Charcoal Figurative Drawings and Watercolors

James TISSOT (Nantes 1836 – Chenecey-Buillon 1902) Madame Eugène Pegg walking at Saint Germain H. 49 cm; L. 32 cm Watercolor over pencil lines Titled, located and dated on the back ...

A delightful composition by this master watercolourist. William Payne (1760-1830) Figures chating by a cottage and stream, a rivermouth beyond Watercolour and touches of charcoal 5½...

Kristalova is best known for her figurative ceramic sculptures that incorporate aspects of the human body and elements of nature. Across her oeuvre, she explores transition as a stag...

Chacoal on paper 18” H x 20” W

Tobey's work resembles Abstract Expressionism and Asian calligraphy.

The series Reciprocal Horizon explores man’s relationship with modern social systems and his struggle to preserve his natural world. This occurs among current socio-political upheava...

The series Reciprocal Horizon explores man’s relationship with modern social systems and his struggle to preserve his natural world. This occurs among current socio-political upheava...

The series Reciprocal Horizon explores man’s relationship with modern social systems and his struggle to preserve his natural world. This occurs among current socio-political upheava...

The series Reciprocal Horizon explores man’s relationship with modern social systems and his struggle to preserve his natural world. This occurs among current socio-political upheava...

The series Reciprocal Horizon explores man’s relationship with modern social systems and his struggle to preserve his natural world. This occurs among current socio-political upheava...

The series Reciprocal Horizon explores man’s relationship with modern social systems and his struggle to preserve his natural world. This occurs among current socio-political upheava...

The series Reciprocal Horizon explores man’s relationship with modern social systems and his struggle to preserve his natural world. This occurs among current socio-political upheava...

The series Reciprocal Horizon explores man’s relationship with modern social systems and his struggle to preserve his natural world. This occurs among current socio-political upheava...

The series Reciprocal Horizon explores man’s relationship with modern social systems and his struggle to preserve his natural world. This occurs among current socio-political upheava...

The series Reciprocal Horizon explores man’s relationship with modern social systems and his struggle to preserve his natural world. This occurs among current socio-political upheava...

Ronald Brooks Kitaj RA 1932 – 2007 was an American artist with Jewish roots who spent much of his life in England. He became a merchant seaman with a Norwegian freighter when he was 17. He studied at the Akademie der bildenden Künste in Vienna and the Cooper Union in New York City. After serving in the United States Army for two years, in France and Germany, he moved to England to study at the Ruskin School of Drawing and Fine Art in Oxford (1958–59) under the G.I. Bill, where he developed a love of Cézanne, and then at the Royal College of Art in London (1959–61), alongside David Hockney, Derek Boshier, Peter Phillips, Allen Jones and Patrick Caulfield. Richard Wollheim, the philosopher and David Hockney remained lifelong friends. "Through an earlier pre-occupation with turn-of-the-century intellectual life in Vienna (where he had started his art studies in the early 1950s), as well as an admiration for the Warburg Institute approach to the history of art-in-its-intellectual-context (since after Vienna he had moved to Oxford to study with the art historian Edgar Wind, before going on to the Royal College of Art) Kitaj has come to identify most strongly with the central European Jewish writer Franz Kafka, and with his sense of estrangement and of hidden mysteries. Illustrations to Kafka's aphorisms, imaginary portraits of his fiancée Felice and Count West-West who owned The Castle, appear in the Little Pictures, as do rapidly sketched portraits of Karl Kraus, Paul Celan, Leon Trotsky and Ludwig Wittgenstein, representations of Judeo-Christian mysteries of the hidden face of God. Kitaj settled in England, and through the 1960s taught at the Ealing Art...

Charles William Shaw 7.75" x 10.5" Charcoal on Paper

Genre: Other Subject: People Medium: Pencil Surface: Paper Country: United States Dimensions w/Frame: 14 1/4" x 14" William Anthony Born 1934, Forth Monmouth, NJ. and grew up in Was...

Certainly one of Bert Long’s more humorous artworks, "A Good Witch" exemplifies affection for sincerity, despite obvious levity. Bert L. Long Jr., was self...

Composed of charcoal and pastel, this drawing is a simple, yet lively expression of Long’s playful sensibility. 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. Bert Long...

Charcoal and acrylic on canvas (framing options as in images available) Nostalgia for seemingly better times, or perhaps, simultaneously, a secret yearning for worse times to come, ...

