"Dolly - Flower Woman" ELDERLY BLACK AFRICAN AMERICAN FLOWER VENDOR SMOKING PIPE
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Elizabeth Verner"Dolly - Flower Woman" ELDERLY BLACK AFRICAN AMERICAN FLOWER VENDOR SMOKING PIPECirca 1930s
Circa 1930s
About the Item
- Creator:Elizabeth Verner (1883 - 1979)
- Creation Year:Circa 1930s
- Dimensions:Height: 12 in (30.48 cm)Width: 12 in (30.48 cm)Depth: 3 in (7.62 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Please visit my 1stdibs store front for other great works of art.
- Gallery Location:San Antonio, TX
- Reference Number:1stDibs: LU76936166672
Elizabeth Verner
South Carolina artist, Elizabeth Quale O'Neill, was born on December 21, 1883, at 38 Chalmers Street in Charleston, South Carolina. She was one of 11 sisters and 2 brothers. She showed an early interest in art. Starting in her teen years, she began painting cityscapes of Charleston and set up her first studio in the rear of her parents' house at 43 Legare Street. Her artistic gifts were encouraged and developed by her maternal grandfather, Henry Franklin Baker, who had been a student at the Pennsylvania Academy of the Fine Arts and by Alice Ravenel Huger Smith, a Charleston artist. After graduating in 1900 from Ursuline College in Columbia, South Carolina, Miss O'Neill enrolled at the Pennsylvania Academy of the Fine Arts. She fell under the influence of Thomas Anshutz, and his encouragement caused her to work hard at her technique. After two years she left, and taught for a year in Aiken, South Carolina, before returning to Charleston, where she lived out her life. She remained in the realist school of painting as exemplified by Thomas Eakins when the art world was swept away by the international modernist movement. Her sex was no hindrance to success and she was showered with acclaim and honors. In 1907, she married E. Pettigrew Verner., together tThey had two children, Elizabeth Pettigrew (born 1908) and David Battle (born 1911). From 1910 to 1936, she had her second studio in the garden at 3 Atlantic Street and also shared other studio space with Alice Huger Ravenel Smith. In the early 1920s, she began etching and widely exhibiting. Her husband, E. Pettigrew Verner, died in 1925. She attended the London Central Arts School as an honored artist in 1930 and traveled through Europe, while abroad.
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She married Thomas E. Myers in 1932 and ceased etching in 1933. Her third studio (1936) was at 85 Church Street in Charleston, South Carolina. In 1937, she traveled to Japan and produced drypoints of Japan, but by 1937, she began work as a pastelist.In 1938, she established her fourth and last studio at 38 Tradd Street, Charleston, South Carolina. During this time she traveled to the Caribbean, Mexico, Europe, the Orient and produced pastels and watercolors from her trips.
A leader in establishing Charleston, South Carolina as a dynamic cultural center, Elizabeth Verner depicted the historic city's seemingly endless supply of subject matter including lush landscape, architectural landmarks and local people. Many of her paintings were pastel on silk. She was also proficient as an etcher and a part of the Charleston Etcher's Club, whose members did etchings of Charleston's historic architecture. Their work, published in national media, brought widespread attention to the charms of the area. She worked especially hard, printing her own plates and selling prints, and during the spring seasons, opened her studio to tourists and housed visitors in her home. She also served as a guide to Charleston and wrote and illustrated several books that furthered her own career as well as promoted Charleston as a visitor destination. When the mayor tried to outlaw flower vendors, she fought to retain the black women who came from outlying areas to sell their flowers and hand made baskets. She wrote: I wanted the flower women because I painted them and I need them as models (Magazine Antiques 11/98). These subjects appear regularly in her etchings.
She was also one of the few artists of the Charleston Renaissance to work in pastel, which she pursued after being inspired by an exhibition of floral pastels by Laura Coombs Hills in Boston. From that time, Verner was persuaded that pastels were a more effective medium for conveying her flower vendors. Art was her avocation. In 1968 she suffered a broken back and in 1979, she died in Charleston. Her long career, which stretched from the turn of the Twentieth Century until her last large work in 1967, includes all the etchings that were made between 1925 and 1932 and all the drypoints that were produced between 1932 and 1937. Her former home and studio from 1938 is now The Elizabeth O'Neill Verner Museum at 79 Church Street in Charleston.
