Art by Medium: Chalk

Edda Renouf Magnet Drawing #4, 1980 Pastel, chalk on paper 34 x 28 inches (sheet) 36 5/8 x 30 1/2 inches (frame) Signed and dated recto

James O. Clark, American sculptor, art educator. Recipient Sculpture award, Creative Artists Public Service, 1978, award for sculpture, National Endowment for Arts, 1982, Graphics award, 1983; fellow, John Simon Guggenheim Memorial Foundation, 1989; grantee, Pollock-Krasner Foundation, 1995, New York Counsel on Arts. Member selection committee Islip (New York ) Museum, 2002; Member of American Abstract Artist (associate; active 1999—2003). ONE PERSON EXHIBITIONS 2015 ltd los angeles, Los Angeles, CA 2011 RHV Fine Art, Brooklyn, NY 2010 Mariboe Gallery, Hightstown, NJ 2009 Lesley Heller Gallery, New York, NY 2006 Elizabeth Harris Gallery, New York, NY 1998-9 “Tulips, Hysteria, Coordinating”, Nicholas Davies, New York, NY 1997 “James O. Clark”, Ohio University, Athens, OH 1994 The College of Saint Rose Art Gallery, Albany, NY 1991 Max Protetch Gallery, New York, NY 1990 James...

Valeria Vilar Ofrenda de ciruelas, 2015 Acrylic and chalk on paper 59 x 78.7 in (149.86h x 199.9w cm)

Black chalk on paper Francine Ledieu is French artist born in 1931 who lives and works in Paris, France. In the 50s, she was a student of Maurice Rocher who specialized in Sacred ar...

When a simple vertical line finds itself in the midst of accidental organic chaos, a sense of directionality and stability is introduced. The line itself can act as a tool used to di...

Ink, chalk & mica on sculpted reclaimed paper Framed 26 x 17.5 x 2 in, white wood frame Katherine Filice is an award-winning American abstract artist born in 1963 who lives and work...

Valeria Vilar Untitled, 2013 Mixed media on paper 22 x 25 in (55.88h x 63.5w cm)

Valeria Vilar Untitled, 2014 Mixed media on paper 59 x 61 in (149.86h x 154.94w cm)

Valeria Vilar Otoño Blanco, 2016 Acrylic and chalk on paper 27.5 x 39.3 in (69.85h x 99.82w cm)

Valeria Vilar Untitled, 2014 Mixed media on paper 22 x 30 in (55.88h x 76.2w cm)

Valeria Vilar Untitled, 2013 Mixed media on paper 20 x 23 in (50.8h x 58.42w cm)

Valeria Vilar Untitled, 2014 Mixed media on paper 74 x 59 in (187.96h x 149.86w cm)

Michael K. Paxton is a well-established, Chicago-based artist and sixth-generation West Virginian. He is currently the subject of a documentary film Work at Hand...

New Landscapes is a series of landscapes painted over the past year. It includes the artist’s observations of oceans, wooded hills, and ponds in different seasons. In these landscape...

When a simple vertical line finds itself in the midst of accidental organic chaos, a sense of directionality and stability is introduced. The line itself can act as a tool used to di...

Valeria Vilar Cruzada, 2015 Acrylic, chalk and pencil on paper 74.4 x 59 in (188.98h x 149.86w cm)

Gerson Leiber's body of work reflects his interest in geometry, order, the use of a limited palette, light and shadow. He utilizes all of these components within his bold chalk and c...

Stefanie Betz Exercise Acrylic, Chalk, Whitewash on Canvas 2023 27.55 x 19.68 (70 x 50 cm) Signed verso COA provided Stefanie Betz lives and works in Stuttgart, in southern Germany. Working as Coach and Consultant she utilizes art to open people’s minds to discover new solutions and perspectives. Stefanie Betz is a passionate and active designer of many-layered interpersonal relationships. Accordingly, her art is always a reflection of dynamic inner processes such as the evolution of a particular project or the right time for its beginning; the overcoming of obstacles; and achieving “flow state”. All of this and more is expressed in her paintings. Stefanie Betz likes to work on large formats, sometimes on canvas, sometimes on cardboard boxes. She works intuitively and spontaneously with an array of tools beyond brushes. Stefanie can be found making use of box knives, scrapers, bubble wrap, fabric...

Robert Motherwell Elegy to the Spanish Republic No. 163 1979-82 Acrylic and Conte crayon on board 59.1 x 74.3 cms (23 1/4 x 29 1/4 ins) RM14159 P1061 Elegy to the Spanish Republic No. 163 is a fine example of Robert Motherwell’s most acclaimed body of work, the Elegies to the Spanish Republic. As important as Barnett Newman’s zips and Jackson Pollock’s drips for their revolutionary contribution to art history, the Elegies are Motherwell’s most extensive series; he executed over 140 paintings using this motif, beginning in 1948 until his death in 1991. Nearly every major museum collection, including the Metropolitan Museum of Art, New York, Museum of Modern Art, New York, Solomon R. Guggenheim Museum of Art, New York, and San Francisco Museum of Modern Art, have in their permanent collection an Elegy to the Spanish Republic. Intended to be read as a lamentation or funeral song after the Spanish Civil War (1936-39), Motherwell’s Elegies to the Spanish Republic are a lyrical and poetic memorial to the immense human loss and suffering endured during these harrowing years. Motherwell was a young student of twenty-one when the horrors of the Spanish Civil War commenced in 1936, and he would later reflect that it was the most “moving political event” of his youth. In 1939, the Spanish Civil War concluded with the fall of Spain’s democratically elected socialist government, which was deposed by a fascist coalition led by dictator Francisco Franco, whose dictatorship would persist until 1975. In 1948 nearly a decade after the end of the Spanish Civil War, Motherwell created his first Elegy with a small drawing to accompany a poem by Harold Rosenberg. Over the next four decades, Motherwell would pursue this same structural and thematic motif relentlessly; taken as a whole, the Elegies confirm the resounding impact that this war had on the young artist, and indeed stand as a powerful monument to the overwhelming loss during and in the aftermath of the Spanish Civil War. Motherwell stated: “I meant the word 'elegy' in the title. I was twenty-one in 1936, when the Spanish Civil War began…The Spanish Civil War was even more to my generation than Vietnam was to be thirty years later to its generation, and should not be forgotten, even though la guerre est finie.” (David Craven in Joan M...