Black and White realistic charcoal landscape drawing of a large tree in the wind Sue Bryan, "Beneath The Dripping Trees" created in 2020 22" X 30" unframed, charcoal graphite on primed arches paper 33 x 39 inches with a white frame, white 8-ply mat and non-glare glass Signed, lower right Excellent condition, Ready to hang as is This contemporary charcoal landscape drawing on arches paper was completed in 2020 by Sue Bryan. Born in Ireland, the artist uses landscapes from her childhood as inspiration for her current work primarily consisting of beautifully detailed charcoal drawings of trees and wooded landscapes. The artist captures exquisite detail and luminous light with the mere use of black and white charcoal and carbon pencil. The artist creates this tree through a blend of light and shadow that demonstrates the artist's masterful technique. Dark leaves and winding branches in black charcoal contrast elegantly against a light filled sky. The landscape drawing is complemented by a white frame measuring 33 x 39 inches. There is sturdy wire installed on the back for easy hanging. Artist Statement: "My work is drawing based. As a native of Ireland, the landscape there has certainly shaped and influenced my own history. Many of my drawings are of places that have a deep personal association for me; an endeavor perhaps to stay connected to my roots. My aim is not only to convey a sense of place and belonging, but also an attempt to capture the ineffable, to evoke a feeling or a memory, to invite the viewer to look beyond and beneath what they see. My process is one of building up tones and textures using a combination of charcoal, carbon and graphite, all of which yield a wonderful range of blacks and grays that vary in density and transparency as much as in tonality. Much of drawing’s appeal to me lies in its very constraint, in its simplification, in the reduction of nature’s macrocosm to the coal-black char of organic matter. For me, the act of drawing is an end in itself." About the work: A native of Ireland, Sue Bryan explores the memories of youth rooted in her homeland's landscape. Employing charcoal on both paper and panel, these moody and misty studies reminds us that the water-locked terrain is not always sunny and green. Exquisite detail found in each tree branch or mass of tall grasses lining the horizon dominates the foreground. Light emulates from the background attempting to penetrate the density of opaque cloud cover. Bryan's small scale drawings convey an intimate and highly personal sense of place and belonging. SELECTED EXHIBITIONS 2019 'A Quiet Respite", Carrie Haddad Gallery, Hudson, NY 2018 'DRAWN',5th Annual International Exhibition of Contemporary Drawing, Manifest Gallery, OH 2018 'On Paper - An Exhibition of Drawings', Florence Academy of Art, NJ 2018 'MONOCHROME', Bo.Lee Gallery, London 2017 'Arboreal', Manifest Gallery, OH 2017 'Hudson Valley Landscapes', Carrie Haddad Gallery, Hudson, NY 2017 'Affordable Art Fair, Battersea, London, October 2017 'A Long Way from Home', Bo.Lee Gallery, London 2017 187th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2017 'Palette', Abend Gallery, Denver, CO 2017 'Summer Exhibit', Carrie Haddad Gallery, Hudson, New York 2017 'Exquisite Abandon : Contemporary Miniature Works', Laguna College of Art & Design 2017 8th Annual Drawing Discourse, University of North Carolina Ashville 2017 'Small is Beautiful', Le Salon Vert, Geneva Switzerland 2016 'Smart Dust', Group Show, Sla307, 307 West 30th Street, New York, NY 2016 'Inside Outside', Carrie Haddad Gallery, Hudson, NY 2016 7th Annual Drawing Discourse, S Tucker Cooke Gallery, University of North Carolina Asheville 2016 186th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2016 DRAWN, 3rd Annual International Exhibition of Contemporary Drawing, Manifest Gallery, OH 2016 'Summer Group Invitational', George Billis Gallery, NYC 2015 'Radical Inventions', Carrie Haddad Gallery, Hudson, NY 2015 'Strange Paradise', First Street Gallery's National Juried Exhibition, Juror Steven Harvey 2015 185th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2015 'DRAWN' 2nd Annual International Exhibition of Contemporary Drawing, Manifest Gallery 2015 7th Annual Juried Exhibition, Prince Street Gallery, NYC, Juror Robert Berlind 2015 Bradley International Print & Drawing Exhibition, Heuser Art Center, IL, Juror Beth Grabowski 2015 'Interactive Lines' Small Group Invitational, Cabarrus Arts Council, Condor, NC 2014 ‘Regarding the Sublime’, Small Group Invitational, North Park University, IL 2014 27th Northern National Art Competition, Nicolet College Art Gallery 2014 184th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2014 'DRAWN’ 1st Annual International Exhibition of Contemporary Drawing, Manifest Gallery 2014 POP-UP : On and Off the Wall, Series 2, Invited Artist, First Street Gallery, NYC 2014 5th Drawing Discourse, University of North Carolina, Asheville, Juror Tim Lowly 2013 VISTA [landscape in contemporary art], National Juried Show, Manifest Gallery 2013 Marks, A National Juried Drawing Exhibition, Madelon Powers Art Gallery, East Stroudsburg University, PA 2013 American Art Today : Figures, The Bascom, A Center for Visual Art, Juror Jonathan Stuhlman 2013 First Street Gallery's National Juried Exhibition, Juror Donald Kuspit 2013 4th Annual Drawing Discourse, S Tucker Cooke Gallery, University of North Carolina, Asheville, Juror Susan Hauptman 2012 Fort Wayne Museum of Art Contemporary Realism Biennial, Fort Wayne Museum of Art, Juror Frank Bernarducci 2012 25th Northern National Art Competition, Nicolet College Art Gallery, Juror Sarah McKenzie 2011 Salmagundi Annual Non-Member Open Exhibition, Salmagundi Club, NYC 2011 33rd Bradley International Print & Drawing Exhibition, Juror Robert E...

