Ink Interior Paintings

Mané-Katz (1894 - 1962) SCHOLARS AT STUDY Signed Mané Katz (lower right) Tempera (gouache) on paper laid down on card. 19 3/4 by 23 5/8 in. (50.2 by 60.1 cm) sight size. Frame size is 27 X 31 inches. Provenance: Sotheby's Impressionist & Modern art, 8 June 2017 (consigned by original owner who purchased it directly from artist) Mane-Katz (1894-1962) was a Litvak painter born in Ukraine best known for his depictions of the Jewish shtetl in Eastern Europe. Emmanuel Mané-Katz (Hebrew:מאנה כץ), born Mane Leyzerovich Kats (1894–1962), was a Litvak painter born in Kremenchuk, Ukraine, best known for his depictions of the Jewish shtetl in Eastern Europe. Particularly music figures and Jewish wedding scenes. Mane-Katz moved to Paris at the age of 19 to study art, although his father wanted him to be a rabbi. During the First World War he returned to Russia, at first working and exhibiting in Petrograd; following the October revolution, he traveled back to Kremenchuk, where he taught art. In 1921, due to the ongoing fighting in his hometown during the civil war, he moved once again to Paris. There he became friends with Pablo Picasso and other important French artists, and was affiliated with the art movement known as the School of Paris; together with other outstanding Jewish artists of that milieu, he is sometimes considered to be part of a group referred to specifically as the Jewish School of Paris. Includes Russian, Ukrainian and Polish painters Jankel Adler, Arbit Blatas, Marc Chagall, Jacques Chapiro, Michel Kikoine, Pinchus Kremegne, Sigmund Menkes, Jules Pascin, Issachar Ryback, Jacques Lipchitz,Chana Orloff, and Ossip Zadkine. Ecole de Paris In 1931, Mane-Katz's painting The Wailing Wall was awarded a gold medal at the Paris World's Fair. Early on, his style was classical and somber, but his palette changed in later years to bright, primary colors, with an emphasis on Jewish themes. His oils feature Judaic Hasidic characters, rabbis, Jewish musicians, beggars, yeshiva students and scenes from the East European shtetl made famous in the west by Sholem Aleichem and Tevye. Mane-Katz made his first trip to Mandate Palestine in 1928, and thereafter visited the country annually. He said his actual home was Paris, but his spiritual home was Eretz Yisrael, the Land of Israel. In 1939, as World War II was breaking out, he was drafted by the French and then was taken prisoner by the Germans. He escaped and went to the United States and remained there until 1945, exhibiting his paintings at Katia Granoff Gallery and Wildenstein Gallery. After the war, he returned to Paris where he had exhibited in the Salons. In Paris to the end of his career, he worked happily, painting hundreds of portraits of rabbis...

Inspiration for my work comes from internalised imagery absorbed throughout her childhood in Northumberland and the North East of England. Images of declining industry, the closing of coal mines, abandoned shipyards and other associated heavy industries loomed large across the landscape.The atmosphere of loss, sadness was as palpable as the smell of smoke, tar and coke from the power stations. Philippas work consists of remembered imagery of past landscapes combined with the pastoral landscape in which she lives. The muted palette references the industrial while suggested imagery reflects the rural. Work produced references both worlds combining two genres, marrying post contemporary modernism with elements of classical romanticism. Two genres, two generations of artistic movements intersect with each other, creating a place where contradictions co exist. Disjunctive kinds of everything, hidden in plain sight, create a realm in which one can lose oneself. Implied abstract imagery reveals conflict between beauty and desolation ,whilst Romanticism and Modernism combine with clashing qualities of drawing and painting. Images develop through a series of intuitive acts. Repeated applications of thin films of ink and paint build depth and patina. Layers are often removed by washing and scrubbing, revealing a palimpsest of faded marks and former painterly decisions, exposing the underbelly, vulnerable and tender. Additional information: Untitled 0042 by Philippa Anderson [2023] Original painting Acrylic paint, Canvas, Charcoal, Colour Pencil, Pencil on Canvas SOLD UNFRAMED Signed by artist Image size: Height: 100cm (39.37 in) Width: 120cm (47.24 in) Complete size of unframed painting Height: 100cm (39.37 in) Width: 120cm (47.24 in) Depth: 4cm (1.57 in) Please note that insitu images are purely an indication of how a piece may look ARTIST PROFILE: Philippa was born and grew up in Northumberland before moving to Herefordshire where she currently lives and works. She studied a BA Hons in Fine Art at Cheltenham College of Art and has recently completed an MA at Hereford College of Art. She also holds two teaching qualifications , a PGCE for adult education and a GTP for Secondary school education. Inspiration for my work comes from internalised imagery absorbed throughout her childhood in Northumberland and the North East of England.Images of declining industry, the closing of coal mines, abandoned shipyards and other associated heavy industries loomed large across the landscape.The atmosphere of loss, sadness was as palpable as the smell of smoke, tar and coke from the power stations. Philippa's work consists of remembered imagery of past landscapes combined with the pastoral landscape in which she lives. The muted palette references the industrial while suggested imagery reflects the rural. Work produced references both worlds combining two genres, marrying post contemporary modernism with elements of classical romanticism. Connections. Through Philippas current and ongoing line of enquiry several connections are being explored which are both real and notional. The fusing of genres, the industrial and the pastoral which combine elements of classical romanticism and post contemporary modernism, these relate to her past and her present surroundings. Rarely associated elements of drawing and painting are combined on canvas adding to the narrative of her personal story. Work produced displays...

