Art by Medium: Graphite

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

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...

Alyse Rosner 2021

In Seeds of Change 128, Salvatore Matteo continues his exploration of balance, perception, and collective consciousness through intricately layered paper relief. Cut, curled, and sus...

V7: Variations on a Body Series, by Daniel Berman - Oil Pastel - 89 x 58cm - Figurative Abstraction, c.2024 It features intertwined human forms in luminous shades of pink, yellow, a...

Artist: Felix de Weldon (1907-2003) Title: Discus Thrower Year: 2001 Edition: 150, plus proofs Medium: Lithograph with graphite ink on BFK Rives cream color paper Inscription: Signed...

These works reflect the animism of Japanese culture and Zen training. Living in temples and the countryside with craftsman communities in Japan for over a decade, Majio was deeply in...

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 ...

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 ...

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

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...

Graphite on paper Image size: 7 1/2 x 9 inches (19 x 23 cm) Carved gilt frame Literature Illustrated in Malcolm Bell's 'Sir Edward Burne-Jones, A Record and Review', London, 1899, p.127. Provenance Major Charles Sydney Goldman 1958 By descent to his Sons John and Margaret Monck (John Goldman Monck) 1958-1963 Commander Victor Robert Penryn Monck (Victor Robert Penryn Monk Goldman) 1958-1963 Christie's London (Christie, Manson and Woods) 1963, John Monck and Cmdr Penryn Monck sale 26 April 1963 part lot 71 Sir John Richardson, 2019 Burne-Jones decided that the folds in the drapery in this study were too complex for the final painting and fairly soon after he simplified the draperies. The work is a drapery study for the seated figures at the centre of Sir Edward Coley Burne-Jones monumental The Sleep of Arthur in Avalon (Museo de Arte de Ponce, Puerto Rico). The artist spent seventeen years working on the complex narrative, even moving his studio to a larger space to accommodate the canvas. Born as a commission from his patron George Howard, 9th Earl of Carlisle, to decorate a wall in his library at Naworth Castle, The Sleep of Arthur in Avalon was left unfinished in Burne-Jones’ studio upon his death. The work was bequeathed to a studio neighbour whose descendants sold it at auction in 1963, where it was purchased by Luis A. Ferré, politician and founder of the Museo de Arte de Ponce. To his friends and family, Burne-Jones was known for his 'unpainted masterpieces'. Indeed, from his youth he made swift sketches, such as this study, that appeared effortless in contrast to his carefully crafted paintings and allowed him to work out ideas and refine details. He also drew outside of the studio, and his contemporaries remarked at his uncanny ability to do so while fully engaged in other activities. The painter W. Graham...

Powerful pencil study of Bachoo, Countess Woronzow. Tchelitchew exaggerates the sitter's features with abnormally large eyes for dramatic effect, Bachoo (Countess Bachoobai Woronzow-...

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...

My paintings are layered bursts of energy inspired by nature’s movement, blending the here and now with memories. Forms and lines fall into a sea of emotion. Shapes and reflections d...

