Frank Schoonover

I'm Going to be Married

1930

Medium: Oil Painting Signature: Signed Lower Left Hide Rack

Medium: Oil on Canvas Signature: Signed Lower Right

Story illustration for "Beaver Woman's Vision" by James Willard Schultz, published in The American Boy, July 1935, pg. 5 The White Buffalo Robe, Schutz, pg. 30 Literature: Schoono...

Initialed and dated 'FES/26' center right Literature: Courtney Ryley Cooper, “Oklahoma” in Country Gentleman, May 1928: 28. Louise Schoonover Smith, LeeAnn Dean, John R. Schoonover...

A somewhat similar Cornwell featuring a strong woman at the center of a the composition just sold at Christie's for $164,000. In this work we also see a strong woman at the center of the composition. Here she surrounded by men. More than 20 beautifully rendered post-impressionist portraits in character, define Dean Cornwell as one of America's great artists. In his time, he was a famous as Norman Rockwell and was Norman Rockwell's favorite illustrator. "One thing puzzled Dirty Dan extremely. That was the perfectly frank, friendly manner in which his employer and this outcast woman greeted each other, the earnestness with which they conversed, and the effect of the woman's low-spoken words upon the color of Hector McKaye's face." Morris Weiss collection...

This painting is as much about the artist's brilliant painting skills and technique as it is about the subject matter. Sundblom's quick bravura brush strokes seem abstract on close i...

Pruett Carter captures the quintessential look of the 1950's in this loosely rendered but charming work for Redbook. Bright, punchy colors define each object and are arranged in a simplified but complex composition of intersecting and overlapping planes of color. The double portrait of the girl expresses a peak moment of introspection. She ponders her situation while preparing to get dressed for her special occasion. The whole scene is imbued with suspense about her future. Carter is a great academic painter. With just a few light touches of the brush, he quickly defines the form of the subject and achieves the X factor of the work. The profile and frontal view of the girl clearly are the same person. He nails her look. This is hard to do. Do not underestimate it. Sadly, there is a reason why there are very few contemporary artists can actually paint and draw without tracing photographs or resort to naive painting. It's hard to do. It's hard to be a painter. You can not fake...

Irving Ramsay Wiles, 1861-1948 A Fashionable Young Lady Oil on canvas 28 1/8 x 22 5/8 inches Signed lower right: Irving R Wiles Illustrator, teacher, and painter Irving Ramsey Wiles was adept at portraits, figural works, and landscapes characterized by the informal elegance of cosmopolitan American art at the turn of the twentieth century. Wiles received his earliest art instruction from his father, landscape painter and teacher Lemuel M. Wiles (1826–1905), and at the age of eighteen, in 1879, exhibited his first painting at New York’s prestigious National Academy of Design. After one year’s study at the Art Students League in New York, under the influential painter-teachers William Merritt Chase and J. Carroll Beckwith, Wiles went to Paris for further study. He enrolled in the Académie Julian, a popular school among American artists, and then worked in the studio of French academic painter Charles Auguste Émile Durand, known as Carolus-Duran (1837–1917). During his student years Wiles painted watercolor street scenes of Paris, and he also traveled in Italy and in the French countryside. Wiles returned to New York in 1884 and exhibited two of his sketches. These attracted the notice of the art editor of the popular Century Magazine, who asked the young artist to make illustrations for the journal. Wiles’s illustrations appeared in other publications as well, and he also supported himself by teaching at his studio and at his father’s summer art school in upstate New York. Wiles was elected a member of the progressive Society of American Artists and, after one of his works won a prize there, to the National Academy of Design as an associate member; full membership followed in 1897. By that date, Wiles was able to devote himself more fully to portraits and figural compositions in oils, paintings that mark the influence of his teacher Chase, who remained a lifelong friend. Like his mentor, Wiles also worked in watercolor and pastel and belonged to several organizations devoted to those media, which enjoyed revivals in late-nineteenth-century America. He exhibited his work widely and won numerous awards throughout his career. In the late 1890s, Wiles and his father moved their summer classes to Peconic, on the North Fork of New York’s Long Island...