William JacobsWilliam Jacobs "Urban Scene", original pastel on paper1971
1971
About the Item
- Creator:William Jacobs (1897 - 1973, American)
- Creation Year:1971
- Dimensions:Height: 5 in (12.7 cm)Width: 7 in (17.78 cm)Depth: 0.01 in (0.26 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Glenview, IL
- Reference Number:1stDibs: LU125615695401
William Jacobs
A Chicago native, William Jacobs was an American artist, born in 1897. He studied at the Art Institute of Chicago and Hull House. From the 1930s, through the 1950s, his works were exhibited at the “A.I.C. Regional Painters Show” and the Jewish Women's Art Club, a philanthropic organization dedicated to selling the art of midwestern painters. Jacobs was also a WPA muralist, who painted for the Chicago Public Schools. An expressionist by temperament and a modernist by conviction, William was an artist of his generation, choosing to depict the industrial symbols of Chicago and its roiling tenements, in his art. Jacobs lived in the Jewish Maxwell Street district on South Halsted and used the everyday life of his neighborhood, as source material for his work.
- ShippingRetrieving quote...Ships From: Glenview, IL
- Return PolicyA return for this item may be initiated within 10 days of delivery.
- William Jacobs "A Stroll in the Park", original pastel on paperBy William JacobsLocated in Glenview, IL"A Stroll in the Park" by noted Chicago painter William Jacobs (1897 - 1973) is a pastel on paper created in 1970. The artwork is signed and dated i...Category
1970s American Modern Landscape Drawings and Watercolors
MaterialsPastel
- William Jacobs "Urban Scene II", original pastel on paperBy William JacobsLocated in Glenview, IL"Urban Scene II" by noted Chicago painter William Jacobs (1897 - 1973) is a pastel on paper created in 1972. The artwork is signed and dated in pencil by t...Category
1970s American Modern Landscape Drawings and Watercolors
MaterialsPastel
- William Jacobs "Windsurfing at Sunset", original pastel on paperBy William JacobsLocated in Glenview, IL"Windsurfing at Sunset" by noted Chicago painter William Jacobs (1897 - 1973) is a pastel on paper created in 1970. The artwork is signed and dated in pencil by the artist and was ne...Category
1970s Modern Landscape Drawings and Watercolors
MaterialsPastel
- Sugár Andor "Contorted Trees", original pastel on paperLocated in Glenview, IL"Contorted Trees" by noted Hungarian painter Sugár Andor (1903 - 1944) is a pastel on paper created in 1923. The artwork represents a number of trees, bent by the wind in what appear...Category
1920s Modern Landscape Drawings and Watercolors
MaterialsPastel
- William Jacobs "Figures at a Table", original pastel on paperBy William JacobsLocated in Glenview, IL"Figures at a Table" by noted Chicago painter William Jacobs (1897 - 1973) is a pastel on paper created in 1971. The artwork is signed and dated in pencil by the artist and was never...Category
1970s American Modern Abstract Drawings and Watercolors
MaterialsPastel
- Zolcsák Sándor "Sitting Nude", original pastel on paperLocated in Glenview, IL"Sitting Nude" by Hungarian painter Zolcsák Sándoris is a pastel on paper created in 1974. Born in Romania to Hungarian ethnic parents in 1943, the artist graduated from the "Ion A...Category
1970s Modern Nude Drawings and Watercolors
MaterialsPastel
- Skyscrapers.By Howard Norton CookLocated in Storrs, CTSkyscrapers. c. 1950. Pastel. 29 3/4 x 19 7/8 (framed 37 x 27). Provenance: The New Britain Museum of American Art, New Britain, Connecticut. Signed, lower right. Housed in a stunn...Category
1940s American Modern Landscape Drawings and Watercolors
MaterialsPastel
- Cityscape Reflections - Study No. 1By Gerald GeerlingsLocated in Storrs, CTCityscape Reflections - Misty Morning. 1980. Lithograph with pastel coloring. Czestochowski 42. Edition 40. 14 x 10 3/16 (sheet 18 x 14). Tape stains in the margins, not affecting th...Category
Late 20th Century American Modern Landscape Drawings and Watercolors
MaterialsPastel
- 'Garden of the Gods' - Colorado Springs, Colorado Landscape, Pastel DrawingBy Sushe FelixLocated in Denver, COPastel on paper drawing signed and dated by Sushe Felix (20th Century) in the lower right portraying an American Modernist view of Garden of the Gods...Category
1980s American Modern Landscape Drawings and Watercolors
MaterialsPastel, Archival Paper
- 1980s American Modern Pastel on Paper Depicting the Garden of the GodsBy Sushe FelixLocated in Denver, COPastel on paper drawing by Sushe Felix (20th Century) portraying an American Modernist view of Garden of the Gods Park in Colorado Springs. Presented in a custom frame with all archi...Category
1980s American Modern Landscape Drawings and Watercolors
MaterialsPaper, Pastel
- Beautiful large impressionist pastel by Francesco SpicuzzaBy Francesco SpicuzzaLocated in Larchmont, NYFrancesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...Category
20th Century American Modern Landscape Drawings and Watercolors
MaterialsPaper, Pastel
- Lovely Impressionist Coastal Scene of New York in PastelLocated in Larchmont, NYUntitled (Coastal New York) Pastel on paper 17 1/2 x 23 1/2 in. Framed: 24 1/2 x 30 in. Signed lower rightCategory
20th Century American Modern Landscape Drawings and Watercolors
MaterialsPaper, Pastel