This section showcases homages to other artists. Since the purpose of this website is to archive Amy Ione’s work from the 1970s to the present, both successful and less successful work is displayed. For more information about any of the works, click on the caption below the painting or send an email.
Although black, white and shades of grey, this painting was inspired by Josef Albers’ studies of color relationships, thus the name: Homage to Josef Albers.
Albers (1888-1976), a German-born American artist and educator who is considered one of the most influential 20th-century art teachers in the United States.
This piece of boxed art is an homage to Fra Angelica’ Linaiuoli Tabernacle: Peter Preaching with Mark. (Predella. 1433. Tempera on panel. 39 x 56 cm. Museo di San Marco, Florence, Italy).
This piece was designed to create a depth illusion. To see illusion the viewer needed to close one eye and move the head.
Continue reading “Frangelic by Christopher W. Tyler and Amy Ione”
Amy Ione
Title: Homage to Diebenkorn Sketch
Date: 2003
Medium: Oil on canvas board
Dimensions: 6×9 inches
Unsigned
Catalog Number: Diebenkorn sketch
Continue reading “Homage to Diebenkorn Sketch (2003)”
Luca Cambiaso (1527-1585) was a Genoese School painter and draughtsperson. He visited Rome at least twice and Michelangelo was a powerful influence on the massiveness of his figures, although a softness of modeling perhaps has more in common with Correggio. Because some of his figures are constructed using simplified cubic shapes, they look remarkably modern.
Continue reading “Cubist Figures (Homage to Luca Cambiaso) (2020)”
Amy Ione
Title: Homage to Diebenkorn
Date: 2003
Medium: Oil on Canvas
Dimensions: 36 x 30 x 1 in
Unsigned
Catalog Number: 2003-Diebenkorn
Homage to Lichtenstein (2023) is a mixed-media work that pays tribute to the iconic Pop artist Roy Lichtenstein (1923-1997), while asserting my own personal visual language. Executed on white archival paper, the painting features a tightly structured composition of alternating vertical stripes punctuated by curved black forms and a bold diagonal band. Continue reading “Small Painting: Homage to Lichtenstein (2023)”
This intimate tribute to Paul Klee’s 1937 Blue Night (Blaue Nacht) is a part of a diptych, with Homage to Paul Klee (Blue Night) #1 comprising the other panel. Both works celebrate Klee’s fascination with how one can manipulate abstract possibilities in both art and music. Therefore, it too reflects a fusion of abstraction and poetic nuance. Together, the two 8-inch panels of the diptych demonstrate how Klee’s musical methodology can manifest through contrasting formal vocabularies, one staccato and architectural, the other legato and organic. Continue reading “Homage to Paul Klee (Blue Night) #2 (2018)”
Homage to Paul Klee (Blue Night) #1 is an intimate tribute to Paul Klee’s 1937 Blue Night (Blaue Nacht) painting. Like Klee’s work, this piece reflects a fusion of abstraction and poetic nuance. One noteworthy quality is how the homage to Klee asserts a contemporary rhythm through its presentation of a geometric composition built entirely from straight lines and angular forms. Continue reading “Homage to Paul Klee (Blue Night) #1 (2018)”
Monoprint on archival paper.
This monoprint is based on Kandinsky’s Yellow-Red-Blue (1925), now in Paris, at the Centre Georges Pompidou. Unlike the monoprint, Kandinsky’s painting’s geometry, color, flow, and abstract shapes are evocative of grapheme-color synesthesia. Indeed, it seems to suggest a person experiencing vivid ‘synesthetic’ imagery.
Continue reading “Kandinsky’s Brain: A Monochromatic Improvisation of Yellow-Red-Blue”
Homage to Sol LeWitt (2015) offers an homage to Sol LeWitt’s legacy of conceptual rigor and geometric clarity. The interplay of oil and pencil creates a dialogue between painterly mark making and linear precision, echoing LeWitt’s investigations of structure while asserting my own interest in perception, the power of visual syntax, and artistic process. Continue reading “Homage to Sol LeWitt (2015)”