For many years Ahlers was content with the simplicity of black charcoal on white canvas, adding carefully curated splashes of colour to her otherwise spontaneous work. Recently this has given way to her new need to explore colour further with vibrant acrylics bringing waves of new life to her familiar majestic salons and solitary figures that are so important to her narrative. With spontaneous gestures, nostalgic moments are immortalized in time. “The rooms in my paintings are small trips to the past. I look for an alternative reality through a fictional scenario, represented by a dystopian era of booms and declines.” Francisca Ahlers...

"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 bears striking achromatic depiction of a face, contrasted by a vibrant and colorful section of watermelon. The simplicity and levity of the watermelon helps offset the emot...

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...

The imagery in this work appears to be a rope pulling a colorless curtain away to reveal a gnarled tree trunk before a crimson background. Bert L. Long Jr., was self-taught artist,...

Marta Lebek is a Polish artist born in 1978. She currently lives and works in Spain. She studied at the School of Fine Arts and specialized in the departm...

Reclined Nude is an ink and watercolor drawing realized by Jean Chapin in the First Half 20th Century. The artwork represents a female nude. Good conditions. Jean Chapin (Paris,...

Pencil, charcoal and conté crayon and gouache on paper Provenance: Christopher Hull Gallery Private collection, UK 1992

Joseph Piccillo’s meticulous charcoal and graphite drawings and paintings reveal an exquisite draftsmanship tempered by emotional sensitivity. Piccillo presents an action-based assem...

Joseph Piccillo’s meticulous charcoal and graphite drawings and paintings reveal an exquisite draftsmanship tempered by emotional sensitivity. Piccillo presents an action-based assem...

Artist : Lindsey Meyers Carroll Title : Goliathus Rorschachi 3 Materials : Charcoal, ink, chalk and gouache on paper. Date : 2017 Dimensions : 16 x 18 in. Lindsey Meyers Carroll is a contemporary artist working in magic realism through large-scale charcoal drawings. She received her BA in Fine Arts and Spanish Literature from the University of Montana in Missoula in 2008. Exhibitions include the Art Spirit in Coeur d’Alene, Idaho, Brink Gallery in Missoula, Montana and Turman Larison Contemporary in Helena, Montana. Carroll is a recipient of the Grants to Artist Award from the Myrna Loy Center. Figurative, Animal Drawings, Animal Paintings, Insect Drawings...

Green Landscape is an original artwork realized in charcoal and watercolor by Jean Dreyfus-Stern in the first decades of the XX Century. The signatu...

