Items Similar to Modernist Conte Crayon Drawing Beach Scene David Burliuk Russian Futurist
Want more images or videos?
Request additional images or videos from the seller
1 of 12
David BurliukModernist Conte Crayon Drawing Beach Scene David Burliuk Russian Futurist c.1940's
c.1940's
About the Item
David Burliuk (Ukrainian, 1882-1967)
Three figure on the beach (Hamptons, Long Island New York)
Conte crayon drawing on paper.
Hand signed lower left.
Unframed
Provenance: Bloomsbury Auctions
David Davidovich Burliuk (Дави́д Дави́дович Бурлю́к; 1882-1967) was a Russian poet, artist and publicist of Ukrainian origin associated with the Futurist and Neo-Primitivist movements. Burliuk has been described as "the father of Russian Futurism."
David Burliuk was born on 21 July 1882 in the village of Riabushky (near Lebedyn, Ukraine) in the Kharkov Governorate of the Russian Empire. Burliuk's family was artistically inclined; two of his brothers were talented artists as well, Nikolai and Volodimir Burliuk. The Burliuk family partly descended from Ukrainian Cossacks on their father's side, who held premier positions in the Hetmanate. His mother, Ludmyla Mikhnevich, was of ethnic Belarusian descent.
From 1898 to 1904, he studied at Kazan and Odesa art schools, as well as at the Royal Academy in Munich. His exuberant, extroverted character was recognized by Anton Azhbe, his professor at the Munich Academy, who called Burliuk a "wonderful wild steppe horse". During a time of significant industrialization and political change, movements such as the famed Der Blaue Reiter, a group Burliuk associated with in 1912, while he was in Munich, emphasized a shift away from the classical styles of the past, prioritizing the innovations of the future.
In 1907, he made contact with the Russian art world; he met and befriended Mikhail Larionov, and they are both credited as being major forces in bringing together the contemporary art world. In 1908, an exhibition with the group Zveno ("The Link") in Kiev was organized by David Burliuk together with Wladimir Baranoff-Rossine, Alexander Bogomazov, his brother Volodymyr (Wladimir) Burliuk and Aleksandra Exter. The exhibition was a flop, especially because they were all unknown painters. The Burliuks and Larionov left for the aforementioned brothers' home in Chernianka, also known as Hylea; it was during this stay that their work became more Avant-Garde. That autumn, while visiting Ekster, they organized an exhibition which took place in the street; it was a success, and enough money was raised to go to Moscow.
In 1909, Burliuk painted a portrait of his future wife, Marussia, on a background of flowers and rocks on the Crimean coast.
The Futurist literary group Hylaea (Гилея [Gileya]) was initiated in 1910 by David Burlyuk and his brothers at their aforementioned estate near Kherson, and were quickly joined by Vasily Kamensky and Velimir Khlebnikov, with Aleksey Kruchenykh and Vladimir Mayakovsky joining in 1911. Soon afterwards, the group would morph into literary Cubism Futurism, the predominant form of Futurism in Russia.
From the start to the end, Cubist Futurism always had an air of scandal about it. The artists and poets scandalized the public by walking in public spaces wearing ridiculous clothes and painting their faces, by writing plays incomprehensible to the public. Alexander Rodchenko later claimed that a specific recital "was the first time I had seen such a frenzied, furious audience". Even during the First World War their activities carried on: at the 1915 Christmas Party, hosted by Lilya and Osip Brik, the tree was hung from the roof, upside-down, and the guests arrived with vegetables in their buttonholes and in bizarre makeup. Russian Futurism would only end after the Revolution of 1917.
Most of the Cubo-Futurists also resisted the Futurists in Italy. A brief alliance with their rivals, the Ego-Futurists, did not end very well. Burliuk's colleague Velimir Khlebnikov also developed Zaum, a poetry style.
From 1910, he was the member of the group Jack of Diamonds, and from 1910 to 1911 he attended the Art School in Odessa. After 1911, David concentrated on poetry and manifestoes, and at Christmas he made the acquaintance of Benedikt Livshits, a Jewish poet. From 1911 to 1913, he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ), and that year participated in the group exhibition of the Blaue Reiter in Munich, which also included his brother Wladimir. He also contributed an article to the Blaue Reiter Almanac.
In December 1912, Burliuk was co-author and one of the many signatories of the manifesto A Slap in the Face of Public Taste with the other members of Hylaea, one of the major manifestoes of Russian Futurism, a movement of Russian poets and artists who adopted the principles of Filippo Marinetti's "Futurist Manifesto".
