Michael Dweck

Wave 2 (After the Storm)

2009

“Morning Light” epitomizes the abundance of Spring with its bustling bouquet of white lilies, yellow roses, and a sliced open, ready to be eaten pink grapefruit. Despite the levity of the scene, Lucas has challenged herself with space, making a clear contrast between subject and background. She is consciously rejecting the “ironed on” effect of a subject onto a canvas, a trap to which lesser artists might succumb. Artist Bio Maryann Lucas lives and works in Sag Harbor. She is primarily self-taught but has also received instruction and support from wonderful and generous members of the East End artistic community. Working exclusively in oils, Lucas sets out almost daily to create plein aire landscapes and seascapes. In her studio, she works directly from life and captures the beauty of natural light as it transforms ordinary objects into visual delights. Lucas wants her work to celebrate all that is well with this world and brilliant in this life, despite its pockets of darkness. For me, she says, I know I am in the Presence of something beautiful, when it steals my breath, silences my mind, pushes out everything else and draws me in. I trust That. I use That to guide my hands as I arrange a still life or scan a landscape to determine where to set down my easel. Ultimately, That is what drives me to paint. Becoming evermore skilled as an oil painter is another of Lucas goals. To that end she remains teachable, finding it refreshing and vital for her own growth to paint with others. She has studied with favorite artists including Michael Klein...

"Dering Harbor Sunset" is a contemporary blue & purple seascape with sailboats. Kelly Carmody’s work has been widely exhibited and collected. One of her major figurative works was c...

"Harbor Reflections" is a contemporary American Modern evening seascape. Kelly Carmody’s work has been widely exhibited and collected. One of her major figurative works was chosen ...

Maryann Lucas lives and works in Sag Harbor. She is primarily self-taught but has also received instruction and support from wonderful and generous members of the East End artistic c...

A painting of a whimsical scene, "Read All About It" shows three animals of indeterminate species sitting on a soft pastel, green field facing a large billboard. On the billboard are...

"Sliced Bread" is an oil painting, and mixed media collage on canvas. It is a still life on a table top of a piece of bread with a knife in it sitting on a napkin, an old metal pitcher with a spoon resting on it and a spoon on the table between the pitcher and the bread. Behind these objects in the foreground is a mysterious object. It is complied of many colorful rectangles, and the top of it is a dark neutral grey. It could be a piece of cake that has just been cut, bursting with flavor, or it could be a tiled or woven box with a peaked lid, possibly a bread box? Behind the table against an off white wall are 20 rectangles. Some of these are solid blocks of color, others are drawings on paper of landscapes and people that bring to mind postcards pinned up on a wall. Overlapping some the these is a larger charcoal drawing...

Vintage hand signed and stamp signed with the photographers stamp and numbered photo of Moccasin Flower. Samuel Herman Gottscho (February 8, 1875 - January 28, 1971) was an American architectural, landscape, and nature photographer. Samuel Gottscho was born in Brooklyn in New York City. He acquired his first camera in 1896 and took his first photograph at Coney Island. From 1896 to 1920 he photographed part-time, specializing in houses and gardens, as he particularly enjoyed nature, rural life, and landscapes. After attending several architectural photograph exhibitions, Gottscho decided to perfect and improve his own work and sought out several architects and landscape architects. After twenty-three years as a traveling lace and fabric salesman, at an age when most people would have given up their youthful dreams, Gottscho became a professional commercial photographer at the age of 50. His son-in-law William Schleisner joined Gottscho in his business in 1935. During this time his photographs appeared in and on the covers of American Architect and Architecture, Architectural Record. His portraits and architectural photography regularly appeared in articles in the New York Times. His photographs of private homes in the New York and Connecticut suburbs often appeared in home decoration magazines. From the early 1940s to the late 1960s, he was a regular contributor to the Times of illustrated articles on wildflowers. the meticulous, adoring pictures of New York City architecture and interiors that he took at his creative peak in the late 1920's and early 30's are finding a new audience, placing him more firmly in the ranks of the great architectural photographers of his day, like Ezra Stoller, Julius Shulman and Ken and Bill Hedrich. the Museum of the City of New York, which has one of the largest archives of Gottscho's work, showed about 150 of his best city scenes in an exhibition called "The Mythic City: Photographs of New York...

Vintage hand signed and stamp signed with the photographer's stamp and numbered photo of starflower. Samuel Herman Gottscho (February 8, 1875 - January 28, 1971) was an American arch...

Black & white vintage photo of Venice Italy in 1952 by American Abstract Expressionism artist Stanley Twardowicz (1917-2008). It depicts a reflection...

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” - David H. Gibson David H. Gibson ...

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” - David H. Gibson David H. Gibson ...

Case Study House #22 The Stahl House, 1960 Architect: Pierre Koenig Silver gelatin print Print size: 24" x 30" (60.96 x 76.2 cm) Case Study House #22 The ...