Edwin Georgi

Man on Floor Illustration

Circa 1950- 1959

Alexander Sharpe Ross gives us a voyeur view of an attractive couple kissing and embracing on a couch. Sharpe's radical use of composition is on ...

Arnold Friedman studied with Robert Henri and Kenneth Hayes Miller at the Art Students League in 1905 . Yet as he developed his style he abandoned the academic influence of his teacher. He started experimenting with materials and techniques. Friedmans intimate style recalls a variety of post-impressionist artists such as Pointillism of Pisarro, Vuillard and Nabis, and perhaps even Seurat. His thick application of paint has definitive textual impasto that was influenced by his trip to Paris in 1909. In "Museum Piece...

Tapered hands and pointy-toed female figures along with the cropped legs of a stagehand are depicted in a dance performance. Blanchard was a fashion illustrator and worked for many years in the advertising department of Lord & Taylor. Work is modestly framed Stamped on back "Copyright Conde Nast...

An illustrator for Time, Life, Look, True, True West, Saturday Evening Post, Good Housekeeping, Readers Digest, and others, he also painted for adverti...

Among the many accolades I would grant Dean Cornwell, the one that rises to the top would be that he is one of America's greatest portrait painters. With a few strokes, he captures h...

O MARA'S MUNICIPAL TAVERN - Saturday Evening Post Illustration Supreme technical skill allows the artist to realistically capture an...

Grace Pischner Miller was born in Washington on January 12, 1912. She painted primarily in watercolors. She specialized in landscapes and seascapes of California. Two paintings of "Raggedy Ann...

Paul G. Oxborough's mastery as a painter has been firmly established over a decades-long career. His ability to render light in a room has been compared to the work of Velázquez; the...

Albert Pels (1910 - 1998) Three Engineers, circa 1935 Oil on board 10 x 13 1/2 inches Signed lower right Albert Pels was an art educator and painter of figures, genre scenes, urban ...

Zoe Hawk Artist Statement My work deals with the complex experience of girlhood, exploring adolescent anxiety, feminine identity, and belonging. These themes are tackled within scen...

Zoe Hawk Artist Statement My work deals with the complex experience of girlhood, exploring adolescent anxiety, feminine identity, and belonging. These themes are tackled within scen...

In the latter half of the nineteenth century and into the first decade of the twentieth, New York City art aficionados could count on finding recent work of Seymour Joseph Guy hanging on the walls of the city’s major galleries. Primarily a genre artist, but also a portraitist, between 1859 and 1908 Guy showed more than seventy works at the National Academy of Design. From 1871 to 1903 he contributed over seventy times to exhibitions at the Century Club. From 1864 to 1887, he sent about forty pictures to the Brooklyn Art Association. A good number of these works were already privately owned; they served as advertisements for other pictures that were available for sale. Some pictures were shown multiple times in the same or different venues. Guy was as easy to find as his canvases were omnipresent. Though he lived at first in Brooklyn with his family and then in New Jersey, from 1863 to his death in 1910 he maintained a studio at the Artist’s Studio Building at 55 West 10th Street, a location that was, for much of that period, the center of the New York City art world. Guy’s path to a successful career as an artist was by no means smooth or even likely. Born in Greenwich, England, he was orphaned at the age of nine. His early interest in art was discouraged by his legal guardian, who wanted a more settled trade for the young man. Only after the guardian also died was Guy free to pursue his intention of becoming an artist. The details of Guy’s early training in art are unclear. His first teacher is believed to have been Thomas Buttersworth...