In 1913, he was expelled from the Art Academy, as well as Mayakovsky. In the same year, Burliuk founded the publishing venture of the futurist writer's group Hylaea. In 1914, he and his brother Wladimir illustrated Kamensky's Tango with Cows, and in 1915 Burliuk published the book The Support of the Muses in Spring, with illustrations by Aristarkh Lentulov, and by David and Wladimir Burliuk.
From 1915 to 1917, he resided in the Urals with frequent trips to Moscow and Petrograd (St. Petersburg). In 1917, he participated in an exhibition with the group Jack of Diamonds in the artists' salon in Moscow, which included Aleksandra Ekster and Kazimir Malevich.
In 1916, his brother Wladimir Burliuk was drafted into military service, and in 1917 was killed in World War I in Saloniki. The next year, following the downfall of anarchism (he had befriended anarchists during the time he lived in an abandoned house), Burliuk fled Russia and began his journey to the United States, a process that took him through Siberia, Japan, and Canada which was not complete until 1922.[7] He kept in contact with his fellow Futurists in Russia, and, despite not knowing a word of English, managed to befriend artist and patron Katherine Dreier, establishing himself among the artists of that country. In 1922, he settled in the United States.
In 1924 Burliuk published two Radio-style manifestos detailing a utopian art that would transcend space-time and aid in humanity's pursuit of knowledge and perfection. A colossal sized painting from this period titled Advent of the Mechanical Man, 1925–26, was exhibited in the Brooklyn Museum's 1926 International Exhibition of Modern Art Assembled by Société Anonyme.
In New York, Burliuk developed activity in pro-Soviet oriented groups and, having written a poem for the 10th anniversary of the October Revolution, sought, in particular, to gain recognition as the "father of Russian futurism". He was a regular contributor to the Russian Voice newspaper. Burliuk published his collections, brochures, and magazines together with his wife Maria Nikiforovna, and through friends he distributed these publications mainly within the USSR.
In 1925, Burliuk was a co-founder of the Association of Revolutionary Masters of Ukraine (ARMU) with the members Alexander Bogomazov, Vasiliy Yermilov, Vadym Meller, Alexander Khvostenko-Khvostov, and Palmov Victor. In 1927, he participated in an exhibition of the Latest Artistic Trends in the Russian Museum in Leningrad (St. Petersburg), together with Kazimir Malevich, Aleksandr Shevchenko, and Vladimir Tatlin. Burliuk was author of autobiographical sketches My Ancestors, Forty Years: 1890–1930.
In the 1930s, Onya La Tour was an avid collector of modern art who acquired at least one hundred works by Burliuk. Like Ben Shahn, David Burliuk worked for the WPA. and developed a Social Realist style. His circle of friends at this time include Philip Evergood, Milton Avery, Stuart Davis, Nahum Tschacbasov, William Gropper, the Soyer brothers, Robert Gwathmey, Marsden Hartley, and Max Weber.
In 1940, Burliuk petitioned the Soviet government for a request to visit his homeland. In exchange, he offered a sizeable collection of archival material pertaining to his contemporary and friend Vladimir Mayakovsky, which Burliuk offered to donate to the Mayakovsky Museum in addition to over 100 original paintings. Burliuk's requests were denied. He was allowed to visit the Soviet Union only in 1956 and 1965.
In 1945, an exhibit was mounted at Irving Place Theater in New York City.
In 1962, he and his wife traveled to Australia where he held an exhibition at Moreton Galleries, Brisbane. It was his only Australian exhibition. During his stay there, Burliuk painted some sketches and works with Australian views. From 1937 to 1966, Burliuk and his wife, Marusia, published Color & Rhyme, a journal primarily concerned with charting Burliuk's activities.
Burliuk lived in Hampton Bays on Long Island for approximately 20 years until he died at Southampton Hospital in Southampton, New York. His house and studio still remain.
In Russian poetry, Burliuk is regarded as a trailblazer. In 1990, the Russian Academy of Futurist Poetry established the David Burliuk Prize (Otmetina) for experimental poetry awarded annually.
Burliuk appears in Part III of the Vladimir Mayakovsky's landmark poem A Cloud in Trousers (A Cloud in Pants, 1915).
A painting (most likely fictional) by Burliuk appears in the novel Chapayev and Void by Viktor Pelevin. The painting is described as a black writing though a stencil of the word GOD.
