Don Totten’s Color Structure is a super composition in the realm of hard-edge but organic form. In America, such artists as Charles Green Shaw, Morris Graves and Stuart Davis experimented with a type of abstraction during the 30’s and 40’s that had roots in French cubism. The American Abstract Artist group formed, and a handful of American’s explored non-objective abstraction as well as abstraction based on forms we can identify as well as surrealism.

Don Totten’s Synchrony is a super composition in the realm of hard-edge but organic form. In America, such artists as Charles Green Shaw, Morris Graves and Stuart Davis experimented with a type of abstraction during the 30’s and 40’s that had roots in French cubism. The American Abstract Artist group formed, and a handful of American’s explored non-objective abstraction as well as abstraction based on forms we can identify as well as surrealism.

Structure stands out as a tremendous achievement in Totten’s oeuvre, reflecting a mastery of his artistic language. In contrast to its title, it subtly evokes the looseness of foliage while showcasing remarkable depth and an adept use of light. The composition brings together key elements characteristic of Totten’s work: the use of line work to lead the eye, interlocking forms that appear to float within the space, and dynamic punctuations of intense chromatic passages.

Each element is intricately woven into the painting, creating a cohesive and compelling visual experience. This work is a significant contribution to Totten’s body of work, reinforcing his status as a pivotal figure in West Coast abstract art.

While Totten’s references to nature are evident—albeit in semi-recognizable abstract form—this work represents a deeper exploration into the emotional essence of a place. Rather than focusing solely on the literal depiction of natural forms, Totten delves into the atmosphere and feeling of the environment. The brushwork in this painting is notably loose and expressive, which enhances the luminosity and contributes to the overall vibrancy of the composition.

The composition itself is both well-structured and balanced, reflecting Totten’s skillful handling of abstraction. Despite the immediate nature of the work, it maintains a sense of order and coherence and stands out as one of Totten’s most genuinely abstract creations, even within his oeuvre, which is renowned for its exploration of the form.

From his earliest years, Totten demonstrated an innate affinity for abstraction, characterized by his distinctive and compelling use of color. In this work, he employs a vibrant palette of cadmium reds and yellows, which are skillfully balanced against richer, denser hues of greens, oranges, and blacks. This combination results in a cohesive and harmonious composition that evokes the influence of Cubism while maintaining his unique artistic voice.

Totten’s strategic choice to place these color forms against a neutral background enhances the sense of depth and spatial fluidity. This approach allows the forms to appear as though they are floating or emerging from the canvas, creating a dynamic and engaging visual experience. The result is a painting that not only reflects his intuitive grasp of abstraction but also exemplifies his ability to manipulate color and form to achieve a sense of balance and movement.

In Dissection, Totten explores the theme of deconstruction through a meticulous examination of forms and color. Unlike his other works, which evoke notions of construction, connection, and structure, this paining delves into the process of disassembling and analyzing its elements. The composition, at first glance tightly organized, reveals its complexity through its free and painterly application of paint. Tiotten’s approach effectively dissects the surface, freeing interlocking forms and lifting them off the canvas, creating a dynamic interplay of layered textures and colors. This technique not only emphasizes the act of dissection but also highlights Totten’s skillful manipulation of paint to achieve a rich, three-dimensional effect.

Don Totten’s Abstraction 1960s is a super composition in the realm of hard-edge but organic form. In America, such artists as Charles Green Shaw, Morris Graves and Stuart Davis experimented with a type of abstraction during the 30’s and 40’s that had roots in French cubism. The American Abstract Artist group formed, and a handful of American’s explored non-objective abstraction as well as abstraction based on forms we can identify as well as surrealism.

This painting presents a kaleidoscope of intricate, chromatic forms, exuding a compelling sense of luminosity. At its core, these forms converge in a vibrant, organic arrangement, with layers of color and texture building upon one another. The neutral background acts as a subtle "frame," enhancing the overall composition by lifting the rich mosaic of hues off the canvas and creating a sense of depth and separation. This interplay between the vivid forms and the restrained backdrop underscores the painting’s dynamic energy and visual intrigue.

Don Totten’s Spring is a super composition in the realm of hard-edge but organic form. In America, such artists as Charles Green Shaw, Morris Graves and Stuart Davis experimented with a type of abstraction during the 30’s and 40’s that had roots in French cubism. The American Abstract Artist group formed, and a handful of American’s explored non-objective abstraction as well as abstraction based on forms we can identify as well as surrealism.

This abstraction from the 1950s showcases a masterful interplay of interlocking shapes and forms, creating a dynamic yet harmonious composition. At the heart of the canvas, a cluster of precisely defined shapes in soft greens, peaches, pinks, and mauves commands attention. These central elements exhibit a vibrant intensity that gradually softens as the shapes disperse towards the edges of the canvas. The transition from defined forms to more diffuse, puzzle-like segments create a sense of movement and depth, guiding the viewer’s eye across the surface. This sophisticated arrangement of color and form results in a visually pleasing and balanced piece, making it a compelling addition to any space.