Verner was a founder of the Charleston Sketch Club. Etching was then popular among amateur art associations, and she learned the techniques of printmaking with Alice Smith. Verner was among the founders of the Charleston Etching Club in 1921. That year, the Southern States Art League held its first exhibition in Charleston, and she served on its board from 1922 to 1933 and exhibited with it until its demise in 1950. In 1923, one of her etchings won third prize at the Charleston County Fair, a humble beginning for one who was to achieve a national reputation. In 1924 she was represented at the International Exhibition of the Chicago Society of Etchers. Alice Smith then persuaded her to become a professional artist. She opened a workshop and showroom on Atlantic Street, where Leila Waring, Alice Smith and Anna Heyward worked. In Mrs. Verner's words: Until 1925, I had two hobbies, art and love of Charleston. I combined them into one profession.
From the outset, her favorite subject was the Lowcountry of South Carolina, its marshes, flowers, trees and birds, but above all, Charleston itself. Her interest in the architectural environment of Charleston was not limited to art. She was a charter member of the Society for the Preservation of Old Buildings. Her art, more than mere words, conveyed what it was about Charleston that merited preservation. In 1926, Verner received her first commercial commission - for twelve drawings to illustrate a promotional brochure on Hollywood-by-the-Sea in Florida. That year, she bought her own press for printing etchings. Most of her works were sold to tourists as souvenirs of the city. In 1928, she did etchings of Savannah, the preservation of which also interested her. In 1929, Verner was asked by the Mount Vernon Ladies’ Association to execute drawings of that house for use in fundraising, which was a labor of love for the artist. A trip to New York City in 1932 resulted in the sale of drawings to Rockefeller Center, and of twelve others for reproduction as postcards. At Doll and Richards Gallery in Boston, she exhibited etchings in 1934, including one called Kitchen Courtyard, In 1935, she showed not only prints, but pastels, which she had just begun doing. After a trip to Japan in 1937, she perfected a technique for applying layers of pastel to silk mounted on wood, which she called vernercolor. Although increasingly interested in pastels, she did not abandon drawing and etching.
In 1939, she exhibited 12 etchings of Japan in Boston. In 1950, she was commissioned to depict Princeton University. Verner's first book, Prints and Impressions of Charleston appeared in 1939, and in a larger format in 1945. It was called the best book of Charleston pictures that has been published by the Christian Science Monitor, the New York Herald Tribune and the Boston Post. A second book, Mellowed by Time, appeared in 1941, and her drawings were accompanied by her romantic reminiscences of Charleston in bygone days. Forty-three of her non-Charleston etchings appeared in "Other Places", her term for the world apart at the area at the confluence of the Ashley and Cooper rivers. In the late 1920s, she had illustrated the title page of the Charleston edition of DuBose Heyward's Porgy and Bess and Peter Mitchell Wilson's Southern Exposure, Howard Mumford Jones' French and American Culture and The Carolina Low Country, a compendium of spirituals. In 1947, Verner was awarded honorary degrees by the University of North Carolina and the University of South Carolina. Other honors followed.
She had solo shows in Charleston in 1963, at Manila in the Philippines in 1964, in Spartanburg in 1970, Columbia and Sumter in 1971 and Beaufort in 1972. She died in 1979 at age 95. A body of her work was bequeathed by George Graves to the Metropolitan Museum of Art in 1933. Her work is also represented in Boston at the Museum of Fine Arts, the High Museum in Atlanta, the Library of Congress and the Chicago Society of Etchers. Besides the already-mentioned Charleston Sketch Club, Charleston Etching Club and Southern States Art League, she was also a member of the Carolina Art Association, the Art Association of New Orleans, the Chicago Society of Etchers and the Washington Watercolor Club. Verner considered her contribution to historic preservation to be her greatest achievement. Her efforts resulted in the preservation of many buildings, but the character of the city changed nonetheless. Her artworks capture something of what DuBose Heyward called the faded aroma of the past. Artists have played an important role in the life of Charleston since the 1700s, but none managed to become so closely identified with that unique city as Elizabeth O'Neill Verner. In recognition of her contribution to the arts, the state of South Carolina named a prestigious annual art award after Verner.
