Wilbur M. Reeling, abstract expressionist

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Welcome to Wilbur M. Reeling's Online Fine Art Gallery. Wilbur is known for his expressive artistic abstract style. He is an American Abstractionist painter who now resides and paints on Maryland's Eastern Shore of the Chesapeake Bay. His paintings can be found in many private and corporate collections…Reeling's Abstractions are for a more sophisticated observer, one that is more familiar with recognizing a great work of Abstract Art. His works are not for a broader less sophisticated public ..."My Abstract Art is an alternative way for me to express my visual language of form, color and line to create a composition that places greater emphasis on a visual sensation than on a depiction of recognizable, realistic objects. Most of my paintings are done using pigmented paints that I hand grind and mix with special mediums to form my own unique color palette. Abstraction itself has been my subject matter for decades. Not an easily understood expression of painting, the observers must be able to comprehend and struggle for meaning in what is said, what is implied, and what is never completely described"...

Wilbur's Artworks are also available directly from the Artist's 808 Gallery 1-443-252-5985

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My Collectors & their Collections

H. Brett Friedman DDS Collection – Rohde PhD Johns Hopkins
Arthur H. Boccuti, Atlanta GA. – S. Pearson Mc Daniel College
Café Troia Family Collection – Dr. Brock Pinelli
Richard Jaffee Collection DDS – Porsche, New England
MattAllSigns Co.- AiC Porsche Sales, PA - the J. Feliciano Family Collection
the Fostier Family – Robert Hammel Collection NJ – Simko Family
Wm.Dunn Esq – the MD. Historical Society – Mollie Collection NYC
Geraldine F. Bond Ruxton Md. – Dr. Jonathan Kaufman Balto. Md.
B. Foster Collection – Cristol Wagner – Polo Pearson
Manner Esq OR. – YMCA of Central Md.
Saki–Khosro Lousemo LLC - Needle Mondo Corp GA.
Torregrossa's private collection
Dundore Family Collection

 

..."there's good Art and there's cheap Art but
there's NO good CHEAP Art"...


so, if you do it, do it Grand!

Gotteried Augusts Ruehling

 

P.J.P. Inspiration ~ #1.INDIGO MIST, (diptych), 2015,
India ink & Ziller white ink, my own pigmented ink, on 160 gsm,

39 x 55 inches Fabriano Indigo paper #2145x8psi not framed

 

#4/4 Franz K. (inspiration), 2015
É tymologie d`art ~ (Art for Art's sake)
18 x 24 inches, my own hand-made paint & pigmented ink,
India Ink & dye inks, on rough press AQUARELLE
ARCHES (RP) 140 # paper, #432psi@8usd not framed

 

#3/4 Franz K.(inspiration), 2015
É tymologie d`art ~ (Art for Art's sake)
18 x 24 inches, my own hand-made paint & pigmented ink,
India Ink & dye inks, on rough press AQUARELLE
ARCHES (RP) 140 # paper, #432psi@8usd not framed

 

#2/4 Franz K.(inspiration), 2015
É tymologie d`art ~ (Art for Art's sake)
24 x 18 inches, my own hand-made paint & pigmented ink,
India Ink & dye inks, on rough press AQUARELLE
ARCHES (RP) 140 # paper, #432psi@8usd not framed

 

#1/4 Franz K.(inspiration), 2015
É tymologie d`art ~ (Art for Art's sake)
24 x 18 inches, my own hand-made paint & pigmented ink,
India Ink & dye inks, on rough press AQUARELLE
ARCHES (RP) 140 # paper, #432psi@8usd not framed

 

Winter in Paris 1967, Diptych, 2015
(de coupe, Collage-Déchirage) my own hand-made paints and pigment inks,
dye inks and W&N water color with cut & torn painted paper on Saunders
44 x 30 inches  Waterford 100% cotton 300 gsm paper [RP] rough press 1320psi@8 USD not framed

Detail Below

 

Bisous Toulouse~Goose, 2015  
 (de coupe, Collage-Déchirage)
my own hand-made paints and pigment inks, dye inks and W&N water color
with cut & torn painted paper on Saunders Waterford 100% cotton 300 gsm paper
44 x 30 inches, [RP] rough press 1320psi@8 USD not framed

 

#7~ Étymologie d`art, 2015

24 x 18 inches, my own hand-made paint & pigmented ink,
India Ink & dye inks, on rough press AQUARELLE
ARCHES (RP) 140 # paper, #432psi@8usd not framed

 

INDIGO on INDIGO with Paucity (diptych), 2015

Sennelier French oil stick with black, blue green,
India ink & Ziller white ink, pigmented ink, on 160 gsm,
39 x 55 inches Fabriano Indigo paper #2145x8psi (not framed)