Don Totten’s Abstract I, 1940’s is a super composition in the realm of hard-edge but organic form. In America, such artists as Charles Green Shaw, Morris Graves and Stuart Davis experimented with a type of abstraction during the 30’s and 40’s that had roots in French cubism. The American Abstract Artist group formed, and a handful of American’s explored non-objective abstraction as well as abstraction based on forms we can identify as well as surrealism.

This painting features a loosely centralized composition, characterized by its soft tonal palette and the confident placement of distinct forms within their own defined spaces. The forms, interacting loosely with their neighbors, create a sense of organic connection. The true brilliance of the work lies in the titular calligraphic scrollwork, which unifies the composition with a delicate yet assertive presence evocative of strings binding together a collection of color or of light filtering through a wrought iron. The result is a visually cohesive piece that masterfully intertwines form and space, bringing a sense of elegance and order to the abstraction.

The roots of Totten’s distinctive treatment of forms and use of color, which are so prominent in his later paintings, can be seen in his early still life paintings. This work particularly, a semi-abstract depiction of, presumably, his own studio, serves as a pivotal study in his artistic development.

Here, Totten employs the familiar and accessible subject of still life to explore and experiment with complex structural interplays. Rather than a straightforward representation, he distills the space into a series of interrelated shapes and lines, allowing him to examine their relationships and interactions in a more abstracted manner. This approach reveals an early commitment to understanding and manipulating the formal aspects of composition. Interesting to note, Totten has included one of his own paintings withing the objects depicted in Interior.

In this striking canvas, Totten achieves a monumental scale both in subject matter and physical dimensions. The expansive composition is characterized by brilliant, harmonious passages of color and a masterful use of light that emanates from behind the forms. The painting subtly suggests a landscape through its darker, earthy tones and ochres, while the upper portion evokes a sky-like quality. Despite these references to the natural world, the work maintains a resolutely abstract nature, blending suggestive elements with a bold, non-representational approach. This synthesis of scale, color, and light underscores Totten's capacity to create an immersive and thought-provoking visual experience.

In this vibrant painting Totten explores the grand scale with intense movement and bold application of paint. The composition is marked by a sense of vigorous experimentation, with the artist seemingly driving the paint onto the canvas. Dominant yellows infuse the work with a quality reminiscent of sunlight, yet they are counterbalanced by cooler tones that pervade the piece, creating a striking contrast. This interplay of warmth and coolness, combined with the fluid execution, results in a composition that is both energetic and visually engaging. The painting's dynamic nature and vibrant palette reflect a modern reinterpretation of its titular principles, emphasizing movement and emotional intensity in a contemporary context.

This painting features an intriguing array of unconventional color combinations, with a dominant orange serving as an anchor to the composition. This vibrant hue supports and balances a network of overlayed and interlocking forms in yellows, reds, and more subdued tones creating a sense of depth, solidity, and structure. The painting’s horizontal format contributes to its overall sense of harmony, suggesting that Totten may have drawn inspiration from an accidental yet captivating still life arrangement encountered in his studio, a serendipitous source of inspiration influencing a cohesive and dynamic interplay of colors.

In abstract works, one occasionally discerns hints of the inspiration behind the composition. Totten, renowned for drawing from the natural world, may have encountered a particularly evocative still life during an outdoor experience. Rather than painting from direct memory, he later capturing the emotional resonance of a moment. This unusual vertical composition employs vertical thrusts of varying weight and opacity to emphasize its upward movement, while strategically placed dabs of color guide the viewer’s eye along the canvas. This approach enhances the sense of verticality and creates a dynamic interplay of color and form, reflecting the emotional impact of his natural inspiration.

True to its title, "Connection" masterfully illustrates an intricate interplay of chromatic forms that interlace with both hard and soft edges. These forms are meticulously bound together by linear elements that evoke the sense of strings binding a collection of diverse materials. The composition reflects Totten's expertise, creating a harmonious and visually captivating arrangement that is both chromatically sublime and intricately focused. The careful orchestration of colors and lines underscores the theme of interconnectedness, making the painting a striking exploration of unity and composition.

Reflecting the title "Construction," this painting juxtaposes a structured theme with a dynamic spontaneity in its brushwork. The seemingly static forms are rendered with a loose, fluid application of pigment, creating an impression of a vibrant, evolving edifice. The chromatic palette evokes the warm, glowing hues of a late-day sun over an urban landscape, imbuing the work with a sense of both energy and tranquility. Totten's mastery of composition is evident in the way these elements coalesce into a harmonious and visually arresting arrangement, achieving a balance that is both chromatically sublime and meticulously focused.

Totten’s Counterpoint bears its title through its composition. In musical terms, counterpoint involves the interplay of distinct melodies, played in conjunction with another, however it also exemplifies another meaning, that of opposite and contract. The composition is marked by bold, sweeping strokes that serve as both structural elements and independent shapes. These wide, intentional lines create a rhythm within the painting, dividing the canvas into visually distinct zones while contributing to an overall cohesive design. This technique highlights Totten's skill in using abstraction to orchestrate a complex interplay of forms.
The color palette in Counterpoint is notably distinctive within Totten’s body of work. It features a nuanced range of off-whites and muted putty tones which provide a subtle backdrop that contrasts with the vibrant teals punctuating the composition. These teals introduce an element of surprise and vibrancy, reminiscent of some of Totten’s other works but employed here with a more restrained and subtle approach.

