Carl Almquist

A Seraph (no. 2)

1887

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium combined with dry pigments, oil paint, and embedded fragments of burlap. The surfaces eventually build up into a dense, rugged terrain." --Thaddeus Radell

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium combined with dry pigments, oil paint, and embedded fragments of burlap. The surfaces eventually build up into a dense, rugged terrain." --Thaddeus Radell

Rather than re-creating a literal landscape on canvas or paper, I aim to express its essence in a rich and complex form of delicately painted organic subjects that float and trail ac...

Lexden Lewis Pocock (British, 1850 – 1919) An angel Watercolour on paper Signed ‘Lexden. L. Pockock’ (lower right) 15.1/4 x 6.1/2 in. (38.8 x 16.3 cm.) Lexden Lewis Pocock (1850–191...

Artist: Ian Hornak (1944-2002) Title: Untitled (Guardian Angel, Gabriel) Year: 1973 Medium: Ink on heavy archival paper Size: 22 x 30 inches Condition: Good Provenance: Estate of Ian...

Early 20th century art nouveau watercolour on paper of a classical female figure by French artist Paul Hogg. Signed and dated 1919 bottom right. Presented in fine custom frame with m...

The Angel is an ink drawing on paper realized in the early 20th Century by Louis Anquetin (1861-1932). Hand-signed on the lower. Good condition with slight foxing. Louis Émile Anq...