- Creator:David Burliuk (1882 - 1967, Ukrainian)
- Creation Year:c.1940's
- Dimensions:Height: 9 in (22.86 cm)Width: 12 in (30.48 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:good. minor wear. please see photos This is being sold unframed.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38214516772
David Burliuk
Considered the "Father of Russian Futurism" and one of the leading figures of the Modernist avant-garde, David Burliuk is experiencing an enormous resurgence of interest and critical attention forty years after his death. As painter, poet and writer of manifestos, Burliuk was a central figure in the intellectual and artistic avant-garde of early 20th century Russia. He was inspired by revolutionary Western European art movements ranging from Impressionism and Post-Impressionism to Fauvism, Cubism, German Expressionism, Italian Futurism and Symbolism, but also by the Orthodox religious icons and naive folk art of Russia and his birthplace, the Ukraine. Art movements to which he contributed include Russian Neo-Primitivism, an infusion of Fauvist color and Expressionist brushwork into landscapes and portraits inspired by folk art; Rayonism, a synthesis of Cubist configurations of space and Futurist representations of speed and dynamism; and Cubo-Futurism, a blend of Neo-Primitivist subjects and Cubist or Futurist style. Burliuk participated in the foundational exhibition of Moscow's influential "Jack of Diamonds" group in 1910 and also in its subsequent shows, together with not only Russian artists - Chagall, Kandinsky, and Malevich among others - but also foreign celebrities including Picasso, Matisse, Braque and Derain. He also exhibited in Munich in 1911 with the international Der Blaue Reiter group that included Kandinsky, Jawlensky, Franz Marc and Paul Klee, and contributed an essay to the first volume of the Blaue Reiter group's Almanac. Born in the Ukriane in 1882, he enjoyed access to a high degree of education, with periods of study in Kazan, Odessa, Munich, Paris, and Moscow. His participation in the avant-garde spirit of the times led to his expulsion from the Moscow School of Painting, Sculpture and Architecture in 1914. Burliuk fled Russia in 1918 during the Bolshevik revolution and spent the next four years in Siberia and then Japan. He was court painter to the Japanese emperor from 1920-1922 and very well received there. However, anticipating war with Russia, the Japanese government requested that he leave. He then immigrated to New York and developed his "Radio" style, a dynamic and innovative blend of Symbolism, Neo-Primitivism and Expressionism, so called in reference to the advent of radio and its ability to make available a variety of cultures. Burliuk's critical acceptance in the New World came in 1923 with a major exhibition of his paintings at the Brooklyn Museum and soon thereafter a solo show at the Société Anonyme - the first museum of experimental modern art - established in New York by Marcel Duchamp, Man Ray and Katherine Dreier. In 1939, after experiencing increasing success as a writer, editor and painter, he moved his family from the Lower East Side to Hampton Bays, Long Island. He traveled again to Europe which prompted a series of pictures inspired by Van Gogh and Pieter Brueghel the Younger. In addition to Cubo-Futurist and Symbolist paintings, he continued creating proto-naive paintings, depicting the American landscape as well as the Russian countryside.
About the Seller
4.9
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1995
1stDibs seller since 2014
1,689 sales on 1stDibs
Typical response time: 2 hours
- ShippingRetrieving quote...Ships From: Surfside, FL
- Return PolicyA return for this item may be initiated within 3 days of delivery.
Authenticity Guarantee
In the unlikely event there’s an issue with an item’s authenticity, contact us within 1 year for a full refund. DetailsMoney-Back Guarantee
If your item is not as described, is damaged in transit, or does not arrive, contact us within 7 days for a full refund. Details24-Hour Cancellation
You have a 24-hour grace period in which to reconsider your purchase, with no questions asked.Vetted Professional Sellers
Our world-class sellers must adhere to strict standards for service and quality, maintaining the integrity of our listings.Price-Match Guarantee
If you find that a seller listed the same item for a lower price elsewhere, we’ll match it.Trusted Global Delivery
Our best-in-class carrier network provides specialized shipping options worldwide, including custom delivery.More From This Seller
View AllRare Chaim Gross Watercolor Painting Manhattan Skyscrapers Train NYC WPA Artist
By Chaim Gross
Located in Surfside, FL
This appears to be dated 1927. It came in with a piece dated 1929. A very early, rare work.
Framed 22.5 x 18. Image 14.5 x 9
A great New York city street scene with an El train (elevated subway line) and architectural renderings of buildings.