- "Little Fisherman"By Delbert CoombsLocated in San Antonio, TXDelbert Coombs (1850 - 1938) Maine Artist Image Size: 12 x 9 Frame Size: 15 x 12 Medium: Oil Dated: 1897 "The Little Fisherman" Biography Delbert Coombs (1850 - 1938) Delbert Dana Coombs was born in Lisbon Falls, Maine, on July 26, 1850. Although primarily self-taught, Coombs took painting lessons from Scott Leighton...Category
1890s Impressionist Figurative Paintings
MaterialsOil
- "San Sebastian" Awesome Larger Mid Century Austin Texas piece.By Kelly FearingLocated in San Antonio, TXKelly Fearing (1918-2011) Austin Artist Image Size: 42.25 x 30 Frame Size: 48.5 x 36.5 Medium: Oil/Gaouche "San Sebastion" Biography Kelly Fearing (1918-2011) The following information is from the artist's obituary, University of Texas Education News Prominent Artist and Art Educator Kelly Fearing Dies at 92 AUSTIN, Texas — Artist, art educator and University of Texas at Austin Professor Emeritus Kelly Fearing died on March 13 at his home in Austin, at the age of 92 due to congestive heart failure. Fearing was a professor emeritus in university's Department of Art and Art History. He taught at the university from 1947-87, and was presented the College of Fine Arts' E. William Doty Award in 2007, the college's highest honor recognizing him as an individual of distinction in his field who has demonstrated extraordinary interest in the college. "Kelly Fearing was the quintessential Renaissance man," said College of Fine Arts Associate Dean Ken Hale. "He was an artist, an author and an educator. His talent was extraordinary. He worked in almost all traditional mediums and excelled in oil painting and collage. Fearing was very well educated in all of the arts and enthusiastically passed that knowledge on to literally thousands of students. The University of Texas and the state of Texas have benefited greatly from the creativity and generosity of Kelly Fearing. His passing is a loss for us all." Born in Fordyce, Ark., Fearing was raised in Louisiana, studied art at Louisiana Tech University, earned a master's degree from Columbia University and went to Fort Worth during World War II to serve his country in a defense job. While being trained in graphic drafting for a company that was making bombers for the U.S. military, Fearing was introduced to other aspiring artists in the Fort Worth area. This group of avant-guard printmakers and artists became known as the Fort Worth Circle, and Fearing was one of its core members. Collectively, they were instrumental in introducing modernist ideas to Texas art. After teaching at Texas Wesleyan College from 1945-47, he came to The University of Texas at Austin as the Ashbel Smith Professor in Art in 1947. He retired from the university in 1987 and continued to work as a professional artist. His art has been referred to as magical realist, mystical naturalist and Romantic surrealist. As a pioneer in art education in America, Fearing founded The University of Texas Junior Art Project, the first visual arts outreach program of its kind in Texas. The program offered children of all ages and from all economic backgrounds free, university-based instruction and exposure to the arts. Kelly Fearing has been an important artist working in Texas since the 1940s. After doing his graduate work at Columbia University in New York City, Fearing established himself as a surrealist painter and print maker in Fort Worth, and then became one of the founding members of the art faculty at the University of Texas at Austin. He has had recent exhibitions at the Valley House Gallery in Dallas, Texas, and at the Archer M. Huntington Art Gallery in Austin, Texas. Fearing lives and works in Austin, Texas. Courtesy of Flatbread Press and Gallery Added note: Kelly Fearing died of congestive heart failure in 2011 in