An early example from pioneering Female Cartoonist/ Illustrator Edwina Dumm, who draws a comic strip from her long-running cartoon series Tippie which lasted for almost five decades. Signed and dated Edwina, 9-25, matted but unframed. Frances Edwina Dumm (1893 – April 28, 1990) was a writer-artist who drew the comic strip Cap Stubbs and Tippie for nearly five decades; she is also notable as America's first full-time female editorial cartoonist. She used her middle name for the signature on her comic strip, signed simply Edwina. Biography One of the earliest female syndicated cartoonists, Dumm was born in Upper Sandusky, Ohio, and lived in Marion and Washington Courthouse, Ohio throughout her youth before the family settled down in Columbus.[1] Her mother was Anna Gilmore Dennis, and her father, Frank Edwin Dumm, was an actor-playwright turned newspaperman. Dumm's paternal grandfather, Robert D. Dumm, owned a newspaper in Upper Sandusky which Frank Dumm later inherited. Her brother, Robert Dennis Dumm, was a reporter for the Columbus Dispatch, and art editor for Cole Publishing Company's Farm & Fireside magazine. In 1911, she graduated from Central High School in Columbus, Ohio, and then took the Cleveland-based Landon School of Illustration and Cartooning correspondence course. Her name was later featured in Landon's advertisements. While enrolled in the correspondence course, she also took a business course and worked as a stenographer at the Columbus Board of Education. In 1915, Dumm was hired by the short-lived Republican newspaper, the Columbus Monitor, to be a full-time cartoonist.[2] Her first cartoon was published on August 7, 1915, in the debut issue of the paper. During her years at the Monitor she provided a variety of features including a comic strip called The Meanderings of Minnie about a young tomboy girl and her dog, Lillie Jane, and a full-page editorial cartoon feature, Spot-Light Sketches[3]. She drew editorial cartoons for the Monitor from its first edition (August 7, 1915) until the paper folded (July 1917). In the Monitor, her Spot-Light Sketches was a full-page feature of editorial cartoons, and some of these promoted women's issues. Elisabeth Israels Perry, in the introduction to Alice Sheppard's Cartooning for Suffrage (1994), wrote that artists such as Blanche Ames Ames, Lou Rogers and Edwina Dumm produced: ...a visual rhetoric that helped create a climate more favorable to change in America's gender relations... By the close of the suffrage campaign, women's art reflected the new values of feminism, broadened its targets, and attempted to restate the significance of the movement.[4] After the Monitor folded, Dumm moved to New York City, where she continued her art studies at the Art Students League. She was hired by the George Matthew Adams Service[5] to create Cap Stubbs and Tippie, a family strip following the lives of a boy Cap, his dog Tippie, their family, and neighbors. Cap's grandmother, Sara Bailey, is prominently featured, and may have been based on Dumm's own grandmother, Sarah Jane Henderson, who lived with their family. The strip was strongly influenced by Mark Twain’s Adventures of Huckleberry Finn, as well as Dumm’s favorite comic, Buster Brown by Richard F. Outcault. Dumm worked very fast; according to comics historian Martin Sheridan, she could pencil a daily strip in an hour.[6] Her love of dogs is evident in her strips as well as her illustrations for books and magazines, such as Sinbad, her weekly dog page which ran in both Life and the London Tatler. She illustrated Alexander Woollcott's Two Gentlemen and a Lady. For Sonnets from the Pekinese and Other Doggerel (Macmillan, 1936) by Burges Johnson (1877–1963), she illustrated "Losted" and other poems. From the 1931 through the 1960s, she drew another dog for the newspaper feature Alec the Great, in which she illustrated verses written by her brother, Robert Dennis Dumm. Their collaboration was published as a book in 1946. In the late 1940s, she drew the covers for sheet music by her friend and neighbor, Helen Thomas, who did both music and lyrics. During the 1940s, she also contributed Tippie features to various comic books including All-American Comics and Dell Comics. In 1950, Dumm, Hilda Terry, and Barbara Shermund...

James Stroudley 1906 -1985 Portrait of a Lady Graphite on paper Image size: 24 x 15 inches James Stroudley was born in London on 17 June 1906, the son of James Stroudley, showcard and ticket writer. He studied at Clapham School of Art (1923-27) and then at the Royal College of Art (1927-30), where his teachers included Alan Gwynne-Jones and William Rothenstein. As a recipient of the first Abbey Scholarship he was able to spend three years in Italy from 1930, where he absorbed the influences of Giotto and Piero della Francesca, and produced one of the last wholly satisfying decorative cycles by a Rome Scholar of the period. From 1934, he exhibited at the Royal Society of British Artists, and was elected to its membership in the following year. From the Second World War – in which he worked with the Camouflage Unit – Stroudley taught at St Martin’s School of Art and was a visiting lecturer at the Royal Academy Schools. Though he continued to live in London, his later work, exhibited at the Royal Academy from 1955, indicated regular painting trips to Kent and Sussex coasts. However, much of his later work was abstract. In 1971, his former student, Peter Coker...

The artist has divided the image into three vertical bands, reminiscent of a flag, where each section represents a distinct and autonomous reality. On the left, against a vibrant cri...

Artist Statement My paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scrapping, and gouging acry...

Artist Commentary: End of the season, last of the bounty. Acrylic and graphite on Arches. About the artist: Richard Levine, born in Newark, NJ, is a painter and photographer whose professional career has spanned more than 30 years in the graphic arts working for prominent design firms and corporate clients. He studied oil painting for four years with artists Alan Turner and Andrew Lattimore and photography with Gary Winogrand...

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 ...

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...

Cuban, b. 1974 Antonio Espinosa is a Cuban Postwar & Contemporary artist born in Manzanillo, Cuba in 1974. He graduated from the Instituto Superior de Arte (University of Arts of Cu...

"Untitled" mixed media artwork, including graphite, oil stick, acrylic paint, oil paint and oil pastels, on gallery-wrapped canvas by artist Jim Stella. Signed Jim Stella and dated 2...

Danny O’Connor is an artist based in Liverpool, he graduated from Liverpool John Moores Art School where he studied graphic arts. Danny is predominately a figurative and portrait ar...

Skateboard Series: Underfoot II: acrylic, cold wax, graphite, and collage depicts how the surface of sound travels up through the soles of the feet, through the body to the imaginati...

Skateboard Portal II, paper, linen, fiberboard, acrylic, cold wax, graphite, textured collage narrows the world to a portal of chance with the hope of transcendence.