 

INSPIRATION "Cy" & a PUDDLE,(polyptych) , 2015
Sennelier French oil stick, my own hand-made pigment paints
& my hand-made pigmented inks, and Kremer watercolor, & dye inks
36 x 48 inches on Bristol x-smooth plate paper #864x8.psi (not framed)

 

Gail Storm Yellow Sea Baltimore Clipper in
BLOOM - BLEED & PUDDLE,
(diptych) , 2015
My own hand-made pigment paints & my hand-made pigmented inks,
and Kremer watercolor, & dye inks on Bristol x-smooth plate paper
24 x 36 inches #864x8.psi (not framed)

 

2nd Predilection for Grandeur ~ Étymologie d`art, 2015
My own hand-made pigment paints & my hand-made pigmented inks,
and W&N watercolour, & dye inks on 22 x 30 inch Fabriano deckel edge HP
paper 640 gsm (hot press) #660x8.psi (not framed)

 

 

Predilection for Grandeur ~ Étymologie d`art.#1, 2015
My own hand-made pigment paints & my hand-made pigmented inks,
and W&N watercolour, & dye inks on Fabriano deckel edge HP
30 x 22 inches paper 640 gsm (hot press) #660x8.psi (not framed)

 

Predilection for Grandeur ~ Étymologie d`art.#2, 2015
My own hand-made pigment paints & my hand-made pigmented inks,
and W&N watercolour, & dye inks on Fabriano deckel edge HP
30 x 22 inches paper 640 gsm (hot press) #660x8.psi (not framed)

 

Predilection for Grandeur ~ Étymologie d`art.#3, 2015
My own hand-made pigment paints & my hand-made pigmented inks,
and W&N watercolour, & dye inks on Fabriano deckel edge HP
paper 30 x 22 inches 640 gsm (hot press) #660x8.psi (not framed)

Quotes about the Art & ArtistWMR

"... I particularly enjoyed (Reeling’s) Breakthrough!"
     -- Eugenie Tsai, Senior Curator Permanent Collections, WHITNEY MUSEUM NYC

 

"... Reeling’s works are mature, intelligent and certainly quite buoyant!"
     -- I.C. Karp, Director, O.K. HARRIS GALLERY NYC

 

"... being an art historian, I see references to other abstract expressionists such as Pollock, of course, but also Kandinsky and in your more precise drawing of shapes, Miró ..."
     -- Jay McKean Fisher, Ph.D., Deputy Direct for Curatorial Affairs, Baltimore Museum of Art

 

"... Wilbur M. Reeling’s visual result is wonderful and vibrant; an incredible quantity of exceptionally insightful high quality works ..."
     -- John Bodkin, Director, American Contemporary Gallery

 

“I am impressed by Wilbur M. Reeling’s extraordinarily good work!”
     -- Beverly Libby, Director, Gallery "B" Tula Art Center, Atlanta, Georgia

 

"... Œuvre d'art de Wilbur M. Reeling est excellent ! (Reeling’s work is excellent!)
     -- Jean-Jacques Vernaud, Director, Galerie d'art THĒS Passy Trocadéro, Paris, France

 

“... While others are breaking rules, Reeling is making new ones. With each movement of his brush he takes us to worlds where art and life come together with breathtaking clarity and confusion ..."
     -- Bob Graham, Baltimore Sun

 

"... at the Ralls’s Collection, it's hard not to uncover at least a few gems. Among the noteworthy paintings is Wilbur M. Reeling's Technicolor drip painting Passage of Tears ..."
     -- Louis Jacobson, Art Critic Review, Washington DC Paper 

 

"... Wilbur, I'm inspired by your artwork and would love to apply your technique of paint and color application but with edible paint and colors (to my food). Will you teach me to how you make some of your paintings? I want to understand and share your philosophy in your art work? ..."
     -- Iron Chef Champion Katsuya Fukushima

 

“Wilbur M. Reeling is a shooting star!”
     --Susanne Taffir, GREGORY GALLERY NYC

 

"... Reeling’s works are arresting...”
     -- Arthur H. Boccuti, V.P. Pepsi Cola Corp. COLLECTOR retired, Atlanta GA.