Austin, Texas. William KELLY FEARING (1918-2011) Born in Fordyce, Arkansas, Kelly Fearing entered college as an accounting major but quickly discovered his intense interest in art. He studied art at Louisiana Tech University and later at Columbia University. He taught public school briefly before relocating to Texas to teach art at the university level in El Paso and Fort Worth before joining the faculty at the University of Texas at Austin. Selected Biographical and Career Highlights · 1918 Born in Fordyce, Arkansas · 1941 BA, Louisiana Polytechnic Institute, Ruston, Louisiana · 1941-42 Teacher, Winfield Public Schools, Louisiana · 1943-45 Guest Professor, Texas Western College, El Paso, Texas · 1945-47 Instructor, Texas Wesleyan College, Fort Worth, Texas · 1950 MA, Columbia University, New York, New York · 1947-87 Professor of Art, University of Texas at Austin, Texas · 2007 Recipient, William E. Doty Award · 2009 Recipient, Texas Biennial Tribute Artist · 2011 Died in Austin, Texas Selected Prizes, Awards · Texas General/Annual: Purchase Prize 1956; Cash Prize 1945, 1947, 1949, 1953, 1954, 1955, 1963; Recommended for Purchase Prize 1949, 1950 1945 Cash Prize, The Aquarist, oil 1947 Cash Prize for Dream of Jacob, oil 1949 Cash Prize and Recommended for Purchase Prize, The Red Sea, oil 1950 Recommended for Purchase Prize, Man in a Tide Pool, oil 1953 Cash Prize, Tobias and the Angel, oil 1954 Cash Prize, Landscape with Peacock, oil 1955 Cash Prize, St. John in the Wilderness, oil 1956 Purchase Prize, Yellow After the Rain, oil 1963 Cash Prize, Sleeping Philosopher in a Landscape Developing, oil · Fort Worth Local: First Prize 1945; Popular Prize 1944 1944 Popular Prize, USO Street Dance 1945 First Prize, The Kite Flyers, oil · Texas Fine Arts: Purchase Prize 1954; Cash Prize 1952, 1955 (2 works), 1956 1952 Cash Prize 1954 Purchase Prize 1955 Cash Prize for Watercolor, watercolor 1955 Cash Prize, Spring Festival 1956 Cash Prize · Other Exhibitions: Purchase Prize 1945 Texas Print Exhibition; Merit Award 1956 DD Feldman; Honorable Mention 1962 Longview National Invitational 1945 Purchase Prize, The Collector, etching, 5th Annual Texas Print Exhibition 1962 Honorable Mention, Longview National Invitational Selected Exhibitions · 1941 Solo, Louisiana Tech University, Ruston, Louisiana · 1944 24th Exhibition of the Southern States Art League, Dallas Museum of Art, Dallas, Texas · 1944 Fort Worth Local Artists Annual, Fort Worth Art Association Gallery, Public Library, Fort Worth, Texas (popular prize) · 1944 6th Texas General Exhibition 1944-1945, circulated: Dallas Museum of Art, Dallas; Museum of Fine Arts, Houston; Witte Museum, San Antonio; University of Texas at Austin, Texas · 1945 Fort Worth Local Artists Annual, Fort Worth Art Association Gallery, Public Library, Fort Worth, Texas (purchase prize) · 1945 7th Texas General Exhibition 1945-1946, circulated: Witte Museum, San Antonio; Dallas Museum of Art, Dallas; Museum of Fine Arts, Houston; University of Texas at Austin, Texas (cash prize) · 1945 Prints of Fort Worth Artists, Fort Worth Art Association Gallery, Public Library, Fort Worth, Texas · 1945 5th Annual Texas Print Exhibition, Dallas Museum of Art, Dallas, Texas (1st prize) · 1946 8th Texas General Exhibition 1946-1947, circulated: Dallas Museum of Art, Dallas; Museum of Fine Arts, Houston; Witte Museum, San Antonio, Texas · 1947 55 Works of Modern Art Owned in Houston, Museum of Fine Arts, Houston, Texas · 1947 6th Annual Texas Print Exhibition, Dallas Museum of Art, Dallas, Texas · 1947 9th Texas General Exhibition 1947-1948, circulated: Museum of Fine Arts, Houston; Dallas Museum of Art, Dallas; Witte Museum, San Antonio, Texas (cash prize) · 1948 10th Texas General Exhibition 1948-1949, circulated: Witte Museum, San Antonio; Museum of Fine