This is a wonderful piece by one of America's most treasured artists, Chaim Gross. Throughout his lifetime Gross has gone through tragedy and a real test of faith however, he has the unique ability to focus and direct his expression to the most joyful and beautiful works of art, such as the present lot. For more than sixty years Chaim Gross's art has expressed optimistic, affirming themes. His acrobats, cyclists, and mothers and children convey joyfulness, exuberance, love, and intimacy. This aspect of his work
remained consistent with his Hasidic heritage, which teaches that "only in his childlike happiness is man nearest to God." He often used his creative abilities to explore and experiment with media. In his artwork he retains an optimistic philosophy, even when facing somber issues such as war, depression, and the Holocaust.
Chaim Gross (March 17, 1904 – May 5, 1991) was an American sculptor and educator.
Gross was born to a Jewish family in Austrian Galicia, in the village of Wolowa (now known as Mezhgorye, Ukraine), in the Carpathian Mountains. In 1911, his family moved to Kolomyia (which was annexed into the Ukrainian USSR in 1939 and became part of newly independent Ukraine in 1991). When World War I ended, Gross and brother Avrom-Leib went to Budapest to join their older siblings Sarah and Pinkas. Gross applied to and was accepted by the art academy in Budapest and studied under the painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna, Austria shortly before immigrating to the United States in 1921. Gross's studies continued in the United States at the Beaux-Arts Institute of Design, where he studied with Elie Nadelman and others, and at the Art Students League of New York, with Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky, at the same time as Moses Soyer and Peter Blume.
In 1926 Gross began teaching at The Educational Alliance, and continued teaching there for the next 50 years. Louise Nevelson was among his students at the Alliance (in 1934), during the time she was transitioning from painting to sculpture. In the late 1920s and early 1930s he exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club. In 1929, Gross experimented with printmaking, and created an important group of 15 linocuts and lithographs of landscapes, New York City streets and parks, women in interiors, the circus, and vaudeville. The entire suite is now in the collection of the Philadelphia Museum of Art. Gross returned to the medium of printmaking in the 1960s, and produced approximately 200 works in the medium over the next two decades.
In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others.
Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick.
In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel.
In 1949 Gross sketched Chaim Weizmann, President of Israel, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953.
In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work.
Gross was a professor of printmaking and sculpture at both the Educational Alliance and the New School for Social Research in New York City, as well as at the Brooklyn Museum Art School, the MoMA art school, the Art Student's League and the New Art School (which Gross ran briefly with Alexander Dobkin...
Category
Mid-20th Century American Modern Figurative Drawings and Watercolors
Materials
Watercolor, Paper
Watercolor Painting Road Signs, Load Limit, Aaron Bohrod WPA Artist Chicago Art
By Aaron Bohrod
Located in Surfside, FL
Aaron Bohrod (1907-1992)
Listed Wisconsin WPA American Artist
Original Watercolor Painting
Hand signed "Load Limit Bridge"
Dimensions: 24"x18" inches
Aaron Bohrod (1907 – 1992) was an American artist best known for his trompe-l'œil still-life paintings. This one presages Pop Art with its depiction of road signs.
Bohrod was born in Chicago in 1907, the son of an emigree Bessarabian-Jewish grocer. Bohrod studied at the School of the Art Institute of Chicago and the Art Students League of New York between 1926 and 1930. While at the Art Students League, Bohrod was influenced by John Sloan and chose themes that involved his own surroundings.
He returned to Chicago in 1930 where he painted views of the city and its working class. During the Great Depression, Schwartz became an artist on the Federal Art Project (WPA) payroll painting murals. He was one of the seven WPA artists who contributed to a mural at Riccardo's, Schwartz (Music), Malvin Albright (Sculpture), Ivan Albright (Drama), Aaron Bohrod (Architecture), Rudolph Weisenborn (Literature), Vincent D’Agostino (Painting), and Ric Riccardo (Dance).
Many well known Jewish and Immigrant artists worked for the Federal Art's Project (the New Deal) commonly referred to as the WPA, including Berenice Abbott, William Baziotes, William Gropper, Ilya Bolotowsky, Stuart Davis, Adolf Dehn, Ben Shahn and Louis Schanker. In 2002 Chicago philanthropist Seymour H. Persky acquired the murals for his personal collection. He eventually earned a Guggenheim Fellowships which permitted him to travel throughout the country, painting and recording the American scene. His early work won him widespread praise as an important social realist and regional painter and printmaker and his work was marketed through Associated American Artists in New York. Bohrod completed three commissioned murals for the Treasury Departments Section of Fine Arts in Illinois; Vandalia in 1935, Galesburg in 1938 and Clinton in 1939. During World War II, Bohrod worked as an artist; first in the Pacific for the United States Army Corps of Engineers' War Art Unit...
