Light Drawings and Watercolor Paintings

watercolor on paper, 51"x72" This large scale watercolor on paper depicts a crystal chandelier that appears to have crashed to the floor. Smal...

Art Sz: 17"H x 11 3/4"W

Sz: 14 3/8"H x 23"W Alexander Warren Montel (1921-2002) Fashion illustrator for House of Lanvin Paris in the 1950s featured in Harper's Bazaar Salon w/ Palm Tree Interior

This Drawing of a green lightbulb was inspired by my childhood and a memory of these bulbs jewel like quality, similar to diamonds and emeralds. Playing with scale and this nostal...

"Thinking It Through" is an original oil pastel drawing on a grocery bag by Reginald K. Gee. The artist signed the piece lower left. This artwork features a man seated on stairs, dee...

Gabrielle Barzaghi's drawing "Perfect World" is part of a series also called "Perfect World," which engage with themes of utopia and dystopia. This work is unframed. Though we can provide a good frame at reasonable cost, safely shipping larger works on paper...

Art Sz: 14 1/2"H x 23"W Alexander Warren Montel (1921-2002)

Sz: 8 1/2"H x 14"W Alexander Warren Montel (1921-2002) Fashion illustrator for House of Lanvin Paris in the 1950s featured in Harper's Bazaar Carlton Display

Sz: 21 1/8"H x 15"W Alexander Warren Montel (1921-2002) Fashion illustrator for House of Lanvin Paris in the 1950s featured in Harper's Bazaar Girl In The Window

“I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” ― Albert Einstein. Always working with graphite and charcoal, Robbie Cornelissen’s limited palette emphasises the stark sombre nature of his metaphysical drawings, The Undertow is his sixth solo exhibition at Art Mûr. At the centre of the exhibition hovers Terra Nova, a dark and desolate world parallel to our own. Robbie Cornelissen’s drawings, such as The Space of Absence and Thriller, seem to pull from the stop motion’s frames. Other images, made especially for The Undertow isolate key fragments; the cloud, mounds and timeless dwellings, Cornelissen’s signature technical interest. In addition to his methodical approach, Cornelissen uses the written word, scrawling and erasing terms repeatedly, in English, French, and German, these fastidious markings and exact translations leave a trace and a glitch on paper and screen. Much of his existing work includes words and phrases like “tribunal,” “myself when I am real” and “the need to disappear.” Do they identify what forms, systems and sentiments that are, or could be present? Or do they warn of what is to come? Suspended in the atmosphere of a planetary body, Cornelissen’s clouds extend down to the surface, looming over Earth and Terra Nova. But are they harmless clouds, or associated with nuclear explosions? And is that the ash, dust, pollution and detritus of these invented places, the remnants of an unsustainable society, a dream factory? Or the promise of life anew? In weather forecasting, or aeromancy, the presence of clouds can promise darkness and gloom, but they can also bring cleansing. The ominous aura of the grid, an applied system and structure used by many, including draughtsmen, architects, urban planners, designers and artists to organise and sometimes classify information, is a recurring element in his work. The grid can be observed from a distant bird’s eye view, or close up, allowing Cornelissen’s large format drawings...