Arts, Houston; Dallas Museum of Art, Dallas, Texas 1945 Prize, 5th Annual Texas Print Exhibition, Dallas Museum of Art, Dallas, Texas · 1948 Watercolors by 16 Texas Artists, Museum of Fine Arts, Houston, Texas · 1948 University of Texas Art Faculty Exhibition, Dallas Museum of Art, Dallas, Texas · 1949 Solo, Fresno State College, Fresno, California · 1949 11th Annual Texas Exhibition of Painting and Sculpture 1949-1950, circulated: Witte Museum, San Antonio; Museum of Fine Arts, Houston; Dallas Museum of Art, Dallas, Texas (cash prize and recommended for purchase prize) · 1950 Texas Wildcat, San Francisco Museum of Art, San Francisco, California · 1950, 1960, 1963 Artists West of the Mississippi, Colorado Springs Art Center, Colorado Springs, Colorado · 1950 12th Annual Exhibition of Texas Painting and Sculpture 1950-1951, circulated: Dallas Museum of Art, Dallas; Witte Museum, San Antonio; Museum of Fine Arts, Houston, Texas (recommended for purchase prize) · 1951 Newcomers: First Showing of a New Generation, Downtown Gallery, New York, New York · 1952 Annual Juried Exhibition, Texas Fine Arts Association, Austin, Texas (cash prize) · 1952 Imaginative Paintings by Kelly Fearing, Santa Barbara Museum of Art, Santa Barbara, California · 1952 Young Collections 1952, Dallas Museum of Art, Dallas, Texas · 1952 Kelly Fearing, Betty McLean Gallery, Dallas, Texas · 1952 Texas Contemporary Artists, M. Knoedler & Company, New York, New York; Contemporary Art Museum, Houston, Texas (catalogue) · 1952 Solo, Cotton Memorial Galleries, Texas Western College, El Paso, Texas · 1952 14th Annual Exhibition of Texas Painting and Sculpture 1952, circulated: Dallas Museum of Art, Dallas; Witte Museum, San Antonio; Museum of Fine Arts, Houston, Texas · 1953 University of Texas Faculty Exhibition, Dallas Museum of Art, Dallas, Texas · 1953 Solo, Santa Barbara Museum of Art, Santa Barbara, California · 1953 15th Annual Exhibition of Texas Painting and Sculpture 1953, circulated: Dallas Museum of Art, Dallas; Museum of Fine Arts, Houston; Witte Museum, San Antonio, Texas (cash prize) · 1954 149th Annual Exhibition, Pennsylvania Academy of Art, Philadelphia, Pennsylvania · 1954 Sacred Art, Catholic University, Washington, DC · 1954 Seventeen Years: An Exhibition of the First Prize Winners in the 17 Annual Exhibitions of Work by Fort Worth Artists Held by the Fort Worth Art Association, Fort Worth Art Center, Fort Worth, Texas (catalogue) · 1954 16th Annual Exhibition of Texas Painting and Sculpture 1954, circulated: Dallas Museum of Art, Dallas; Witte Museum, San Antonio; Museum of Fine Arts, Houston; Fort Worth Art Center, Fort Worth, Texas (cash prize) · 1954 Annual Juried Exhibition, Texas Fine Arts Association, Austin, Texas (purchase prize) · 1954 Religious Art Today, Brown Gallery, Boston, Massachusetts · 1954-56 Artist’s Panorama Traveling Exhibition, Pennsylvania Academy of Art, Philadelphia, Pennsylvania · 1955 Two Texas Artists (Kelly Fearing and Mildred Wood Dixon), Museum of Fine Arts, Houston, Texas · 1955 Pittsburgh International, Carnegie Institute, Pittsburgh, Pennsylvania · 1955 Solo, Fort Worth Art Center, Fort Worth, Texas · 1955 The World Around Us: 100 Years of American Landscape, Dallas Museum of Art, Dallas, Texas · 1955 Annual Juried Exhibition, Texas Fine Arts Association, Austin, Texas (cash prize for watercolor) · 1955 Spring Arts Festival, Texas Fine Arts Association, Austin, Texas (cash prize) · 1955 Young Collections 1955, Dallas Museum of Art, Dallas, Texas · 1955 17th Annual Exhibition of Texas Painting and Sculpture 1955-1956, circulated: Dallas Museum of Art, Dallas; Fort Worth Art Center, Fort Worth; Witte Museum, San Antonio; Texas Fine Arts Association, Austin, Texas (cash prize) · 1955, 1959, 1963 Invitational Exhibition of Contemporary Painting