Carol Bennett

"Expedition" Oil painting of a woman in a red swimsuit in a blue pool

2016

"I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has followed me over the years, resurfacing and evolving. Pr...

"I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has followed me over the years, resurfacing and evolving. Pr...

"I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has followed me over the years, resurfacing and evolving. Pr...

"I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has followed me over the years, resurfacing and evolving. P...

Abstract oil painting of a woman in a blue pool. "I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has follow...

Abstract oil painting of a woman in a red swimsuit in a blue pool. "I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The Swimmer s...

ANNA KINCAIDE "Sounds of Summer (Diptych)" Oil & Mixed Media on Canvas 60 x 120 inches Communicating emotion and narrative with limited assistance from her figure’s facial expressio...

ANNA KINCAIDE "Wonder With Me (Triptych)" Oil & Mixed Media on Canvas 60 x 120 inches Communicating emotion and narrative with limited assistance from her figure’s facial expression...

Guy Pene du Bois' "Two Figures in Courtroom" is a WPA era American scene oil painting created in a realistic style. Modernism at its best The work is framed by Heydenryk. Pène du Bois descended from French immigrants who settled in Louisiana in 1738 and was raised in a Creole household. He was born in 1884 in Brooklyn, NY and first studied with William Merritt Chase at the New York School of Art and later continued his training with Robert Henri. Pène du Bois was greatly impressed with Henri's credo that "real life" was subject matter for art and throughout his life a realist philosophy informed his art as well as his parallel career, art criticism. In 1905, Pène du Bois made his first visit to Paris where he painted scenes of fashionable people in cafes rendered in the dark tonalities and impasto associated with the Ashcan School. By 1920, he had achieved his mature style, which was characterized by stylized, rounded, almost sculptural figures painted with invisible brushstrokes. The subjects of his paintings were often members of society whom he gently satirized. In 1924, Pène du Bois and his wife, Floy, left for France where they would remain until 1930. Returning to America showcases pictures the artist produced after this very productive period abroad. After five years of living in France, Pène du Bois was able to observe American life with fresh eyes. His work becomes more psychologically intense and less satirical. In Girl at Table a slender, blond is shown gazing at a small statue that she holds at arm's distance. The meaning is elusive, but a powerful sense of longing is evoked. Similarly, paintings such as Dramatic Moment and Jane are taut with unresolved dialogue. Both pictures depict mysterious interiors in which a lone woman anxiously awaits the denouement of a suspenseful scene. Other pictures, for example, Chess Tables, Washington Square and Bar, New Orleans, recall Pene du Bois's Ashcan origins in their depiction of urban entertainment. During this period, landscape becomes an important subject for Pène du Bois. Girl Sketching...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by LeRoy Neiman (1921 – 2012). LeRoy Neiman was born in 1921 in St. Paul, Minnesota. He displayed a great talent for art at a young age, working as an illustrator for local grocery stores as a teenager. Even after being drafted into the Army in 1942, he spent his spare time painting murals on the walls of kitchens and mess halls, where he served as a cook. Once the Army’s Special Services Division took notice of his talents, he was sent to work on painting stage sets for Red Cross shows in Germany after the war. Upon returning to the United States, Neiman enrolled briefly at the St. Paul School of Art before attending the School of the Art Institute of Chicago and later, teaching figure drawing and fashion illustration there. While working at the Art Institute of Chicago, Neiman discovered his primary medium, enamel house paint, when a janitor threw out some half-empty cans of it next door to his apartment. From this medium, he embraced a technique of rapid paint application. While freelancing as an illustrator for the Chicago department store, Carson Pirie Scott, in the 1950s, Neiman met Hugh Hefner, who would become a great friend and help establish his artistic reputation. In 1954, Hefner showed Neiman’s paintings to Playboy’s Art...

Edward Lamson Henry (American, (1841 - 1919)) “The Warning” Grisaille on paper mounted on board, signed lower left ‘E L Henry’ (partially obscured by frame) ...

Procaccini was born in Bologna, but his family moved to Milan when the artist was eleven years old. His artistic education was evidently familial— from his father Ercole and his elder brothers Camillo and Carlo Antonio, all painters—but his career began as a sculptor, and at an early age: his first known commission, a sculpted saint for the Duomo of Milan, came when he was only seventeen years old. Procaccini’s earliest documented painting, the Pietà for the Church of Santa Maria presso San Celso in Milan, was completed by 1604. By this time the artist had made the trip to Parma recorded by his biographers, where he studied Correggio, Mazzola Bedoli, and especially Parmigianino; reflections of their work are apparent throughout Procaccini's career. As Dr. Hugh Brigstocke has recently indicated, the present oil sketch is preparatory for the figure of the angel seen between the heads of the Virgin and St. Charles Borrommeo in Procaccini's altarpiece in the Church of Santa Afra in Brescia (ill. in Il Seicento Lombardo; Catalogo dei dipinti e delle sculture, exh. cat. Milan 1973, no. 98, pl. 113). As such it is the only known oil sketch of Procaccini's that can be directly connected with an extant altarpiece. The finished canvas, The Virgin and Child with Saints Charles Borrommeo and Latino with Angels, remains in the church for which it was painted; it is one of the most significant works of Procaccini's maturity and is generally dated after the artist's trip to Genoa in 1618. The Head of an Angel is an immediate study, no doubt taken from life, but one stylistically suffused with strong echoes of Correggio and Leonardo. Luigi Lanzi, writing of the completed altarpiece in 1796, specifically commented on Procaccini's indebtedness to Correggio (as well as the expressions of the angels) here: “Di Giulio Cesare...