Summer in La Baule VI Sun Bathing Summer Scene: Women enjoying sunbathing in La Baule VI Technique: oil, acrylic, and ink on old book pages on wooden frame 30x30cm ■■ 11,8x11,8 inc...

Summer in La Baule V Mondrian Swim dress Summer Scene: Woman in La Baule V Technique: oil, acrylic, and ink on old book pages on wooden frame 30x30cm ■■ 11,8x11,8 inch Sustainabil...

Summer in La Baule VII Summer Scene: Woman with Keith Haring's pattern swim dress. Little Red Riding Hood with the wolf Technique: oil, acrylic, and ink on old book pages on woode...

This is an impulsive abstraction of cherry blossoms' kiss. The artist designedly has created an expressive painting that`s both chaotic abstraction and breathtakingly floral beauty...

Guy Pene du Bois' "Two Figures in Courtroom" is a WPA era American scene oil painting created in a realistic style. Modernism at its best The work is framed by Heydenryk. Pène du Bois descended from French immigrants who settled in Louisiana in 1738 and was raised in a Creole household. He was born in 1884 in Brooklyn, NY and first studied with William Merritt Chase at the New York School of Art and later continued his training with Robert Henri. Pène du Bois was greatly impressed with Henri's credo that "real life" was subject matter for art and throughout his life a realist philosophy informed his art as well as his parallel career, art criticism. In 1905, Pène du Bois made his first visit to Paris where he painted scenes of fashionable people in cafes rendered in the dark tonalities and impasto associated with the Ashcan School. By 1920, he had achieved his mature style, which was characterized by stylized, rounded, almost sculptural figures painted with invisible brushstrokes. The subjects of his paintings were often members of society whom he gently satirized. In 1924, Pène du Bois and his wife, Floy, left for France where they would remain until 1930. Returning to America showcases pictures the artist produced after this very productive period abroad. After five years of living in France, Pène du Bois was able to observe American life with fresh eyes. His work becomes more psychologically intense and less satirical. In Girl at Table a slender, blond is shown gazing at a small statue that she holds at arm's distance. The meaning is elusive, but a powerful sense of longing is evoked. Similarly, paintings such as Dramatic Moment and Jane are taut with unresolved dialogue. Both pictures depict mysterious interiors in which a lone woman anxiously awaits the denouement of a suspenseful scene. Other pictures, for example, Chess Tables, Washington Square and Bar, New Orleans, recall Pene du Bois's Ashcan origins in their depiction of urban entertainment. During this period, landscape becomes an important subject for Pène du Bois. Girl Sketching...

"What inspired the creation of this floral abstraction: The excellent intensive pink and red colours supporting with tender light rose and violet hues. Dimension in inches: 31 x 31 D...

Grace Pischner Miller was born in Washington on January 12, 1912. She painted primarily in watercolors. She specialized in landscapes and seascapes of California. Two paintings of "Raggedy Ann...

Beautiful original painting by French artist, Alexandre de Valentini (1787-1887). Pencil and gouache on paper, 14 x 18.5 inches; 19 x 23.5 inches matted. Signed and dated with Paris...

What inspired the creation of this work of art: The first blooms of summer. Here white flowers in the evening light. “If the Peony flower is not number one in your heart…I’m sure it’...

This painting depicts an interior scene done in Paris. The fun details are what make this painting so attractive and desirable; the living room opens out into the terrace, as we are ...