and Sculpture, University of Illinois, Urbana, Illinois · 1956 6th Southwestern Exhibition of Prints and Drawings, Dallas Museum of Art, Dallas, Texas, traveled to: Centenary College, Shreveport, Louisiana; Elisabet Ney Museum, Austin, Texas; University of New Mexico, Albuquerque; Texas Tech College Museum, Lubbock; Museum of Fine Arts, Houston, Texas; University of Tulsa, Oklahoma; Oklahoma A&M College, Stillwater · 1956 Gulf-Caribbean Art Exhibition, Museum of Fine Arts, Houston, traveled to: Dallas Museum of Fine Arts, Dallas; Institute of Contemporary Art, Boston; Munson-Williams-Proctor Institute, Utica; Carnegie Institute, Pittsburg; Colorado Springs Fine Art Center, Colorado Springs, Colorado (catalogue) · 1956 Young Collections 1956, Dallas Museum of Art, Dallas, Texas · 1956 Annual Juried Exhibition, Texas Fine Arts Association, Austin, Texas (cash prize) · 1956 Merit Award, D. D. Feldman Collection of Contemporary Texas Art, Museum of Fine Arts, Houston, Texas (1958, Dallas???) · 1956 D. D. Feldman Collection of Contemporary Texas Art, Museum of Fine Arts, Houston, Texas · 1956 18th Annual Texas Painting and Sculpture Exhibition 1956-1957, circulated: Dallas Museum of Art, Dallas; Witte Museum, San Antonio; Museum of Fine Arts, Houston; Texas Fine Arts Association, Austin; Museum, Texas Tech, Lubbock, Texas (purchase prize) · 1957 Survey of Painting in Texas, Dallas Museum of Art, Dallas, Texas, circulated by American Federation of Arts (catalogue) · 1957 22nd Annual Midyear Juried Exhibition, Butler Institute of American Art, Youngstown, Ohio · 1957 Summer Group Exhibition, Edwin Hewitt Gallery, New York, New York · 1957 Young Collections 1957, Dallas Museum of Art, Dallas, Texas · 1958 Religious Art of the Western World, Dallas Museum of Art, Dallas, Texas · 1958 20th Annual Texas Painting and Sculpture Exhibition 1958-1959, circulated: Dallas Museum of Art, Dallas; Witte Museum, San Antonio; TFAA, Laguna Gloria Gallery, Austin; Beaumont Art Museum, Beaumont; San Angelo Art Club, San Angelo; Museum of Fine Arts, Houston, Texas · 1959 Made in Texas by Texans, Dallas Museum of Contemporary Art, Sheraton-Dallas Hotel, Dallas, Texas (catalogue) · 1959 21st Annual Texas Painting and Sculpture Exhibition 1959-1960, circulated: Dallas Museum of Art, Dallas; Witte Museum, San Antonio; Beaumont Art Museum, Beaumont; Museum, Texas Tech, Lubbock; Museum of Fine Arts, Houston, Texas · 1960 Southwestern Art: A Sampling of Contemporary Painting and Sculpture, Dallas Museum of Art, Dallas, Texas · 1961 Invitational Exhibition of Painters Born in Arkansas, Museum of Fine Arts, Little Rock, Arkansas · 1962, 1963, 1975 Invitational, Longview Museum of Fine Arts, Longview, Texas (honorable mention 1962) · 1963 University of Texas Art Faculty—Past and Present, Museum of Fine Arts, Houston, Texas · 1963 25th Annual Texas Painting and Sculpture Exhibition 1963-1964, circulated: Dallas Museum of Art, Dallas; Centennial Art Museum, Corpus Christi; Beaumont Art Museum, Beaumont; El Paso Museum of Art, El Paso; Witte Museum, San Antonio; University of Texas at Austin, Texas (cash prize) · 1963 The Versatile Shell, Museum of Fine Arts, Houston, Texas · 1963 59th Annual Exhibition of Western Art, Denver Art Museum, Denver, Colorado · 1963, 1966 Christocentric Exhibition, University of Illinois, Urbana, Illinois · 1964 Solo, El Paso Museum of Art, El Paso, Texas · 1964 New York World’s Fair, Texas Pavilion, New York, New York · 1964-65 The Bird in Art, University of Arizona, Tucson, Arizona and the Arkansas Art Center, Little Rock, Arkansas · 1966 Solo, Gallery of Visual Arts, Louisiana Tech University, Ruston, Louisiana · 1967 Solo, University of Texas Art Museum, Austin, Texas · 1968 Texas Painting and Sculpture 1968, Dallas Museum of Art, Dallas, Texas · 1969 Solo, Witte