Art by Medium: Charcoal

Charcoal and acrylic paint on canvas Unique work Hand-signed by the artist

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Rue Bootay, a New York-born artist now rooted in the vibrant artistic landscape of Los Angeles, navigates the avant-garde realm of nonrepresentational surrealism with a style uniquel...

Romantic, tonalist style charcoal drawing of a tree in isolation by Sue Bryan "Arborescent", 2025 charcoal, acrylic, and pastel on paper dry mounted to canvas 30 x 22 inches 31.25 x ...

Davidoff is influenced by her close connection to nature and by what she calls, “the spirit of investigation and observation of the natural world.” Her work explores themes of struct...

A charming, 1930s American Scene drawing of a woman seated at a lunch counter by famed Chicago Modern artist Francis Chapin (Am. 1899-1965). Artwork size: 14 x 11 inches (sheet); ...

Title: Charcoal Hand Study Drawing Chiaroscuro Figure Study French School Medium: Graphite on paper, unframed Size: 19 x 12.25 inches (height x width) Signed: Yes, illegible signatur...

Paper charcoal collage These collages were created first in the presence of a live model, working quickly, in charcoal and pastel, and again, later, alone in the studio, furiously te...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

This monochromatic, predominantly black collage was created first in the presence of a model, working quickly, in charcoal and pastel. Later, alone, tearing and pasting images from p...

Oil, charcoal, wax, pigment, and graphite on canvas. Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotat...

Target 2. An unusual black & white piece; this picture cleverly confuses the eye with its intricate construct. Acrylic, charcoal and hand finished in pencil. Mounted not framed.

Charcoal, chalk and red chalk Initialled (lower left and right) 12cm × 9.5cm (41cm × 37cm framed) A French actor and artist. He is known for acting in several French films in the 1...

The artist constructs his spirit animal through mixed media. 48" x 60" Spray Paint, Oil, Construction Paper, Acrylic, Pastel, Marker

Davidoff creates drawings, paintings, prints and installations that consider intricate patterns in nature and the overlaying systems used to observe, map and define organic landscape...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Dan...

Kristin Cronic says of her work... I create large scale gestural paintings of nature forms. The live oaks of my birthplace, uprooted tree carcasses, and rock formations magnify the ...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

