In much of Keith McIntyre’s early work, we can see a multitude of abstractions that are familiar shapes on the periphery of recognition: canyons, cliffs, bones and general organic forms.
Shown on this page:
“Abstract” 1959
oil / 33.5 x 36 in.
In private collection - Lynne Dulmaine
“River Forms” 1959
oil / 24 x 48 in.
In private collection - Chris McIntyre
“Orange Canyon” 1959
mixed media / 15 x 19 in.
In private collection
“Cliffside” 1958
oil / 24.25 x 24 in.
In private collection
“Forest Forms” 1957
mixed media / 29.5 x 39.5 in.
In private collection
“The Ancient Place” 1955
oil / 24 x 48 in.
In private collection - Lynne Dulmaine
“Back Street” 1953
oil / 24 x 48 in.
Dallas Museum of Art
In much of Keith McIntyre’s early work, we can see a multitude of abstractions that are familiar shapes on the periphery of recognition: canyons, cliffs, bones and general organic forms.
Shown on this page:
“Storm Warning” 1961
watercolor / 13.5 x 19 in.
San Antonio Art League & Museum
“Abstract” 1960
mixed media / 24 x 48 in.
In private collection
Many of Keith McIntyre’s late abstracts, although returning to familiar visual themes, began incorporating more water color and casein paints, and utilized a wider color palette.
Shown on this page:
"River Form" 1970
watercolor/ink / 22 x 29 in.
In private collection - Chris McIntyre
“Cave Formation” 1978
oil / 28 x 38 in.
In private collection - Lynne Dulmaine
“Bone Structure #1” 1973
oil / 48 x 23.5 in.
In private collection - Chris McIntyre
“Bone Structure #2” 1973
oil / 48 x 23.5 in.
In private collection - Chris McIntyre
Many of Keith McIntyre’s late abstracts, although returning to familiar visual themes, began incorporating more water color and casein paints, and utilized a wider color palette.
Shown on this page:
“Cave Formations” 1983
oil / 23 x 36 in.
In private collection - Colin McIntyre
“Green Cliffs” 1980
casein/ink / 24 x 47 in.
In private collection - Brian McIntyre
“Red Cliff” 1980
oil / 40 x 48 in.
In private collection
Keith McIntyre has works in numerous museum collections. Most of them reside his native Texas. The Dallas Museum of Art currently has “Back Street” in its permanent collection, the result of a 1953 Dallas Art Association Purchase Prize. The McNay Art Museum features “Abstraction” in its permanent collection, a gift of Mrs. R.B. Lewis in 1971. The San Antonio Art League & Museum has “Valley for Children” and “Storm Warning” in its permanent collection, the result of the Onderdonk Purchase Prize. McIntyre also has work featured in museum collections in San Antonio, Fort Worth and Houston.
Shown on this page:
“Back Street” 1953
oil / 24 x 48 in.
Dallas Museum of Art
“Abstraction” 1971
acrylic / 8 3/4 x 7 1/8 in.
The McNay Art Museum
“Valley for Children” 1956
oil / 24 x 48 in.
San Antonio Art League & Museum
“Storm Warning” 1961
watercolor / 13.5 x 19 in.
San Antonio Art League & Museum
In addition to producing pure abstracts, Keith McIntyre also painted definitive subject matter in an abstract expressionist style. In the painting of these portraits, for example, McIntyre not only sought authenticity of experience, he also created an expressiveness that made you feel deeply about the subjects being portrayed.
Shown on this page:
"The Men" 1975
casein/ink / 20 x 30 in.
In private collection - Chris McIntyre
"Brutalist Portrait of a Man" 1964
oil / 10 x 5.5 in.
In private collection
"The Moors" 1984
casein/ink / 2 x 3 in.
In private collection - Chris McIntyre
"Portrait of an Old King" 1980
casein/ink / 11.5 x 8.25
In private collection - Lynne Dulmaine
"Portrait of a New King" 1964
watercolor/ink / 13 x 7 in.
