Art by Medium: Graphite

Sutra, a Sanskrit word meaning “thread”, is a word or small group of words that summarize an entire complex web of ideas, truths, wisdoms, or teachings all woven together into a sing...

With a career spanning more than three decades, Robbie Cornelissen has established himself among the leading contemporary draughtsmen in Europe. His vast and irresolute creative universe demonstrates the complexity of a world dealing with new spatial concepts. Every corner of the planet may have been explored, but digital technologies have opened up an endless universe to discover, a virtual labyrinth without an exit in which one can easily get lost. His drawings often serve vertiginous perspectives out of which emerge distressing voids that refer more to metaphorical states of mind than physical spaces. Cornelissen’s works offer an exploration of these fields and are therefore often viewed as places of anxiety. They could easily be interpreted as portraits of a technophobic mind, alarmed by the speeds and heights of our advanced neoliberal societies. But for some, the volatility of these spaces is also incredibly exciting – liberating even. Cornelissen represents a world in which things are freed from the pragmatism of their usage to exist simply for the interest of their geometry. This is particularly true of architecture, the prime subject of his artistic research. In many ways, Cornelissen’s technique is very classical. His expertise of linear perspective takes root in the heritage of Quattrocento Masters of the likes of Pietro Perugino...

1stDibs Publishing Tracker 1stDibs Publishing Tracker 100% E5 Tilde 8.0 x 5.0 x 0.1, 3.0 lbs Graphite on paper Hand signed by artist Artist's Commentary: "Tilde - is from a series of graphite works depicting forms cast in iron. The sculpture rests in a field, wallowing in peace and serenity. This is one of many conceptual studies for art in public places. As a sculptor I love to draw. Drawing can sometimes be like stone carving. I lay down a block of graphite then using a eraser like a chisel to carve away to reveal the form." About the Artist: The early work of de Musée...

Dimensions: 15.25" x 10.75" Medium: Gouache, pencil, and ink on paper Signature: Signed Lower Left General Dwight D. Eisenhower in military uniform saluting before a map of Germany ...

Artist: Kazuhide Yamazaki (Japanese-American, 1951-2023) Title: "Banana" *Titled, signed, and dated by Yamazaki in pencil lower right Year: 1981 Medium: Original Graphite Pencil and ...

Studio a matita e pastelli per lo splendido ritratto di Philip Bedingfeld proprietà del Museo del Norfolk Frederick Sandys, (Norwich, 1º maggio1829 ...

Throughout Japan, in folklore and theater, the fox spirit as shape-shifter has for millennia exhibited supernatural abilities to bewitch the unwary. Even contemporary admirers will l...

Jane Birch I Must Have Done Something Good graphite on paper 6h x 7.50w in 10.5h x 12.5w in framed 15.24h x 19.05w cm JAB007 My drawings are lovingly objectifying. I’m an alien rese...

Jane Birch Untitled, 2023 graphite on paper 5.50h x 5w in 12h x 11.5w in framed 13.97h x 12.70w cm JAB002 My drawings are lovingly objectifying. I’m an alien researcher, and my subj...

Artist: Richard Davies Title: A Catastrophic Perspective Year: 1991 Medium: Watercolor, graphite, colored pencil, collage, signed in pencil Size: 60 x 40 in. (152.4 x 101.6 cm) Frame...

Gouache and graphite on handmade paper. 18 x 12 inches unframed, 23.25 x 17.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

Gouache and graphite on handmade paper. 24 x 18 inches unframed. 28 x 22.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

Mundane grey ruins are pierced by sharp pings of neon color in this painting that both suggests and supersedes narrative, colliding, conflating, and contrasting the figurative and th...

Mundane grey ruins are pierced by sharp pings of neon color in this painting that both suggests and supersedes narrative, colliding, conflating, and contrasting the figurative and th...

Mundane grey ruins are pierced by sharp pings of neon color in this painting that both suggests and supersedes narrative, colliding, conflating, and contrasting the figurative and th...

Nuanced grays intersected by bright lines and dashes result in this emotive, nearly explosive, spatial investigation. Gravity Composition 07 (2022) by Kyle Butler. Acrylic, graphite,...

Nuanced grays intersected by bright lines and dashes result in this emotive, nearly explosive, spatial investigation. Gravity Composition 02 (2022) by Kyle Butler. Acrylic, graphite,...