Category
Mid-20th Century American Modern Figurative Drawings and Watercolors
Materials
Watercolor
Whimsical Illustration "Snow" Cartoon, 1938 Mt Tremblant Ski Lodge William Steig
By William Steig (b.1907)
Located in Surfside, FL
Lighthearted Illustration of Outdoor Pursuits This one being cross country Snow Shoes signed "W. Steig"
Provenance: from Mrs. Joseph B. Ryan, Commissioned by ...
Category
1930s American Modern Figurative Drawings and Watercolors
Materials
India Ink, Watercolor, Illustration Board
Whimsical Fishing Illustration Cartoon 1938 Mt Tremblant Ski Lodge William Steig
By William Steig (b.1907)
Located in Surfside, FL
Lighthearted Illustration of Outdoor Pursuits This one of a fisherman signed "W. Steig"
Provenance: from Mrs. Joseph B. Ryan, Commissioned by Joe Ryan for the bar at his ski resort, Mount Tremblant Lodge, in 1938.
Mont Tremblant, P.Q., Canada
Watercolor and ink on illustration board, sights sizes 8 1/2 x 16 1/2 in., framed.
In 1938 Joe Ryan, described as a millionaire from Philadelphia, bushwhacked his way to the summit of Mont Tremblant and was inspired to create a world class ski resort at the site. In 1939 he opened the Mont Tremblant Lodge, which remains part of the Pedestrian Village today. This original illustration is on Whatman Illustration board. the board measures 14 X 22 inches. label from McClees Galleries, Philadelphia, on the frame backing paper.
William Steig, 1907 – 2003 was an American cartoonist, sculptor, and, in his later life, an illustrator and writer of children's books. Best known for the picture books Sylvester and the Magic Pebble, Abel's Island, and Doctor De Soto, he was also the creator of Shrek!, which inspired the film series of the same name. He was the U.S. nominee for both of the biennial, international Hans Christian Andersen Awards, as a children's book illustrator in 1982 and a writer in 1988.
Steig was born in Brooklyn, New York in 1907, and grew up in the Bronx. His parents were Polish-Jewish immigrants from Austria, both socialists. His father, Joseph Steig, was a house painter, and his mother, Laura Ebel Steig, was a seamstress who encouraged his artistic leanings. As a child, he dabbled in painting and was an avid reader of literature. Among other works, he was said to have been especially fascinated by Pinocchio.He graduated from Townsend Harris High School at 15 but never completed college, though he attended three, spending two years at City College of New York, three years at the National Academy of Design and a mere five days at the Yale School of Fine Arts before dropping out of each.
Hailed as the "King of Cartoons" Steig began drawing illustrations and cartoons for The New Yorker in 1930, producing more than 2,600 drawings and 117 covers for the magazine. Steig, later, when he was 61, began writing children's books. In 1968, he wrote his first children's book. He excelled here as well, and his third book, Sylvester and the Magic Pebble (1969), won the Caldecott Medal. He went on to write more than 30 children's books, including the Doctor DeSoto series, and he continued to write into his nineties. Among his other well-known works, the picture book Shrek! (1990) formed the basis for the DreamWorks Animation film Shrek (2001). After the release of Shrek 2 in 2004, Steig became the first sole-creator of an animated movie franchise that went on to generate over $1 billion from theatrical and ancillary markets after only one sequel. Along with Maurice Sendak, Saul Steinberg, Ludwig Bemelmans and Laurent de Brunhofff his is one of those rare cartoonist whose works form part of our collective cultural heritage.
In 1984, Steig's film adaptation of Doctor DeSoto directed by Michael Sporn was nominated for the Academy Award for Best Animated Short Film. As one of the most admired cartoonists of all time, Steig spent seven decades drawing for the New Yorker magazine. He touched generations of readers with his tongue–in–cheek pen–and–ink drawings, which often expressed states of mind like shame, embarrassment or anger. Later in life, Steig turned to children's books, working as both a writer and illustrator.
