.

Signed and dated in ink, lower right.

Provenance: acquired directly from …

Read more

508x603 mm; 18x23 inches.

Signed and dated in ink, lower right.

Provenance: acquired directly from the artist, Margradel and Leonard Hicks, New York (1960s); thence by descent, private collection, New York.

Norman W. Lewis
American, 1909–1979
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Born in Harlem and working within New York City’s downtown art scene, Norman Wilfred Lewis first began painting in a figural style grounded in social realism, focusing on bread lines, police brutality, and the struggles of black Americans. Lewis transitioned to a more abstract style of art during the 1940s and 1950s, continuing to focus on social inequalities but growing increasingly interested in personal expression rather than representation. Lewis’s shift to abstraction was driven in part by his realization that reproducing or mirroring social conditions did not adequately reflect his goals as an artist. His work Evening Rendezvous, for example, addresses political activism and humanitarian concerns through hazy visuals inspired by clandestine Ku Klux Klan gatherings.

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Save
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view
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About the work
SAG
Swann Auction Galleries

508x603 mm; 18x23 inches.

Signed and dated in ink, lower right.

Provenance: acquired directly from …

Read more

508x603 mm; 18x23 inches.

Signed and dated in ink, lower right.

Provenance: acquired directly from the artist, Margradel and Leonard Hicks, New York (1960s); thence by descent, private collection, New York.

Norman W. Lewis
American, 1909–1979
Follow

Born in Harlem and working within New York City’s downtown art scene, Norman Wilfred Lewis first began painting in a figural style grounded in social realism, focusing on bread lines, police brutality, and the struggles of black Americans. Lewis transitioned to a more abstract style of art during the 1940s and 1950s, continuing to focus on social inequalities but growing increasingly interested in personal expression rather than representation. Lewis’s shift to abstraction was driven in part by his realization that reproducing or mirroring social conditions did not adequately reflect his goals as an artist. His work Evening Rendezvous, for example, addresses political activism and humanitarian concerns through hazy visuals inspired by clandestine Ku Klux Klan gatherings.

Norman W. Lewis

Untitled (Composition in Blue and Black)., 1954

Oil on cream wove paper
18 × 23 in
45.7 × 58.4 cm
Bidding closed
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