Oscar Bluemner was a German and an American, a trained architect who read voraciously in art theory, color theory, and philosophy, a writer of art criticism both in German and English, and, above all, a practicing artist. Bluemner was an intense man, who sought to express and share, through drawing and painting, universal emotional experience. Undergirded by theory, Bluemner chose color and line for his vehicles; but color especially became the focus of his passion. He was neither abstract artist nor realist, but employed the “expressional use of real phenomena” to pursue his ends. (Oscar Bluemner, from unpublished typescript on “Modern Art” for Camera Work, in Bluemner papers, Archives of American Art, Smithsonian Institution, as cited and quoted in Jeffrey R. Hayes, Oscar Bluemner [1991], p. 60. The Bluemner papers in the Archives [hereafter abbreviated as AAA] are the primary source for Bluemner scholars. Jeffrey Hayes read them thoroughly and translated key passages for his doctoral dissertation, Oscar Bluemner: Life, Art, and Theory [University of Maryland, 1982; UMI reprint, 1982], which remains the most comprehensive source on Bluemner. In 1991, Hayes published a monographic study of Bluemner digested from his dissertation and, in 2005, contributed a brief essay to the gallery show at Barbara Mathes, op. cit.. The most recent, accessible, and comprehensive view of Bluemner is the richly illustrated, Barbara Haskell, Oscar Bluemner: A Passion for Color, exhib. cat. [New York: Whitney Museum of American Art, 2005.]) Bluemner was born in the industrial city of Prenzlau, Prussia, the son and grandson of builders and artisans. He followed the family predilection and studied architecture, receiving a traditional and thorough German training. He was a prize-winning student and appeared to be on his way to a successful career when he decided, in 1892, to emigrate to America, drawn perhaps by the prospect of immediate architectural opportunities at the Chicago World’s Fair, but, more importantly, seeking a freedom of expression and an expansiveness that he believed he would find in the New World. The course of Bluemner’s American career proved uneven. He did indeed work as an architect in Chicago, but left there distressed at the formulaic quality of what he was paid to do. Plagued by periods of unemployment, he lived variously in Chicago, New York, and Boston. At one especially low point, he pawned his coat and drafting tools and lived in a Bowery flophouse, selling calendars on the streets of New York and begging for stale bread. In Boston, he almost decided to return home to Germany, but was deterred partly because he could not afford the fare for passage. He changed plans and direction again, heading for Chicago, where he married Lina Schumm, a second-generation German-American from Wisconsin. Their first child, Paul Robert, was born in 1897. In 1899, Bluemner became an American citizen. They moved to New York City where, until 1912, Bluemner worked as an architect and draftsman to support his family, which also included a daughter, Ella Vera, born in 1903. All the while, Oscar Bluemner was attracted to the freer possibilities of art. He spent weekends roaming Manhattan’s rural margins, visiting the Bronx, Brooklyn, Queens, and New Jersey, sketching landscapes in hundreds of small conté crayon drawings. Unlike so many city-based artists, Bluemner did not venture out in search of pristine countryside or unspoiled nature. As he wrote in 1932, in an unsuccessful application for a Guggenheim Fellowship, “I prefer the intimate landscape of our common surroundings, where town and country mingle. For we are in the habit to carry into them our feelings of pain and pleasure, our moods” (as quoted by Joyce E. Brodsky in “Oscar Bluemner in Black and White,” p. 4, in Bulletin 1977, I, no. 5, The William Benton Museum of Art, Storrs, Connecticut). By 1911, Bluemner had found a powerful muse in a series of old industrial towns, mostly in New Jersey, strung along the route of the Morris Canal. While he educated himself at museums and art galleries, Bluemner entered numerous architectural competitions. In 1903, in partnership with Michael Garven, he designed a new courthouse for Bronx County. Garven, who had ties to Tammany Hall, attempted to exclude Bluemner from financial or artistic credit, but Bluemner promptly sued, and, finally, in 1911, after numerous appeals, won a $7,000 judgment. Barbara Haskell’s recent catalogue reveals more details of Bluemner’s architectural career than have previously been known. Bluemner the architect was also married with a wife and two children. He took what work he could get and had little pride in what he produced, a galling situation for a passionate idealist, and the undoubted explanation for why he later destroyed the bulk of his records for these years. Beginning in 1907, Bluemner maintained a diary, his “Own Principles of Painting,” where he refined his ideas and incorporated insights from his extensive reading in philosophy and criticism both in English and German to create a theoretical basis for his art. Sometime between 1908 and 1910, Bluemner’s life as an artist was transformed by his encounter with the German-educated Alfred Stieglitz, proprietor of the Little Galleries of the Photo-Secession at 291 Fifth Avenue. The two men were kindred Teutonic souls. Bluemner met Stieglitz at about the time that Stieglitz was shifting his serious attention away from photography and toward contemporary art in a modernist idiom. Stieglitz encouraged and presided over Bluemner’s transition from architect to painter. During the same period elements of Bluemner’s study of art began to coalesce into a personal vision. A Van Gogh show in 1908 convinced Bluemner that color could be liberated from the constraints of naturalism. In 1911, Bluemner visited a Cézanne watercolor show at Stieglitz’s gallery and saw, in Cézanne’s formal experiments, a path for uniting Van Gogh’s expressionist use of color with a reality-based but non-objective language of form. A definitive change of course in Bluemner’s professional life came in 1912. Ironically, it was the proceeds from his successful suit to gain credit for his architectural work that enabled Bluemner to commit to painting as a profession. Dividing the judgment money to provide for the adequate support of his wife and two children, he took what remained and financed a trip to Europe. Bluemner traveled across the Continent and England, seeing as much art as possible along the way, and always working at a feverish pace. He took some of his already-completed work with him on his European trip, and arranged his first-ever solo exhibitions in Berlin, Leipzig, and Elberfeld, Germany. After Bluemner returned from his study trip, he was a painter, and would henceforth return to drafting only as a last-ditch expedient to support his family when his art failed to generate sufficient income. Bluemner became part of the circle of Stieglitz artists at “291,” a group which included Marsden Hartley, John Marin, and Arthur Dove. He returned to New York in time to show five paintings at the 1913 Armory Show and began, as well, to publish critical and theoretical essays in Stieglitz’s journal, Camera Work. In its pages he cogently defended the Armory Show against the onslaught of conservative attacks. In 1915, under Stieglitz’s auspices, Bluemner had his first American one-man show at “291.” Bluemner’s work offers an interesting contrast with that of another Stieglitz architect-turned-artist, John Marin, who also had New Jersey connections. The years after 1914 were increasingly uncomfortable. Bluemner remained, all of his life, proud of his