Bert L. Long, Jr.

"We Live, We Grow, We Die, We Go Someplace, " Six Color Lithograph

1996

This work, marked by thin washes of acrylic, depicts a floating figure with Long’s likeness hovering over what appear to be earthly materials below - perhaps an allusion to notions o...

This work is one in a series of prints conceived during Long’s fellowship in Rome. The texture and color of the background simulates a fluid substance, while the primary subject matt...

This work is one in a series of prints conceived during Long’s fellowship in Rome. It’s central feature is a profile of an abstract organic form nestled in a smooth gradient backgro...

"See Looking at See" is an acrylic painting on paper. The primary subject of this work is an abstract organic form with an eye which appears to be looking in the direction of its own physique. As the title intimates, this is perhaps commenting on the capacity of intelligent life to consider the distinction between self and other. Bert L. Long Jr., was self-taught artist, was born in 1940 in Texas, grew up the Houston’s historic Fifth Ward and received his formal education from UCLA. Following a career as a successful master chef, Long decided to devote himself entirely to art in the late 1970’s. He began to explore folk art and assemblage to create a unique body of work, attracting the attention of Jim Harithas, then Director of the Contemporary Arts Museum Houston, and artists John Alexander, Salvatore Scarpitta and James Surls. His life spanned an era of radical change in the American social climate, the influence of which can be seen clearly in his work. Long’s paintings and sculptures incorporate a high level of skill and sophisticated knowledge of art history, along with complex philosophical and social issues.  Long describes the philosophy behind his work as "a quest to help people diagnose their inner self," believing his art to be "the vehicle to help facilitate the process." “As artists we have the obligation to provide the world with art which communicates as truth. I believe that art has the power to heal our souls of their afflictions. I try to create art which helps to diagnose the prevalent conditions within our societies, hopefully providing an insightfulness which will help us all become brothers and sisters united in equality and compassion”                                       - Bert L. Long, Jr. The late Peter Marzio, former Director of the Museum of Fine Arts, Houston, said of Bert Long during the major retrospective of Long’s work at the museum: “Bert Long does not avert his gaze from that which is painful, but as [his artworks] testify, he also brings a spirit of joy and redemption to his art. We can all learn from this great artist.” Over Long’s 33-year career as a painter, sculptor, and photographer, he had several solo exhibitions at respected museums and was awarded many significant awards including the National Endowment for the Arts Grant in 1987 and the prestigious international Prix de Rome fellowship in 1990. Other notable awards of Long’s include the Texas Accountants and Lawyers for the Arts Artist of the Year Award in 2009, the Adolph and Esther Gottlieb Foundation Emergency Assistance Grant in 1997, the Houston Art League Texas Artist of the Year in 1990, the NEA Visual Artists Fellowship Grant, 1987 and the Bemis Foundation Residency in 1998. His work can be seen in over 100 private and public collections worldwide, including the Metropolitan Museum of Art, New York, the Dallas Museum of Art, the Houston Museum of Fine Art, the Blanton Museum of Art, Austin, the El Paso Museum of Art, and the Instituto de Bachillerato in Spain. With a recent solo exhibition at the Houston Museum of African American Culture and an exhibition overseas which is pending featuring his work, plus interest from several national museums, Bert L. Long Jr. continues to be recognized as an important African American artist throughout Texas, nationally and internationally. Bert L. Long, Jr. "See Looking at See" 2006 Acrylic and Charcoal on Dutch Stonehenge Paper...

This work is one in a series of prints conceived during Long’s fellowship in Rome. The vertical striations along the background accentuate a sense of rhythm, while the colorful strip...

Faces are a recurring motif throughout Long’s extensive body of work - especially regarding eyes and mouths. This work features a misma of matter that coagulates into an image recogn...

Jonas Wood 24 Tennis Court Drawings book (hand signed with hand drawn tennis balls), 2021 Hardback monograph with signed and dated tennis ball drawing Signed and dated with 3 balls d...

Texaz Dancing, Hand colored stone lithograph by Luis Jimenez 26 x 20 inches. For Larry, "Thanks for the book" Stone Lithograph, hand colored by Luis Jimenez. Signed to the great novelist and Academy Award Winner, Larry McMurty, author of Lonesome Dove...

A portrait of a Canadian Mountie and his horse are the subject of this unique 1970 print (edition 1 of 1) by Charles Pachter. The French titling of the work Noblesse Oblige...

For pop artist Charles Pachter, the Toronto streetcar symbolizes the urban landscape he calls home. The iconic image of the streetcar whose tracks have criss-crossed Canada’s largest city for decades was once known as ‘the red rocket’ because of its deep red paint colour. In this lithograph the bright colours of a large image of the back of the streetcar in hot pink and blue with three more smaller images of streetcars in classic red, yellow and one in green pop against a black backdrop. Pachter is a much-admired Canadian artistic polymath, his colourful pop artwork merging playful even irreverent elements with deeply iconic imagery. “….a good art critic would compare it with Warhol’s soup cans...

Honore-Victor Daumier (1808–1879) - Caricature. "A bon chat bon rat" lithograph on paper, 30x22 cm

JUNE WAYNE (1918 - 2011) A WINTER - SEEMING SUMMER'S NIGHT, 1957 From the John Donne Series. (Conway 122, Basket 106: Gilmour 50) Lithograph signed, title...