Cord Landscape Drawings and Watercolors

"Explore 'Far Away': Linda Clerget's enchanting masterpiece on paper, measuring 40 x 50 cm (15.7 x 19.7 inches). This exquisite piece features a gentle watercolor background in sooth...

Delicate and layered collotype on both sides of heavy bond paper by Patricia A. Pearce (American, b. 1948). The background of this piece is a collotype. Gold leaf, treated in a varie...

"A Small City Park", acrylic and watercolor on paper by Denver artist Edward Marecak (1919-1993) of an abstract park broken into four quadrants, separated by brown and white striped borders with different shaped ponds. Inspired by City Park in Denver, Colorado where the artist frequented. Presented framed with all archival materials, outer dimensions measure 21 ¾ x 18 ¾ inches. Image size measures 12 x 15 inches. Painting is clean and in good condition - please contact us for a detailed condition report. Provenance: Estate of Edward Marecak Expedited and international shipping is available - please contact us for a quote. About the Artist: Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of "Peter and the Wolf," awakening his interest in art. In his senior year in high school he did Cézanne-inspired watercolors of Ohio barns at seventy-five cents apiece for the National Youth Administration. They earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute. Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. A center of innovative work in architecture, art and design with an educational approach built on a mentorship model, it has been home to some of the world’s most renowned designers and artists, including Eero Saarinen, Charles Eames, Daniel Libeskind and Harry Bertoia. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy and sculptor Carl Milles were interrupted by U.S. army service in the Aleutian Islands during World War II. Following his military discharge, Marecak studied on the G.I. Bill at the Colorado Springs Fine Arts Center from 1946 to 1950, having previously met its director, Boardman Robinson, conducting a seminar in mural painting at the Cleveland Institute of Art. Although he did not work with Robinson at the Fine Arts Center, who had become quite ill - retiring in 1947 - he studied Robinson’s specialty of mural painting before leaving to briefly attend the Cranbrook Academy in 1947. That same year he returned to the Fine Arts Center, studying painting with Jean Charlot and Mary Chenoweth, and lithography with Lawrence Barrett with whom he produced some 132 images during 1948-49. At the Fine Arts Center he met his future wife, Donna Fortin, whom he married in 1947. Also a Midwesterner, she had taken night art courses at Hull House in Chicago, later studying at the Art Institute of Chicago with the encouragement of artist Edgar Britton. After World War II she studied with him from 1946 to 1949 at the Fine Arts Center. (He had moved to Colorado Springs to treat his tuberculosis.) Ed Marecak also became good friends with Britton, later collaborating with him on the design of large stained glass windows for a local church. In 1950-51 Marecak returned to the Cleveland Institute of Art to complete his Bachelor of Fine Arts degree. A year later he was invited to conduct a summer class at the University of Colorado in Boulder, confirming his interest in the teaching profession. In 1955 he received his teaching certificate from the University of Denver. Vance Kirkland, the head of its art department, helped him get a teaching job with the Denver Public Schools so that he and his family could remain in the Mile High City. For the next twenty-five years he taught art at Skinner, Grove, East, George Washington and Morey Junior High Schools. Prior to coming to Colorado, Marecak did watercolors resembling those of Winslow Homer, John Singer Sargent and Charles Burchfield. However, once in Colorado Springs he decided to destroy much of his earlier ouevre, embarking on a totally new direction unlike anything he had previously done. Initially, in the 1940s he was influenced by surrealist imagery and Paul Klee, and in the West by Indian petroglyphs and Kachinas. His first one-person show at the Garrett Gallery in Colorado Springs in 1949 featured paintings and lithographs rendered in the style of Magic Realism and referential abstraction. The pieces, including an oil Witch with Pink Dish, foreshadowed the output of his entire Colorado-based career, distinguished by a dramatic use of color, intricacy of execution and attention to detail contributing to their visual impact. He once observed, "Each time I start a new painting I always fool myself by saying this time keep it simple and not get entangled with such complex patterns, color and design; but I always find myself getting more involved with richness, color and subject matter." An idiosyncratic artist proficient in oil, acrylic, watercolor, gouache and casein, he did not draw upon Colorado subject matter for his work, unlike many of his fellow painters in the state. Instead he used Midwest landscape imagery, bringing to life in it witches and spirits adapted from the Slovakian folk tales he heard growing up in Ohio. A number of his paintings depict winter witches derived from the Slovak custom in the Tatra Mountains of burning an effigy of the winter witch in the early spring to banish the memory of a hard winter. The folk tale element imparts a dream-like quality to many of his paintings. A devote of Greek mythology, he placed the figures of Circe, Persephone, Sybil, Hera and others in modern settings. The goddess in Persephone Brings a Pumpkin to her Mother, attired as a Midwestern farmer’s daughter, heralds the advent of fall with the pumpkin before departing to spend the winter season in the underworld. Train to Olympus, the meeting place of the gods in ancient Greece, juxtaposes ancient mythology with modernity creating a combination of whimsy and thought-provoking consideration for the viewer. Voyage to Troy #1 alludes to the ancient city that was the site of the Trojan Wars, but has a contemporary, autobiographical component referencing the harbor of the Aleutian Islands recaptured from the Japanese during World War II. In the 1980s Marecak used the goddess Hera in his painting, Hera Contemplates Aspects of the Art Nouveau, to comment on art movements in the latter half of the twentieth century Marecak’s love of classical music and opera, which he shared with his wife and to which he often listened while painting in his Denver basement studio, is reflected in Homage of Offenbach, an abstract work translating the composer’s musical colors into colorful palette. Pace, Pace, Mio Dio, the title of his earliest surrealist painting, is a soprano aria from Verdi’s opera, La Forza del Destino (The Force of Destiny or Fate, a favorite Marecak subject). His Queen of the Night relates to a character from Mozart’s opera, The Magic Flute. In addition to paintings and works on paper, he produced hooked rugs, textiles and ceramics. He likewise produced designs for ceramics, tableware and furniture created by his wife Donna, an accomplished Colorado ceramist. Both of them generally eschewed exhibitions and galleries, preferring to quietly do their work while remaining outside of the mainstream. He initially exhibited at the Colorado Springs Fine Arts Center in 1948 receiving a purchase award. The following year he had his first one-person show of paintings and lithographs at the Garrett Gallery in Colorado Springs. In the 1950s and early 1960s he participated in group exhibitions at the Print Club (Philadelphia); Amarillo Public Library (Texas); annual Blossom Festival Show (Canon City, Colorado); Adele Simpson’s "Art of Living" in New York; Denver Art Museum; and the Fox Rubenstein-Serkey Gallery (Denver); but he did not have another one-person show until 1966 at the Denver home of his friends, John and Gerda Scott. They arranged for his first one-person show outside of Colorado held two years later at the Martin Lowitz Gallery in Beverly Hills and Palm Springs, California. That same year his work was featured at the Zantman Galleries in Carmel, California. Thereafter he became an infrequent exhibitor after the 1970s so that his work was rarely seen outside his basement studio. In 1980 he, his wife and Mark Zamantakis exhibited at Denver’s Jewish Community Center, and four years later he had a one-person show at the Studio Gallery in Denver. In 1992 he was included in a group show at the Rule Modern and Contemporary Gallery in Denver, and a year later received a large, posthumous retrospective at the Emmanuel...