German cultural legacy, contributing regularly to German language journals and newspapers in this country. The anti-German sentiment, indeed mania, before and during World War I, made life difficult for the artist and his family. It is impossible to escape the political agenda in Charles Caffin’s critique of Bluemner’s 1915 show. Caffin found in Bluemner’s precise and earnest explorations of form, “drilled, regimented, coerced . . . formations . . . utterly alien to the American idea of democracy” (New York American, reprinted in Camera Work, no. 48 [Oct. 1916], as quoted in Hayes, 1991, p. 71). In 1916, seeking a change of scene, more freedom to paint, and lower expenses, Bluemner moved his family to New Jersey, familiar terrain from his earlier sketching and painting. During the ten years they lived in New Jersey, the Bluemner family moved around the state, usually, but not always, one step ahead of the rent collector. In 1917, Stieglitz closed “291” and did not reestablish a Manhattan gallery until 1925. In the interim, Bluemner developed relationships with other dealers and with patrons. Throughout his career he drew support and encouragement from art cognoscenti who recognized his talent and the high quality of his work. Unfortunately, that did not pay the bills. Chronic shortfalls were aggravated by Bluemner’s inability to sustain supportive relationships. He was a difficult man, eternally bitter at the gap between the ideal and the real. Hard on himself and hard on those around him, he ultimately always found a reason to bite the hand that fed him. Bluemner never achieved financial stability. He left New Jersey in 1926, after the death of his beloved wife, and settled in South Braintree, Massachusetts, outside of Boston, where he continued to paint until his own death in 1938. As late as 1934 and again in 1936, he worked for New Deal art programs designed to support struggling artists. Bluemner held popular taste and mass culture in contempt, and there was certainly no room in his quasi-religious approach to art for accommodation to any perceived commercial advantage. His German background was also problematic, not only for its political disadvantages, but because, in a world where art is understood in terms of national styles, Bluemner was sui generis, and, to this day, lacks a comfortable context. In 1933, Bluemner adopted Florianus (definitively revising his birth names, Friedrich Julius Oskar) as his middle name and incorporated it into his signature, to present “a Latin version of his own surname that he believed reinforced his career-long effort to translate ordinary perceptions into the more timeless and universal languages of art” (Hayes 1982, p. 189 n. 1). In 1939, critic Paul Rosenfeld, a friend and member of the Stieglitz circle, responding to the difficulty in categorizing Bluemner, perceptively located him among “the ranks of the pre-Nazi German moderns” (Hayes 1991, p. 41). Bluemner was powerfully influenced in his career by the intellectual heritage of two towering figures of nineteenth-century German culture, Johann Wolfgang von Goethe and Georg Wilhelm Friedrich Hegel. A keen student of color theory, Bluemner gave pride of place to the formulations of Goethe, who equated specific colors with emotional properties. In a November 19, 1915, interview in the German-language newspaper, New Yorker Staats-Zeitung (Abendblatt), he stated: I comprehend the visible world . . . abstract the primary-artistic . . . and after these elements of realty are extracted and analyzed, I reconstruct a new free creation that still resembles the original, but also . . . becomes an objectification of the abstract idea of beauty. The first—and most conspicuous mark of this creation is . . . colors which accord with the character of things, the locality . . . [and which] like the colors of Cranach, van der Weyden, or Durer, are of absolute purity, breadth, and luminosity. . . . I proceed from the psychological use of color by the Old Masters . . . [in which] we immediately recognize colors as carriers of “sorrow and joy” in Goethe’s sense, or as signs of human relationship. . . . Upon this color symbolism rests the beauty as well as the expressiveness, of earlier sacred paintings. Above all, I recognize myself as a contributor to the new German theory of light and color, which expands Goethe’s law of color through modern scientific means (as quoted in Hayes 1991, p. 71). Hayes has traced the global extent of Bluemner’s intellectual indebtedness to Hegel (1991, pp. 36–37). More specifically, Bluemner made visual, in his art, the Hegelian world view, in the thesis and antithesis of the straight line and the curve, the red and the green, the vertical and the horizontal, the agitation and the calm. Bluemner respected all of these elements equally, painting and drawing the tension and dynamic of the dialectic and seeking ultimate reconciliation in a final visual synthesis. Bluemner was a keen student of art, past and present, looking, dissecting, and digesting all that he saw. He found precedents for his non-naturalist use of brilliant-hued color not only in the work Van Gogh and Cezanne, but also in Gauguin, the Nabis, and the Symbolists, as well as among his contemporaries, the young Germans of Der Blaue Reiter. Bluemner was accustomed to working to the absolute standard of precision required of the architectural draftsman, who adjusts a design many times until its reality incorporates both practical imperatives and aesthetic intentions. Hayes describes Bluemner’s working method, explaining how the artist produced multiple images playing on the same theme—in sketch form, in charcoal, and in watercolor, leading to the oil works that express the ultimate completion of his process (Hayes, 1982, pp. 156–61, including relevant footnotes). Because of Bluemner’s working method, driven not only by visual considerations but also by theoretical constructs, his watercolor and charcoal studies have a unique integrity. They are not, as is sometimes the case with other artists, rough preparatory sketches. They stand on their own, unfinished only in the sense of not finally achieving Bluemner’s carefully considered purpose. The present charcoal drawing is one of a series of images that take as their starting point the Morris Canal as it passed through Rockaway, New Jersey. The Morris Canal industrial towns that Bluemner chose as the points of departure for his early artistic explorations in oil included Paterson with its silk mills (which recalled the mills in the artist’s childhood home in Elberfeld), the port city of Hoboken, Newark, and, more curiously, a series of iron ore mining and refining towns, in the north central part of the state that pre-dated the Canal, harkening back to the era of the Revolutionary War. The Rockaway theme was among the original group of oil paintings that Bluemner painted in six productive months from July through December 1911 and took with him to Europe in 1912. In his painting journal, Bluemner called this work Morris Canal at Rockaway N.J. (AAA, reel 339, frames 150 and 667, Hayes, 1982, pp. 116–17), and exhibited it at the Galerie Fritz Gurlitt in Berlin in 1912 as Rockaway N. J. Alter Kanal. After his return, Bluemner scraped down and reworked these canvases. The Rockaway picture survives today, revised between 1914 and 1922, as Old Canal, Red and Blue (Rockaway River) in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D. C. (color illus. in Haskell, fig. 48, p. 65). For Bluemner, the charcoal expression of his artistic vision was a critical step in composition. It represented his own adaptation of Arthur Wesley’s Dow’s (1857–1922) description of a Japanese...