Museum, San Antonio, Texas · 1971 Texas Painting and Sculpture 71, Dallas Museum of Art, Dallas, Texas · 1971–72 Texas Painting and Sculpture: The 20th Century, Pollack Galleries, Owen Arts Center, Southern Methodist University, Dallas, Texas, traveled to: Witte Confluence Museum, HemisFair Plaza, San Antonio; University Art Museum, University of Texas at Austin; Amon Carter Museum, Fort Worth; The Museum, Texas Tech University, Lubbock, Texas (catalogue) · 1974 Solo, The University of Texas at Austin, Austin, Texas · 1977 Solo, DuBose Gallery, Houston, Texas · 1978 U.S. Drawings, Museum, Texas Tech University, Lubbock, Texas · 1978 Solo, L and L Gallery, Longview, Texas · 1979 Made in Texas, Huntington Gallery, University Art Museum, University of Texas at Austin, Texas (catalogue) · 1981 Solo, Spencer Gallery, Fine Arts Center, University of Arkansas, Monticello, Arkansas · 1981 Solo, Moffett Gallery, School of Art and Architecture, Louisiana Tech University, Ruston, Louisiana · 1983 Images of Texas, Huntington Art Gallery, University of Texas at Austin, Texas, traveled to: Art Museum of South Texas, Corpus Christi; Amarillo Art Center, Amarillo, Texas (catalogue) · 1984 Works from the Friends Collections, Art Gallery, School of Art and Architecture, Louisiana Tech University, Ruston, Louisiana · 1985 Solo, Old Jail Art Center, Albany, Texas · 1986 Solo, McNay Art Museum, San Antonio, Texas · 1986 Beyond Regionalism: The Fort Worth School (1945-1955), Old Jail Art Center, Albany, Texas · 1992 Prints of the Fort Worth Circle, 1940-1960, Huntington Art Gallery, University of Texas at Austin, Texas · 1992 Kelly Fearing: The Influence of “The Fort Worth School,” 1939-1955, Valley House Gallery, Dallas, Texas · 1995 Solo, Flatbed Press & Gallery, Austin, Texas · 1996 Solo, Valley House Gallery, Dallas, Texas · 1997 Jupiter’s Loves and His Children, Georgia Art Museum, University of Georgia, Athens, Georgia · 1998 Early Texas Art: A Collectors’ Exhibition, Museum of the Big Bend, Alpine, Texas · 1999 Kelly Fearing: A Search for Mystical Concepts, Pascal/Robinson Galleries, Houston, Texas · 2000 Solo, Flatbed Press & Gallery, Austin, Texas · 2001 First Light: Local Art and the Fort Worth Public Library 1901–1961 . . . A Centennial Exhibit, Fort Worth Central Library, Fort Worth, Texas (catalogue) · 2002 The Mystical World of Kelly Fearing: A Sixty Year Retrospective, traveling exhibition, University of Texas at Austin, Austin, Texas; Old Jail Art Center, Albany, Texas; Arlington Museum of Art, Arlington, Texas (catalogue) · 2002-03 The Eyes of Texas—The Lone Star State as Seen by Her Artists, San Angelo Museum of Fine Art, San Angelo, Texas; Panhandle-Plains Historical Museum, Canyon, Texas (catalogue) · 2005 Celebrating Early Texas Art: Treasures from Dallas-Fort Worth Private Collections, 1900-1960, Fort Worth Community Center, Fort Worth, Texas (catalogue) · 2007 A Life of Art: 1943-Present, Lotus Asian Art...Category
1960s Modern Figurative Paintings
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21st Century and Contemporary Realist Figurative Paintings
MaterialsOil
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2010s Expressionist Figurative Paintings
MaterialsOil
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21st Century and Contemporary Photorealist Figurative Paintings
MaterialsOil
- "Two Boys" CHINESE YOUNG BOYS. ADORABLEBy Tong LuoLocated in San Antonio, TXLuo Tong "Young Chinese Boys" Image Size: 30 x 24 Frame Size: 38.5 x 32.5 Medium: Oil "Two Boys" Biography Tong Luo was born in Huai Yang, County of Henan Province, China, in 1...Category
21st Century and Contemporary Realist Figurative Paintings
MaterialsOil