After living and working in the various disciplines of Japanese culture from long-bow archery to tea ceremony Majio began to cultivate a different relationship to things. No longer p...

Unique. Paul Snell is an Australian artist who blurs the boundaries between photography and painting, creating contemplative works that replace constant image saturation with moment...

The Fan-Shape Series represents how an iconic image manifests with many connotations. Like oracular coins, these fan shapes look like sonograms foretelling the immediate future of a ...

Color pencil, graphite and collage on paper Unique work Hand-signed and dated on the back

Color pencil, graphite and collage on paper Unique work Hand-signed and dated on the back

Color pencil, graphite, collage and ink on paper Unique work Hand-signed and dated on the back

Graphite and watercolor on paper Unique work Hand-signed, entitled and dated on the back

Graphite on paper Unique work Hand-signed, entitled and dated on the back

Graphite on paper Unique work Hand-signed, entitled and dated on the back

Artist Statement: "There is a particular aspect of drawing that I find especially gratifying -- it's the capacity to produce an image that seems to be spontaneously executed . Whil...

Robert Ruello Switch-It #19, 2016 graphite, watercolor, and colored pencil on paper 20 x 15 inches Energetic and charged with visual power, the Switch-It series is movement and tran...

Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His father, John Galen Howard, was an architect who had trained at M.I.T. and the École des Beaux-Arts in Paris and apprenticed in Boston with Henry Hobson Richardson. In New York, the elder Howard worked for McKim, Mead and White before establishing a successful private practice. Mary Robertson Bradbury Howard, Charles’s mother, had studied art before her marriage. John Galen Howard moved his household to California in 1902 to assume the position of supervising architect of the new University of California campus at Berkeley and to serve as Professor of Architecture and the first Dean of the School of Architecture (established in 1903). The four Howard boys grew up to be artists and all married artists, leaving a combined family legacy of art making in the San Francisco Bay area that endures to this day, most notably in design, murals, and reliefs at the Coit Tower and in buildings on the Berkeley campus. Charles Howard graduated from the University of California at Berkeley in 1921 as a journalism major and pursued graduate studies in English at Harvard and Columbia Universities before embarking on a two-year trip to Europe. Howard went to Europe as a would-be writer. But a near-religious experience, seeing a picture by Giorgione in a remote town outside of Venice, proved a life-altering epiphany. In his own words, “I cut the tour at once and hurried immediately back to Paris, to begin painting. I have been painting whenever I could ever since” (Charles Howard, “What Concerns Me,” Magazine of Art 39 [February 1946], p. 63). Giorgione’s achievement, in utilizing a structured and rational visual language of art to convey high emotion on canvas, instantly convinced Howard that painting, and not literature, offered the best vehicle to express what he wanted to say. Howard returned to the United States in 1925, confirmed in his intent to become an artist. Howard settled in New York and supported himself as a painter in the decorating workshop of Louis Bouché and Rudolph Guertler, where he specialized in mural painting. Devoting spare time to his own work, he lived in Greenwich Village and immersed himself in the downtown avant-garde cultural milieu. The late 1920s and early 1930s were the years of Howard’s art apprenticeship. He never pursued formal art instruction, but his keen eye, depth of feeling, and intense commitment to the process of art making, allowed him to assimilate elements of painting intuitively from the wide variety of art that interested him. He found inspiration in the modernist movements of the day, both for their adherence to abstract formal qualities and for the cosmopolitan, international nature of the movements themselves. Influenced deeply by Surrealism, Howard was part of a group of American and European Surrealists clustered around Julien Levy. Levy opened his eponymously-named gallery in 1931, and rose to fame in January 1932, when he organized and hosted Surrealisme, the first ever exhibition of Surrealism in America, which included one work by Howard. Levy remained the preeminent force in advocating for Surrealism in America until he closed his gallery in 1949. Howard’s association with Levy in the early 1930s confirms the artist’s place among the avant-garde community in New York at that time. In 1933, Howard left New York for London. It is likely that among the factors that led to the move were Howard’s desire to be a part of an international art community, as well as his marriage to English artist, Madge Knight...

Diptych Moloka’i Spirit Dances, Art Graf, monoprint, tissue paper on Rives BFK, 2021. The island natives appear to be part of the earth. With a swinging gait, their body language is ...