Skateboard Portal I, paper, linen, fiberboard, acrylic, cold wax, graphite, textured collage depicts an entryway to a world of adventure and accomplishment, edged by disaster.

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). ...

The materials are acrylic paint, and simple marking implements of graphite and Art Graf. Art Graf is a water-soluble media that comes in tailor’s squares, easily fitting into the han...

Liz Barber pursued painting while obtaining her degree from the Massachusetts College of Art and Moore College of Art. She currently resides in Marietta, Georgia. Barber’s paintings ...

A 16” x 16” x 1" Magic Realism Figurative Artwork by artist Evgeniya Golik. A certificate of authenticity will accompany the piece upon its purchase or delivery. Evgeniya Golik (al...

An 18” x 18” Magic Realism Figurative Artwork by artist Evgeniya Golik. A certificate of authenticity will accompany the piece upon its purchase or delivery. Evgeniya Golik (also k...

Story illustration for The Little Colonel: Maid of Honor by Annie F. Johnston, published by L.C. Page & Company, Boston, 1906, page 66. The image illustrates the scene from the ...

A 16” x 16” x 2” Surrealist Mixed Media Portrait Painting executed on Wood Panel with Acrylic and Graphite by artist Christopher Polentz. A certificate of authenticity will accompany...

My paintings are layered bursts of energy inspired by nature’s movement, blending the here and now with memories. Forms and lines fall into a sea of emotion. Shapes and reflections d...

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...

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...

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...

Artist Commentary: This image is drawn from my imagination and imagery that I am inspired by. Keywords: Landscape Artist Biography: Judith grew up 15 miles north of Milwaukee in t...

Luke Jackson "“Lightship” 2023 Graphite, Acrylic Ink, Oil on Canvas 48” x 36” inches About the Artist: Luke Jackson is a visual artist who has been based in Brooklyn, NY for the ...

You are viewing an original mixed media work by emerging American artist Anne Muntges featuring the mediums of graphite, and spray paint on wood panel Anne Muntges is an artist wh...

Known primarily for his work depicting horses, Joseph Piccillo also finds intrigue in the human form. Utilizing a grid format his charcoal and graphite portraits are organized as "ti...

Waterlilies 3 (Abstract painting) Acrylic, oil bar, oil pastel and graphite on canvas - Unframed. Artwork exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resi...

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...

Artist Commentary: This piece is created from a photo of one of my sculptures, manipulated on the computer, printed on a laser print then drawn on with graphite and charcoal. Keywords: abstract, bold, plastic Artist Biography: Toby Zallman...

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...

24"x30" oil, graphite on canvas, signed on reverse by the artist. This contemporary abstract painting by New York artist, Mark Masyga is visually laid out with painted lines of color intertwined and layered on top of each other. The neutral warm grey ground is activated by the multiple layers of paths of blues, beige, cream white, dark greys and near blacks, interspersed with fine curved and bent lines of light green, orange, lavender and rose pink. This is an engaging linear abstract painting with an immense visual depth of field. This painting is featured in a solo show released by the Front Room Gallery in New York, entitled, "Charitable Deceptions". In this new body of work, the title “Charitable Deceptions,” refers to a passage written by Gabriel García Márquez in which, “…memory eliminates the bad and magnifies the good.” Mark Masyga ruminates on this concept through his process of addition and subtraction in his compositional constructions. The linear abstract paintings in this exhibition chronicle a passage of time as explored through the artist’s application...

Known for her idiosyncratic cartographic explorations of the psyche and mental states, Smith incorporates outer and inner geographical regions in this piece. The finished work is a d...

Original painting by Paola Zarate & Mark Wilson Two best friends completed a wonder of artworks for a weekend in Silverdale, Washington. "Smile For Me" represe...

"Untitled" mixed media artwork, including graphite, oil stick, acrylic paint, oil paint and oil pastels, on gallery-wrapped canvas by artist Jim Stella. Signed Jim Stella and dated 2...

"Untitled" mixed media artwork, including graphite, oil stick, acrylic paint, oil paint and oil pastels, on gallery-wrapped canvas by artist Jim Stella. Signed Jim Stella and dated 2...

Reilly uses a toning technique to endow her graphite works with a smooth, seamless quality. Rather than distinct outlines, her flower petals glide gracefully into the surrounding spa...

An homage to cannabis and weed culture, Mary Reilly works with both powdered graphite and graphite pencil on paper in her photorealist drawing, "The Crew." The artist memorializes tr...

Oil and graphite on board

French School, circa 1900 Young Woman with a Wide-Brimmed Hat Charcoal and black chalk with white highlights on thick cream laid paper 20 × 29.2 cm Academic study of a young woman ...