Story illustration for "Child of the Terror" by Helen Fawley for The Saturday Evening Post, published February 1, 1941, page 17. The full caption reads: "'So happy to be German once...

A striking 1930s American Modern, Art Deco era drawing, portrait of a young woman by notable Chicago artist, Walter Burt Adams (Am. 1903-1990). A wonderful, early example of Adams'...

An Intriguing 1930s American Modern drawing of a woman seated in deep concentration by notable Chicago artist, Walter Burt Adams (Am. 1903-1990). A wonderful, early example of Adam...

Emerging in the late twentieth century with his celebrated “Men in the Cities” series, Robert Longo quickly established himself as a draftsman of rare discipline, transforming media ...

Unsigned

This striking charcoal portrait captures the essence of an African American woman with a unique black and white afro. The monochromatic medium emphasize...

Original Mixed Media Figurative Painting by Cuban Painter Hector Frank. International acclaim as one Cuba’s foremost living artists, Havana born Hector Frank. Now, in his artistic p...

An original pastel-on-paper drawing by British artist Charlie Mackesy - Mackesy's clever work and style here, provide us with a glimpse into this atmospheric depiction of a Jazz Trio...

A striking and highly atmospheric charcoal portrait of an Indian man wearing a traditional turban, dating from the late nineteenth or early twentieth century. The sitter is presented...

Story illustration for Louisa May Alcott's classic story Little Women featuring Beth March playing the piano in Mr. Laurence's grand house. The full...

