Rag Paper Landscape Drawings and Watercolors

Sandy Litchfield found peace and inspiration in regular solitary walks through nature throughout the pandemic. Her most recent body of work diaristically documents her constitutional...

This exquisite California coastal watercolor by American Impressionist Charles Partridge Adams (1858–1942) captures the serene beauty of the shoreline in vibrant hues of blue, green,...

Detailed and dramatic hand-colored etching by Luigi Kasimir (Austrian, 1881-1962). St. Stephen's cathedral towers above the streets of Vienna, with people going about their daily bus...

'Ebren Ha Dor, Tremenus'. Contemporary landscape painting, Cornwall Original Artwork. Framed ready to hang _________________ The dancing light and rapidly changing skies, hung high a...

This original circa 1910s plein air field study by celebrated Colorado landscape painter Charles Partridge Adams (1858–1942) beautifully captures the tranquil majesty of the Rocky Mo...

Abstracted Bay Area skyline against a pink sunset creates beautiful and soft geometries in this small pastel urban landscape by San Francisco artist Chris...

Shizico spent three days painting this plein air in her sunlit garden. She applied 550 Ture Gold paint and Van Gogh Yellow creating a stunning backdrop which served as the canvas for...

This artwork "My love for Paul Cezanne" , inspired by Paul Cezanne, presents a vibrant and abstract interpretation of a tranquil landscape, characterized by energetic brushstrokes an...

When the world thinks about the famous Group of Seven, this is likely the kind of image they recall—the quiet majesty of the Canadian wilderness. This lithograph by one of its youngest members, Alfred Joseph Casson is one of many classic landscapes he painted of the north—mountains, lakes, bare trees in the foreground rendered in his favoured bright palette of autumn colours—red, yellow, orange, a touch of green, and deep blue lakes against a cloudy white sky. Casson was an avid canoeist and spent many hours camping and drawing in northern Ontario often alongside fellow members of the Group. “I had to develop my own style. I began to dig out places of my own...” A. J. Casson He moved on to two commercial art firms in Toronto where he worked as an assistant to the artist Franklin Carmichael, one of the founding members of the renowned Group of Seven, (A group of Canadian landscape painters that included Tom Thomson, Lawren Harris and A. Y. Jackson.). Carmichael encouraged him to sketch and paint on his own. Casson was invited to join the Group of Seven in the 1920’s with whom he painted for years. Following their demise, he formed the Canadian Society of Painters in Water Colour...

KARL YENS (1868 – 1945) (FLOWERS) 1919 Color monotype signed, dated and annotated: “monotype 1919.” 17 ½” x 11 ½” Monotypes are unique works of art that fall between printmaking a...

Lower right "N.Brahma", inscribed verso "Nada Brahma" and titled "Refracted Sunset". A large watercolor seascape showing an abstracted view of jade and cobalt waves beneath a scarle...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...