In private collection - Lynne Dulmaine
"The Native Girl" 1973
casein/ink / 20 x 14 in.
In private collection - Lynne Dulmaine
"Children in the Village" 1969
watercolor/ink / 18 x 19 in.
In private collection - Lynne Dulmaine
In addition to producing pure abstracts, Keith McIntyre also painted definitive subject matter in an abstract expressionist style. In these wildlife portraits, for example, McIntyre not only sought authenticity of experience, he also created an expressiveness that made you care about wildlife.
Shown on this page:
“Redbirds" 1972
casein/ink / 7.75 x 11 in.
In private collection - Lynne Dulmaine
"The Gulls" 1960
mixed media / 16 x 18 in.
In private collection
"Bird" 1976
casein/ink / 11.5 x 8.5 in.
In private collection - Lynne Dulmaine
"Shorebirds" 1971
casein/ink / 12 x 9.5 in.
In private collection - Lynne Dulmaine
"Catbird" 1976
casein/ink / 10 x 7.5 in.
In private collection - Lynne Dulmaine
“Tropical Fish” 1980
casein ink / 9 x 12 in.
In private collection - Lynne Dulmaine
"Hummingbird" 1968
ink print / 10.75 x 8
In private collection - Lynne Dulmaine
In addition to producing pure abstracts, Keith McIntyre also painted definitive subjects, like these paintings that took place in an urban setting. Although more representational than his abstract work, these paintings were executed in a distinct abstract expressionist style.
Shown on this page:
"Rowhouses #1" 1976
casein/ink / 17 x 20 in.
In private collection - Chris McIntyre
"Rowhouses #2" 1978
casein/ink / 17 x 20 in.
In private collection - Lynne Dulmaine
“Old Town” 1968
casein/ink / 17.5 x 10.6 in.
In private collection - Bernard &
Patricia Filipiak
In addition to producing pure abstracts, Keith McIntyre also painted definitive subjects, like these paintings that took place in a rural setting. Although more representational than his abstract work, these paintings were executed in a distinct abstract expressionist style.
Shown on this page:
“Red Fence” 1984
oil / 24 x 48 in.
In private collection, Lynne Dulmaine
“The Harbor” 1958
oil / 9.25 x 9 in.
In private collection, Lynne Dulmaine
“Riverhouse” 1958
oil / 8.5 x 11 in.
In private collection, Lynne Dulmaine
"Snowscene" 1950
charcoal / 7 x 11 in.
In private collection, Chris McIntyre
“Landscape” 1991
oil / 47 x 72.5 in.
In private collection, Lynne Dulmaine
"The Garden" 1978
casein/ink / 6.75 x 10 in.
In private collection, Lynne Dulmaine
“Along the River” 1980
casein/ink / 20 x 24 in.
In private collection, Cindy Brewer
In addition to producing pure abstracts, Keith McIntyre also painted definitive subjects, like these paintings of interiors, including still lifes. Although more representational than his abstract work, these paintings were executed in a distinct abstract expressionist style.
Shown on this page:
"The Room" 1962
mixed / 20 x 28.5 in.
In private collection - Chris McIntyre
"Flowers" 1983
oil / 22.5 x 22.5 in.
In private collection - Lynne Dulmaine
"Still Life" 1968
watercolor / 2.75 x 4.25 in.
In private collection - Lynne Dulmaine
"Still Life" 1978
oil / 2.25 x 6.5 in.
In private collection - Lynne Dulmaine
In addition to producing pure abstracts, Keith McIntyre also painted definitive subjects in an abstract expressionist style. In the making of these paintings that incorporated sacred imagery, McIntyre drew upon his evangelical upbringing to create a very personal experience.
Shown on this page:
"Christmas Card" 1964
ink print / 4 x 8.5 in.
In private collection - Chris McIntyre
"Downtown Church" 1986
mixed / 10.5 x 10.5 in.
In private collection - Lynne Dulmaine
"Old Cathedral" 1976
casein/ink / 8.5 x 11.5 in.
In private collection - Lynne Dulmaine