Charcoal on paper Unique work Hand-signed by the artist

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About the Artist Joy Eyitayo...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Book illustration for Making Money by Owen Johnson published by Frederick A. Stokes Company Publishers, 1915. The full caption reads “Your promise. No one is to know what I do.” ...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

Three polo players c1930s on eglomise glass by Paul Desmond Brown Art Sz: 13 3/4"H x 10 3/4"W Frame Sz: 15"H x 12"W

Ballroom Dancers by Trudy Good. Original Charcoal & Pastel onto paper. Trudy Good is a British figurative painter who has exhibited in numerous plac...

Medium: Charcoal, Chalk and Gold Paint on Mid-Toned Paper Signature: Signed Lower Left Dimensions: 19.00" x 37.00" Henry VIII licensing Bible translation; Woman refusing to recant.“The Answer to Tyndal’s Prayer” and “The Martyrdom of Anne Askew” Preliminary study for mural: The Governor’s Reception Room, Pennsylvania State Capitol Building. Literature (related to the finished work): The Century magazine, June 1905; “The Holy Experiment” by Violet Oakley Carter: “The Red Rose Girls...

Documenting wrongful executions due to racism can be challenging. The artwork is inspired by the tragic and unjust murder of 14-year-old Emmett Louis Till, a Black boy who was brutal...

The celebration of life and death in Yoruba land is deeply connected to the use of Aso Oke, a traditional and cultural wear of the Yorubas. The ones used in Ondo to celebrate the liv...

Title: Mid Century French Study Artist: Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper Size: 25.5 (height) x 19.5 (width) Stamped: Verso Condition: ...

City is an original drawing in pencil made by the Hungarian artist Nicolas Czinober in the mid-20th century.The state of preservation is good, the paper presents some small stains. ...

William Barnett (1918-1992). Portrait of a Reclining Woman ca. 1950's. Charcoal and Ink on paper measuring 11 x 11.5 inches. Signed lower right. Unframed. William Barnett ( cal...

Nude Of Woman is a charcoal drawing on brown paper. Unsigned. Good conditions except for some folds and some rips on the corners. Prolific and eclectic, the Italian Gio Colucci (Florence, 1892 – Paris, 1974), also known in France as Geo Colucci, was a painter, engraver, illustrator, ceramist, and sculptor. From 1921, he exhibited his engravings in various salons. He worked with French publishers specialized in the illustrated books of high bibliophilia, and delivered series of remarkable prints for texts by Barbey d'Aurevilly, Pierre Loti, Guy Maupassant...

Le Pont du Vey by Paulémile Pissarro (1884-1972) Charcoal on paper 24.5 x 31.5 cm (9 ⁵/₈ x 12 ³/₈ inches) Signed with Estate stamp lower centre and upper right Executed circa 1940s ...

Watercolor on paper realized by Mino Maccari in 1935 ca. Hand signed in pencil lower right. Very good condition except for some very minor defect in the edges.

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About the Artist Joy Eyitayo...

La Promenade by Georges Manzana Pissarro (1871-1961) Charcoal and pastel on paper 49.5 x 63.5 cm (19 ⅜ x 25 inches) Signed lower left, Manzana Executed circa 1920 This work is accom...

6242 Charcoal still life on paper framed Image size 17,5x23"

Louise HERVIEU (1878-1954) Fly, circa 1925 Charcoal on paper Signed "L.H." 5 × 5 cm frame 14 × 14 cm Tiny fold mark at the top Born in Alençon in 1878, Louise Hervieu showed a tale...

Harbour Study by Georges Ricard-Cordingley is an original ink drawing on paper exploring the artist’s signature maritime subject matter. The immediacy of ink lends the composition a ...

Marie LAURENCIN Mermaid, 1953 Original ink and pencil drawing Signed by artist stamp On paper 24.5 x 19.5 cm (c. 9.6 x 7.6 inch) Very good condition, marks of the manipulation on ...

Rue Bootay, a New York-born artist now rooted in the vibrant artistic landscape of Los Angeles, navigates the avant-garde realm of nonrepresentational surrealism with a style uniquel...

Original Neutral Color Tone Figurative Painting by Cuban Painter Hector Frank. International acclaim as one Cuba’s foremost living artists, Havana born Hector Frank. Now, in his art...

