Stuart Davis Art

Eleanor Park Custis painted scenes as varied as the artist's travels: from her hometown of Washington, D.C., to the coastal towns of New England; from the prosperous fishing villages of Brittany, to Venice and the mountain villages and lakes of northern Italy. While Custis's subjects are diverse, her style is consistent and distinctive throughout this body of work. Her use of flat areas of color delineated by dark contours is reminiscent of the aesthetics of woodblock printing. Like many artists of the day, she was profoundly influenced by Japanese woodblock prints, and her adaptation of the aesthetic by 1924 led to her most productive artistic period. Eleanor Custis hailed from a socially prominent Washington, D.C., family. She was distantly related to Martha Custis Washington, America's first First Lady. Custis began three years of formal art training in the autumn of 1915 at the Corcoran School of Art in Washington, and was guided and inspired by Impressionist artist Edmund C. Tarbell, one of the Ten American Painters, who became the Corcoran School's principal in 1918. Custis exhibited widely in many of the Washington art societies and clubs for much of her career. She was also a frequent exhibitor at the Grand Central Art Galleries in New York City; her last one-woman show there was in April 1945. Custis's mature style emerged in scenes of the streets, wharves, and drydocks of seacoast villages from Maine to Massachusetts, which she visited during the summers of 1924 and 1925. She was working in Gloucester, Massachusetts in August 1924, and painted several gouaches of the town's wharves and winding streets, including In Gloucester Harbor and At the Drydock, Gloucester. During her stay, Custis may have met Jane Peterson or at least must have seen her work, the best of which was executed in Gloucester during the preceding ten years. The similarity between their styles is unmistakable, but, while it may be tempting to suggest that Custis was influenced by Peterson during her summer in Gloucester, the connection between their work is probably more a case of shared aesthetics and common European influences. Custis expanded her subject repertoire with three trips to Europe between 1926 and 1929, and was inspired by the Old World charm of Holland, northern France, Switzerland, and Italy, leading to such works as New Kirk, Delft, Holland, Market Day in Quimper, At the Foot of the Matterhorn, and The Town Square, Varenna. A Mediterranean cruise in 1934 introduced her to the Near East, and the bustling, colorful streets and bazaars of Cairo, captured in works like A Street in Cairo, Egypt and A Moroccan Jug...

You are viewing a modernist American watercolor painting by Robert Noel Blair. Robert Noel Blair (American, 1912-2003) was an American artist, painter, sculptor, printmaker and te...

Signed lower right, 'G. Kosmiadi' for Georg Kosmiadi (Ukranian-German, 1886-1967) and dated, '66'; additionally signed verso, 'Georg Kosmiadi', inscribed with serial number and dated, '20/9/66'. Georg Kosmiadi was a resident of Rivne before moving to Hamburg in 1940 where he worked as an art teacher. Kosmiadi exhibited at the Rivne Regional Museum and a regional art...

Katherine S. Dreier, 'Variation 4, Vol. I' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. This one bears the influence of Sam Francis. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

This peaceful, idyllic scene is a perfect example of works published by Associated American Artists in the 1940s -- an American subject, drama-free, and masterfully drawn. It was iss...

Silkscreen/Collage on Retail Bags

The King is an original photo-lithograph artwork on ivory-colored paper, realized by Franco Gentilini (Italian Painter, 1909-1981), in the Late 20th Century. The state of preservati...

Benjamin Thomas Taylor I Want To Jump In David Hockney’s Swimming Pool With You, 2023 Hand finished screen print on 300gsm Somerset Satin Paper 39 2/5 × 27 3/5 in 100 × 70 cm Editio...

Sabartes, Jaime Picasso – Toreros with four original lithographs Publisher: New York & Paris: George Braziller & Andre Sauret, 1961. First edition. Ha...

Emilio Sanchez (1921-1999) created the watercolor entitled “Schooner St. Croix” in 1952. This piece is signed in pen at the lower right and titled on the verso. The paper size is 16.88 x 22.25 inches. Stamped on verso "Estate of Emilio Sanchez." Good to very good condition. “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

Pen and black ink on watermarked Ingres laid paper, 9 1/4 x 12 1/4 inches (234 x 310 mm), signed, dated and titled in brown ink, and initialed and titled in black ink in the lower right corner. Light to moderate age tone and mat tone, and with the signature and notations in brown ink having become quite attenuated, although legible. Presented in a basic black wood frame with a label from the Country Art...