Inspiration (Seated Couple) Graphite on paper, c. 1967 Signed twice in pencil by the artist on recto (see photos) Condition: Excellent Image size: 13 x 16 inches Note: Although not t...

This work by Chicago-based artist Patrick Fitzgerald continues his series of abstract “track paintings,” initially born as the imagined racetracks navigated by his miniature soap-box...

Entitled “Prix (Track Drawing),” this illustration by Chicago-based artist Patrick Fitzgerald is an early study created for his series of abstract “track paintings,” initially born a...

Fantastical and otherworldly, this bustling cityscape by Patrick Fitzgerald is a continuation of the imaginative world he calls his "Neighborhood of Infinity." Lending narrative cont...

Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotations and geographical memories: that summer you spent ...

Alyse Rosner 2021

Swirled Lingams, April 12 2016 Soft pastel and graphite on paper 12 × 9 in.

Project for a mural, signed. Technique: Graphite pencil on paper, Guadalajara, Jalisco.

Signed and dated by artist on back. Andrew W. Young (American) is an artist who lives in Manhattan and has life-long and abiding associations Downeast (Maine) and Down Cape (Cod). ...

A fantastic industrial drawing dated 1935, which depicts the former Plymouth Motor Company's Powerhouse in Buffalo, NY. Housed in a contemporary frame presentation this unique work ...

Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotations and geographical memories: that summer you spent ...

signed in orange along lower right of image Illustration for Women's World magazine, published October, 1937 Condition is good. 4.5 inch, unobtrusive vertical crease running from top down into center of image Maginel Wright Enright Barney was the sister of architect Frank Lloyd Wright and the illustrator of several children''s books, including those of L. Frank Baum...

Diptych San Miguel Comida, Art Graf, graphite, monoprints, tissue paper on watercolor paper, a two-tabled neighborhood eatery wraps tacos in checkered paper. San Miguel de Allende h...

Moloka’i Beach, Art Graf, impasto textures, tissue paper on Rives BFK, 2021. On this island, to prevent us from flying away, there is a sense that our great central sun fastens each ...

This brilliantly rendered female portrait by a major American post-war illustrator known for his stunningly glamorous women. Notice how all the elements of the composition work tog...

Artist Commentary: This piece is about how humans affect our waterways and where our water comes from. Keywords: waves, light, bright, mountain, day, abstract, water, sea, ocean, co...

Artist Commentary: This piece is created from a photo of a piece from the Small Works Group, manipulated on the computer, printed on a laser print then drawn on with graphite and cha...

Between September 2018 and April 2019, I created 100 small paintings consecutively. I endeavored to make nothing else and viewed the project as an opportunity to experiment and solid...

Ink and graphite on paper Signed, entitled and dated below

Mary Reilly’s laborious method of toning her paper serves as the starting point for her intricate compositions. She begins by covering the entire sheet with up to eight smooth, unmod...

Robbie Cornelissen is one of the leading contemporary draughtsmen in the Netherlands. Cornelissen has established a reputation for the monumental, architectural drawings that he has ...

Luke Jackson "Tradescantia Zebrina I" 2023 51” x 51” (framed) Graphite, Water, Eraser, on Paper About the Artist: Luke Jackson is a visual artist who has been based in Brooklyn, ...

Art Sz: 5 3/4"W x 11 3/4"H Provenance: Gillian Dupont's The Old Habit Tack Shop Marshall, VA

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...

Incoming rain, Den Pasar, Bali 1937 Signed with initials, dated and titled, bottom right Black chalk and ink on paper, 42 by 46 cm Literature: Ernst Braches en J.F. Heijbroek, W.O...

Krieger’s recent work is a reflection of the forces of nature that connect and impact us, and shape our world. While Krieger hints at elements of landscape across her canvases—spheri...

Krieger’s recent work is a reflection of the forces of nature that connect and impact us, and shape our world. While Krieger hints at elements of landscape across her canvases—spheri...

Date: 1990 Medium: Mixed Media over Graphite on Paper affixed Illustration Board Dimensions: 8.50" x 11.50" Signature: Signed Lower Right Jack Davis Oklahoma Sooners College Football...

Mary Reilly explores the full tonal depth of graphite in her nature drawings and landscapes. She finds all of the soft subtleties of gray as she shifts seamlessly from leaf to bud, s...

An original mixed media drawing by American artist A.J. Fries.