Steig's children's books were also wildly popular because of the crazy, complicated language he used—words like lunatic, palsied, sequestration, and cleave. Kids love the sound of those words even if they do not quite understand the meaning. Steig's descriptions were also clever. He once described a beached whale as "breaded with sand."
Throughout the course of his career, Steig compiled his cartoons and drawings into books. Some of them were published first in the New Yorker. Others were deemed too dark to be printed there. Most of these collections centered on the cold, dark psychoanalytical truth about relationships. They featured husbands and wives fighting and parents snapping at their kids. His first adult book, Man About Town, was published in 1932, followed by About People, published in 1939, which focused on social outsiders. Sick of Each Other, published in 2000, included a drawing depicting a wife holding her husband at gunpoint, saying, "Say you adore me."
According to the Los Angeles Times, fellow New Yorker artist...
Category
1930s American Modern Figurative Drawings and Watercolors
Materials
India Ink, Watercolor, Illustration Board
Pastel on paper Shtetl Scene
By Anatoli Lvovich Kaplan
Located in Surfside, FL
Pastel or Tempera on paper. Judaica Shtetl scene of village.
Anatoli Lwowitch Kaplan was a Russian painter, sculptor and printmaker, whose works often reflect his Jewish origins.
h...
Category
20th Century Modern Figurative Drawings and Watercolors
Materials
Pastel
Shtetl Scene with Synagogue "Prayer"
By Anatoli Lvovich Kaplan
Located in Surfside, FL
Pastel or Tempera on paper. Judaica Shtetl scene of village. A Jew with Talith and Tefillin in front of the Synagogue.
Anatoli Lwowitch Kaplan was a Russian painter, sculptor and pri...
Category
20th Century Modern Landscape Drawings and Watercolors
Materials
Pastel, Tempera
You May Also Like
Evasion by Yvon Pissarro - Contemporary work on paper
By Yvon Pissarro
Located in London, GB
*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE
Evasion by Yvon Pissarro (b. 1937)
Conté chalk, crayon, pastel pencil on paper
65 x 50 cm (25 ⁵/₈ x 19 ³/₄ inches...
Category
21st Century and Contemporary Figurative Drawings and Watercolors
Materials
Chalk, Paper, Conté, Crayon, Pastel, Pencil
Inconscience by Yvon Pissarro - Contemporary work on paper
By Yvon Pissarro
Located in London, GB
*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE
Inconscience by Yvon Pissarro (b. 1937)
Conté chalk and pastel pencil on paper
50 x 65 cm (19 ³/₄ x 25 ⁵/₈ inches...
Category
21st Century and Contemporary Figurative Drawings and Watercolors
Materials
Paper, Chalk, Conté, Pastel, Pencil
"New York Harbor Nocturne" Leon Dolice, Mid-Century New York Nocturnal Landscape
By Leon Dolice
Located in New York, NY
Leon Dolice
New York Harbor Nocturne
Signed lower right
Pastel on paper
12 x 19 inches
The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...
Category
1930s American Modern Landscape Drawings and Watercolors
Materials
Paper, Pastel
"Chrysler Building" Leon Dolice, New York City Street Scene, Mid-Century
By Leon Dolice
Located in New York, NY
Leon Dolice
Chrysler Building
Signed lower right
Watercolor on paper
19 x 12 inches
The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the yo...
Category
1930s American Modern Figurative Drawings and Watercolors
Materials
Paper, Pastel
"New York Harbor Nocturne" Leon Dolice, Mid-Century New York Nocturnal Landscape
By Leon Dolice
Located in New York, NY
Leon Dolice
New York Harbor Nocturne
Signed lower right
Pastel on paper
12 x 19 inches
The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...
Category
1930s American Modern Figurative Drawings and Watercolors
Materials
Paper, Pastel
"New York Harbor Nocturne" Leon Dolice, Mid-Century New York Nocturnal Landscape
By Leon Dolice
Located in New York, NY
Leon Dolice
New York Harbor Nocturne
Signed lower right
Pastel on paper
12 x 19 inches
The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...
Category
1930s American Modern Figurative Drawings and Watercolors
Materials
Paper, Pastel
Recently Viewed
View AllMore Ways To Browse
Italian Architectural Drawings
David Manning
David Face
Classical Architectural Drawings
William David
Russian Book
Dior Russia
Modern American Street Scene
Vintage Face Drawing
Jewish Russian Painting
Russian Art 1930
Abandoned House
English Beach Paintings
1930s Beach
Party Scene Painting
Hamptons Long Island
Russian Realist Painting
Russian 1912