- Saturday Evening Post Cover, Evening Gown May 21st, 1938By Neysa McMeinLocated in Miami, FLPastel on board - Saturday Evening Post Cover, Evening Gown May 21st, 1938 - Reproduced version looks better because the Saturday Evening Post Art Director retouched the plates before printing and strengthened the colors to give it more newsstand appeal - From Wiki : as an American illustrator and portrait painter who studied at The School of The Art Institute of Chicago and Art Students League of New York. She began her career as an illustrator and during World War I, she traveled across France entertaining military troops with Anita P...Category
1930s American Impressionist Portrait Paintings
MaterialsPastel
- Danseuses a la barre - Impressionist Figurative Pastel - Pierre Carrier-BelleuseBy Pierre Carrier-BelleuseLocated in Marlow, BuckinghamshireSigned figurative pastel on canvas circa 1910 by French genre painter Pierre Carrier-Belleuse. The work depicts three ballerinas wearing white tutus, warming up in a studio. Carrier-Belleuse was a contemporary of Edgar Degas and they exhibited simultaneously at the major Salons in Paris. This classic example evokes the Belle Epoque period in french history and is superbly executed. Signature: Signed lower right Dimensions: Framed: 29"x24" Unframed: 26"x21" Provenance: Private French collection Pierre Carrier-Belleuse studied at the École des Beaux-Arts in Paris under Alexandre Cabanel and the interior decorative artist Pierre Victor Galland. He started out as an oil painter and produced genre compositions, such as his Final Rendezvous. From 1885, however, he opted to work exclusively in pastel, producing a large number of sketches and portraits but always remaining faithful to his earlier genre compositions. Examples include Pierrot, Harlequin, Woman with Cat. The periodical Figaro Illustré published a large number of his sketches of dancers, a recurrent theme throughout his work. From 1875, Pierre Carrier-Belleuse exhibited frequently at the Paris Salon, receiving an honourable mention in 1887 and being awarded a silver medal at the Exposition Universelle of 1889. Museum and Gallery Holdings: Dunkirk: Dancer Adjusting her Shoe (pastel) Gray: On the Dunes; In the Sun La Rochelle: Dancer Le Puy-en-Velay: Fantasy Mulhouse: Mule's Bonnet Paris (Municipal Collection): Tender Vow (pastel) Versailles...Category
1910s Impressionist Figurative Paintings
MaterialsCanvas, Pastel
- "Rebecca, " Original Pastel PaintingBy Dan BeckLocated in Denver, CO"Rebecca," by Dan Beck, is a secondary market work with one previous owner. It was created ca. 1992 and comes with its original frame, which measures 19.75 x ...Category
21st Century and Contemporary Impressionist Figurative Paintings
MaterialsPastel, Paper
- Elegant Portrait of Young Lady Paris School Mid 20th Century Listed ArtistLocated in Cirencester, GloucestershirePortrait of an Elegant Lady original pencil drawing on paper signed by Marjorie Schiele (1913-2008) *see notes below piece of paper is 12 x 8 inches In good condition, though with mi...Category
Early 20th Century American Impressionist Portrait Paintings
MaterialsCrayon, Pencil
- Elegant Portrait of Young Lady Paris School Mid 20th Century Listed ArtistLocated in Cirencester, GloucestershirePortrait of an Elegant Lady original pencil drawing on paper by Marjorie Schiele (1913-2008) *see notes below piece of paper is 8.5 x 6 inches In good condition, though with minor o...Category
Early 20th Century American Impressionist Portrait Paintings
MaterialsCrayon, Pencil
- Elegant Portrait of Young Lady Paris School Mid 20th Century Listed ArtistLocated in Cirencester, GloucestershirePortrait of an Elegant Lady original pencil drawing on paper signed by Marjorie Schiele (1913-2008) *see notes below piece of paper is 12 x 8 inches In good condition, though with mi...Category
Early 20th Century American Impressionist Portrait Paintings
MaterialsCrayon, Pencil