Sean Keating (Irish 1889-1977) "Self Portrait" c. 1950s Charcoal on Paper Signed Lower Right Framed Size: approx 20 x 16 inches A noted portrait and figure painter, influenced by both Romanticism and Realism, Sean Keating was an Irish nationalist painter who executed several iconic images of the Irish Civil war era, and of the ensuing period of industrialization. One of the great exemplars of representational painting in Ireland, Keating was an intellectual artist in that he set out to depict the birth and development of the Republic of Ireland, and his pictures are deliberately idealized even heroic. However, he held very conservative views about art - verging on the academic style - and was a committed defender of traditional Irish painting, considering much modern art to be bogus. Born in Limerick, Sean Keating studied drawing at the Limerick Technical School before winning a scholarship, arranged for him by William Orpen, to study fine art painting at the Metropolitan School of Art in Dublin. In 1914 he won the Taylor Scholarship and the following year exhibited three paintings at the Royal Hibernian Academy. Over the next period of years he spent time on the Aran Islands off County Galway, and then in London. He returned to Ireland in 1916 and painted the war of independence and the subsequent civil war. Works he completed at this time include the painting: Men of the South (1921) depicting a group of IRA men about to stage a military ambush, and An Allegory (c. 1922) which features a cluster of figures representing the fractures in the young Irish state. Meantime, in 1919, Keating was appointed an assistant teacher at the Dublin Metropolitan School of Art. Then in 1921, he staged his first one-man show at The Hall, Leinster Street. In 1923, he was elected to the Royal Hibernian Academy. In a Dublin exhibition of Irish art held in 1924, Keating was awarded the gold medal for his picture Homage to Hugh Lane - now hanging in the Hugh Lane Gallery. In the late 1920s, Keating was commissioned to record the building of the hydro-electric power generator at Ardnacrusha, near Limerick. He painted a number of paintings of this scheme. Not unlike the Soviet Realism School of painting, these paintings sought to promote the construction work as an achievement of heroic proportions. Keating's works began to attract interest abroad. He exhibited at the Royal Academy in London and, in 1930, he held a one-man show at the Hackett Gallery, New York. In 1931 Keating's one-person exhibition was staged at the Victor Waddington Galleries, Dublin. In 1934 he was made professor of the National College of Art in Dublin, and Professor of Painting, three years later. His 1937 exhibition at the Victor Waddington Galleries attracted considerable interest. In 1939, he was asked to paint a wall-painting for the Irish pavilion at the New York World Fair and duly created a huge mural of fifty-four panels. He was President of the Royal Hibernian Academy from 1949 to 1962, exhibiting nearly 300 works during the period. In 1963, a retrospective exhibition was staged at the Municipal Gallery of Modern Art, which was opened by Irish President de Valera...

Aristide Maillol "Femme de Torse" 1930 Charcoal on Paper Monogrammed Lower Right with Photo Certificate of Authenticity Paper Size: approx 12 x 8 7/8 inches Framed Size: approx 15.25...

Date: Circa 1922 Medium: Watercolor, Pen, Ink and Charcoal on Board Dimensions: 28.25" x 22.00" Signature: Signed Lower Right Proposed cover illustration for Judge magazine...

* Provenance: This artwork was included in Portraiture Now: Drawing on the Edge, at the National Portrait Gallery in Washington DC, 2012-2013. The exhibition traveled to the Arkansas Art Center in Little Rock, AR in 2013. Mary Borgman b. October 4, 1959 St. Louis, MO SELECTED EXHIBITIONS 2017 Grand Opening: Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2013 SOFA Chicago 2013, Ann Nathan Gallery, Navy Pier, Chicago, IL Portraiture Now: Drawing on the Edge, National Portrait Gallery, Arkansas Art Center, Little Rock, AR 2012 Portraiture Now: Drawing on the Edge, National Portrait Gallery, Washington D.C. SOFA Chicago 2012, Ann Nathan Gallery, Navy Pier, Chicago, IL SOFA NY, Ann Nathan Gallery, New York, NY 2011 Gallery Group Ann Nathan Gallery, Chicago, IL SOFA NY, Ann Nathan Gallery, New York, NY 2010 SOFA Chicago 2010: Special Installation at SOFA Café, Navy Pier, Chicago, IL What’s the Buzz on the Playground: Art of Today from St. Louis curated by Mary Sprague...

Sacha CHIMKEVITCH (1920-2006) Saxophonist and Fascinating Singer, 1975 Original charcoals drawing Signed and dated bottom right On vellum 74 x 54 cm (c. 30 x 22in) Excellent condition

-ARTIST STATEMENT- I depict my person in multiplicity with different selves representing dramatis personae. My likeness is both implicit and symbolic in the portrayal of my narrative; the drama involved in creating art and the artist’s role in society. I use realism to invite the viewer into mysterious inner worlds that are layered reflections of the outer. Dehumanizing environments are imbued with art historical references as a critique of power structures. The artist is an Everyman who is at odds with society and his self. Visually my work is a celebration of society’s dark undercurrents and its overlooked absurdities. I use charcoal and printmaking media as their tenebrous values add a fitting metaphor. The nuances of light and shadow seduce viewers into a world their better judgment would have them avoid. This provokes a sense of disquietude that causes viewers to assess our world through the austerity of a colorless, yet not humorless, light. -BIO- Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey...

A rare, early original figurative charcoal by American artist Robert McIntosh(1916-2010) Robert McIntosh was extremely prolific and exhibited throughout his lifetime, including fi...

A wonderful original charcoal drawing by American artist Emil Kosa Jr. The drawing is unframed, and there is a small tear in the upper right margin, but it does not detract from t...