 

"... Wilbur M. Reeling struggles for artistic recognition and an understanding of such varied encounters as with Paul Klee, Jackson Pollack and Vasily Kandinsky have all added to the formation of his language. But from the beginning, everything is new ..."
     -- Daniel C. Nusbaum, Ph.D., Director of the Delaplaine Gallery

 

Wilbur --  11/20/2014
I don't know of any other artist then you who puts as much energy, creativity and money into and behind their art and the marketing of same.  From the quality of the materials used, to the depth of your marketing efforts, including your (mailings) digital and print efforts, it is all truly extraordinary. And your finish work, (that is to say your presentational framing) is generally exquisite. Nobody and I mean no one I've ever met or reviewed puts in your level of commitment. Individuals go only so far, and then they typical toss the project to someone else: the gallery, the publisher, the producer.  But not you. You're a self-made man that believes in his ability and its manifestations, and it shows. In the end however it's the depth of your work and its diversity that attracts the art aficionado. Now, all of that said, it is no wonder to me that your web mentions come up 10 to 1 to other artists in your genera. You're the oracle of self-promotion! You've forgotten more about photography then most people will ever know.  You've got digital plates of every piece (of Art) you've ever done. You've got a brilliant daughter who loves to make you happy. Besides, you're a perfectionist,  so it will be a success.

 

Arthur H. Boccuti – COLLECTOR, V.P. Pepsi Cola Corp. retired , Atlanta, GA.

(as a collector of your work some may feel I'm biased. But I'm not. We like them all, quite a bit.  And many of our visitors point to your works as their favorites in our collection. Comparatively speaking, to what your work currently sells for, you did gift them to us.  Nonetheless we paid many thousands of dollars for our collection of your work.  I'd own more if I could afford them.  You create richly contemplative and complex art. You really are top drawer.)

 

THE ABSTRACT ART of WILBUR M. REELING by Daniel Nusbaum, Ph.D.

As we move from one millennium to another, the art of Wilbur M. Reeling takes us into the art of language and wrestles with the question of meaning for a new age. The language he deals with is not the symbolic verbal image of spoken or written language, but the fine art symbol of visual language. For that reason, any verbal introduction to his art is at best difficult, at worst impossible. In this doorway beyond modernism, beyond post-modernism and all the deconstructivism that has marked the end of the former age, his visual words construct a new communication. He places before us an entry into the complexities of mind and spirit, sense and nonsense, logic, illogic, intuition and sometimes almost brute confrontation. At that entryway, he gives us no direction signs save the almost enigmatic titles he has appended to his works, titles that seem to emerge from the works themselves, with the same complexity as the art work. We, the viewers, are set to the task of discovering meaning, probing the depths of his expression, to discover him, and, perhaps more importantly, to discover ourselves.

His works are not declarations. At the end of the twentieth century, we have frankly grown weary of artists who insist upon declaring in emphatic terms their view of the world. Instead, Wilbur M. Reeling initiates a conversation with the viewer, and that is the highest aspiration of the artist. His work is perennial because it does not have a definitive conclusion. Unlike the traditional story, with a beginning, middle and end, his work has a beginning, a middle, but not an end.

His art begins out of his varied experiences, from art school student, combat cinematographer, photographer, husband and father. His view of innocence in the gentle simplicity of his daughter Honor, and of crumbled innocence in his own failed health and marriage, his struggles for artistic recognition and an understanding of such varied encounters as with Paul Klee, Jackson Pollack and Vasily Kandinsky have all added to the formation of his language. But from the beginning, everything is new. His abstract-imagery is used as a tool to forge an understanding of the moments of his life, and of life itself, agony and delight, questions with only temporary answers, answers with only temporary meanings. The premise is both simple and incredibly complex: the stuff of life itself.

The middle is the conversation. It is, as he himself says, "an interactive experience between each viewer and the artist, one that pushes the viewers' perceptions to look within themselves, in a new, never explored direction." And what a conversation! The tangle of forms creates nonetheless an astounding unity in which the mind discovers its own need for order and understanding of the vagaries of the changing millennia. His insightful use of color, both brilliant and subtle, of line, rhythm and abstraction create a profound sense of vision for the mind to encounter its own need for a value and world discovery. And his simple, unaffected sense of design opens for us a view of the world as it is, not as he or we would wish it to be but rather a world full of delight and pain, satisfaction and dissatisfaction, fools and friends, reliability and errancy. We are reminded of the old Latin maxim: Caveat erro, let the wanderer beware. Once you enter into this conversation with Wilbur M. Reeling, you will discover truth, and a world that you have not before known.

Jacques Maritain, that insistent French philosopher, says that beauty is that in which the mind discovers itself.  In Wilbur M. Reeling's art, we discover ourselves, and no higher accolade can be given any artist.

I have said that this art has a beginning, middle but no end. Every time the viewer returns to the art work, the conversation continues, with new meanings, new depths, new answers. That is the enduring nature of his work. I am happy to welcome you to this selection of Wilbur M. Reeling's view of our labyrinthine world and the wondrous complexity of a Millennial Shift. 

 

Daniel Nusbaum, Ph.D.  Dr. Nusbaum is Director of the Delaplaine Fine Art Gallery, MD.

 

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