The paintings of Bruce Rubenstein seamlessly marry sophistication with affordability. His original art merges the creative attitudes of the two distinct art hot spots of New York and Los Angeles. Rubenstein's work has a rigid edge and strong composition but maintains organic shapes and soft colors as well. His works have a character that brightens a space. His paintings pull from abstract expressionism and cubism but maintain a contemporary edge that strikes the viewer. His work seems collectively new and timeless at once. This large affordable one-of-a-kind 40 inch square and 2.25 inch deep artwork is a mixed media composition on canvas. It is stretched, wired, and ready to hang. This large abstract painting is signed by the artist on the front and back of the artwork. The sides are painted and it does not require framing. Free local Los Angeles area delivery. Affordable Continental U.S. and worldwide shipping available. Provenance: Artplex Gallery. A certificate of authenticity issued by the art gallery is included. While the artist has chosen to keep the price upon request, this captivating piece embodies both sophistication and exceptional value. Bruce Rubenstein specializes in large-scale artworks, using huge canvases to tell his stories. Born and raised in New York, he moved to Los Angeles in 1985. His mixed media artworks defy categorization, blending abstract forms and organic shapes with subtle hints of figures and symbols. Adrien Brody and Mickey Rourke are among Rubenstein’s collectors. Bruce Rubenstein’s artistic influences include artists from Joan Miró and Jean Arp to Gerhard Richter and Pablo Picasso. “He is an artist, and that means someone who cannot restrain the flow of ideas,” says author David Rodgers. “He is someone who they just burst out of, who cannot help but communicate, and who sees no reason to stop. He’s a man not limited by media to communicate the stories that he needs to (and must) tell, through any medium he feels necessary.” His works are represented by Artplex Gallery Los Angeles and have been exhibited and collected worldwide, including exhibitions in Austria and Israel. REPRESENTATION Artplex Gallery, Los Angeles, USA EXHIBITIONS 2023 Artplex Gallery, Los Angeles, CA Beijing Contemporary Art Expo Crossing Art Collective Beijing, China 2022 Shenzhen Art Fair, Shenzhen, China Westbund Art Fair, Shanghai, China MAC Fine Art, Power Painters, Delray, FL Westbund Art & Design, Shanghai, China (solo) Context Art Miami, Miami, FL (solo) Crossing Art Gallery, NYC, NY (solo) 2021 “Space Time Fragments,” Artspace Warehouse, Los Angeles, CA MAC Fine Art, Fort Lauderdale, FL MAC Fine Art, Jupiter, FL MAC Fine Art, Miami, FL (solo) 2020 MAC Fine Art, Fort Lauderdale, FL Wynwood Art Festival, Miami, FL Artspace Gallery, Los Angeles, CA MAC Fine Art, Fort Lauderdale, FL (solo) Gottling Gallery, Palm Springs, CA (solo) Castelli Art Space, Culver City, CA (solo) 2019 MAC Fine Art, Jupiter, FL Artspace Gallery, Los Angeles, CA Palm Springs Art Fair, Palm Springs, CA Glenn Dallas Gallery, Santa Barbara, CA (solo) Castelli Art Space, Culver City, CA (solo) 2019 MAC Fine Art, Fort Lauderdale, FL (solo) 2018 Affordable Art Fair, New York City, NY “How to Make Memories,” Artspace Warehouse, Los Angeles, CA Palm Springs Art Fair, Palm Springs, CA 2017 “Above and Below the Clouds,” Artspace Warehouse, Los Angeles, CA Shockboxx Gallery, Hermosa Beach, CA The Dina Collection, Beverly Hills, CA 2016 Group Show, St. Peter in der Au, Austria 2015 Henry Fonda Theatre, Hollywood, CA Veterans Memorial Building, Park City...

Artist: James, Clarence Title: Untitled Date: 2026 Medium: Ink, Acrylic, Charcoal & Marker on Paper Unframed Dimensions: 16.5" x 13.5" Framed Dimensions: 22" x 19" Signatur...

"Dentist IІІ" — artwork from the “Portraits Without Faces” series. This series is a tribute to people who devote themselves wholeheartedly to their work — those who create, heal, te...

Unsigned

She sits quietly, almost inaudibly, as if afraid to frighten her own fairy tale. Her red polka-dot dress flows in soft folds like poppy petals in the wind, and her bare feet barely t...

Abstract work of art. Charcoal, pencil, pastel, and acrylic on paper.