'Beautiful Neglect' Original Artwork _____________________ A forgotten corner, sumptuous in its abundant web of life, all the more beautiful for it's neglected freedom. With roots i...

By developing a geometry between line and the spaces in between in their work, the abstract paintings of Tayo Heuser create a point of departure for the mind into a spiritual consci...

Russell Shoemaker Title: Untitled Year: 2018 Medium: Gouache on Yupo Paper Size: 12 x 9 inches Signed, dated and inscribed by the artist Russell Shoemaker received his BFA from the ...

"Abstract 62," is a contemporary Abstract painting by San Jose-based artist Helen Bellaver. In this work, Helen layers a medium onto her paper to create a subtle texture, which she t...

Ode to Roundel abstract acrylic painting. Embellished with added texture and machine sewn gold thread patterns throughout the gouache. Signed "Morgan" and titled "Ode to Roundel" low...

Richard Anuszkiewicz Old Door, 1953 Watercolor on paper Signed and dated by the artist on the lower right front 20 × 14 inches Unframed This unique and extre...

Gouache on paper signed en verso Throughout his sixty-year artistic career, David Hayes created sculptural forms abstracted from organic forms encountered in daily life. He first st...

Cubist Portrait by Bernard Labbe (French mid 20th century) original watercolour/ gouache painting on artist paper, unframed size: 17 x 7 inches condition: very good and ready to be e...

Watercolor painting on paper by Roger Lersy (France - 1920 - 2004). Stunning abstract cubist composition with a colorful design from the "Telstar" series executed by the artist in Paris in the 1950s. The signature on the bottom right corner reads R. Lersy. The watercolor was newly reframed in an elegant wood frame with navy blue PU leather wrapping, beige jute matte, and acrylic glass protection. Measurements: With frame: 33.50 in. wide (83.50 cm) x 17 in. high (43.25 cm). Opening view: 25.20 in. wide (64 cm) x 8.66 in. (22 cm). About: Roger Lersy is a French painter, lithographer, and composer, born in Paris on April 2, 1920, and died in Orsay on June 22, 2004. He belongs to the School of Paris and the Young Painting movement. Roger Lersy was born in the 18th arrondissement of Paris on April 2, 1920. Studying the piano from his earliest childhood, likewise beginning to draw on his father's lap, Roger Lersy, son of a decorator, enters after his schooling and for three years at the École supérieure des arts appliqués Duperré in Paris. He lives at 19 rue du Faubourg-Saint-Antoine and begins to paint. He also worked as a decorator and pursued higher musical studies, in parallel with Noël Gallon, between 1950 and 1954. After 1954, the year when galleries, both in Paris and abroad, began to exhibit him regularly, he practiced painting (canvases, watercolors, tapestry cartoons) and music. From 1961 to 1968, Lersy lived in the United States. In 1970, he went on to solo exhibitions in Paris, London, Geneva, Houston, Los Angeles, and New York. Roger Lersy was initiated into the first degree of Freemasonry in the Ancient and Accepted Scottish Rite in 1979 at the Loge du Grand Val in the Paris region and later at the Grande Loge de France. Leading two careers at the same time, Roger Lersy has left paintings that present themselves as so many rhythms and tremors. In his paintings, the motif develops along a melancholy line with well-concerted chords, pauses, and cadences. One could define Lersy as a baroque expressionist. For Bernard Dorival, Roger Lersy is, along with Gabriel Dauchot, Jean Commère...