Totten’s Los Angeles presents a more restrained and contemplative side of his artistic repertoire, characterized by a rich palette of saturated dark reds and deep forest greens. Unlike some of his more exuberant works, this painting exudes a quiet sophistication and demonstrates a refined approach to abstraction. The interplay of these deep hues creates a sense of layered depth, inviting viewers to engage with the painting’s subtle nuances.
Delicate white and black lines traverse the canvas, serving as both defining elements and visual anchors that enhance the composition's complexity. These lines delineate forms and create an intricate network that adds a dimension of spatial depth and lyrical movement. Through this interplay of color and line, Totten achieves a poetic abstraction that subtly evokes natural forms and textures without explicit representation.

The roots of Totten’s distinctive treatment of forms and use of color, which are so prominent in his later paintings, can be seen in his early still life paintings. This work particularly, a semi-abstract depiction of his own studio, serves as a pivotal study in his artistic development.

Here, Totten employs the familiar and accessible subject of still life to explore and experiment with complex structural interplays. Rather than a straightforward representation, he distills the space into a series of interrelated shapes and lines, allowing him to examine their relationships and interactions in a more abstracted manner. This approach reveals an early commitment to understanding and manipulating the formal aspects of composition.

This work, smaller in comparison to much of his oeuvre, encapsulates the core elements of Totten’s modernist ethos and sets the stage for the more elaborate explorations seen in his subsequent works. It is a dynamic exploration of color and form, characterized by exuberant use of vibrant hues that interact in a complex harmonious manner. The composition showcases a sophisticated arrangement of geometric shapes and fluid strokes that create a sense of rhythmic movement and spatial depth. Totten's innovative handling of color—employing bold contrasts alongside nuanced gradations—imbues the painting with a vibrant energy that reflects his adeptness at balancing visual intensity with compositional coherence.

Totten's painting, though bold and distinctive, exemplifies his adventurous approach to West Coast Modernism. The work is characterized by its striking color palette, featuring electric and vibrant hues that infuse the composition with a palpable energy. Totten’s expert manipulation of these colors creates a sense of dynamic movement, engaging viewers through a sophisticated interplay of shapes and chromatic contrasts. The composition itself demonstrates a meticulous balance of form and space, with fluid lines and geometric elements that guide the viewer’s eye across the canvas. As one delves deeper into the painting, its intricate layers of color and shape reveal a nuanced complexity, inviting ongoing exploration and interpretation. This piece not only energizes its surroundings but also embodies Totten’s innovative spirit, offering both visual stimulation and a reflection of his unique artistic vision. It serves as a testament to his ability to blend vibrant color with thoughtful composition, making it a compelling addition to any collection or space.

Totten’s painting Portuguese Bend stands out as a significant work within his oeuvre, both in scale and conceptual ambition. While the title's specific reference may be opaque, Totten's approach to abstraction suggests that the literal interpretation is secondary to the emotive and formal qualities of the work. The painting's composition is notable for its expansive use of light, where luminous whites and radiant sunlit yellows create a sense of ethereal illumination that suggests a natural source of inspiration—a recurring theme in Totten’s career.

In Portuguese Bend, Totten departs from the sharper, more defined forms seen in his earlier works. Instead, he employs a softer approach, characterized by blended edges and a harmonious interaction of varied shapes. This shift towards subtle gradations and fluid transitions enhances the painting's atmospheric quality, inviting viewers to engage with the work on a more sensory and intuitive level. The interplay of colors and forms evokes a sense of organic movement and transformation, reflecting Totten’s evolving exploration of abstraction and his engagement with the natural world. Overall, Portuguese Bend exemplifies Totten’s ability to translate his inspirations into a sophisticated visual language, blending light and form to create a resonant and immersive experience.

In his untitled painting from the early 1950s, Totten exemplifies a burgeoning mastery of geometric abstraction that would define his later work. The composition reveals a sophisticated interplay of interlocking shapes that suggest a puzzle-like complexity, reflecting his evolving approach to form and structure. Totten’s innovative use of unconventional color palettes—featuring unexpected contrasts and subtle gradients—further enhances the visual dynamism of the piece. Through this painting, Totten begins to articulate a distinctive visual language that bridges spatial harmony with chromatic experimentation, laying the groundwork for the rich, explorative body of work he would continue to develop throughout his career.

EO from the 1960s is an exceptional example of what abstract painting was striving toward in this period. Abstract artists were informed by the artists before them but were creating visual structures that were freed from content and in search of expression that was unique. This composition is one which is highly successful at getting the viewer’s eye to react. Just like its title, it is mainly about forms, but he is also working out a structure for it to speak to us. And if you think about the realm of abstract paintings and compare this composition to what you have seen, it becomes evident that this is a memorable and impressive work. The brilliancy of his building color from the outer edges of the canvas with luminous light toward a center that is earthy and rich in depth is truly beautiful.