Canvas Figurative Paintings

In Byron Brown's "The Night Journey", 1947, Picasso meets Jackson Pollock. Here Brown strikes a balance between fanciful representation and abstraction. ...

Signed Lower Left

Date: 1941 Medium: Oil on Canvas Dimensions: 30.00" x 45.00" Signature: Signed Lower Left Illustration for Look magazine & Calendar Illustration

Medium: Oil on Canvas Signature: Signed Lower Right and Titled on reverse Dimensions: 28.13" x 25.13" (71.45 cm x 63.83 cm) Literature: Temple Bailey, Bridal White, The American Mag...

Robert Alexander Darrah “R.A.D.” Miller (1905 - 1966) Robert Alexander Darrah Miller, called “RAD” by his friends, was born in Philadelphia. He enrolled at the Pennsylvania Academy of the Fine Arts from 1923 to 1927 under the tutelage of Daniel Garber. In 1928, Miller moved to Bucks County where he would meet and marry Celia Belden Marshall, daughter of Dr. George M. Marshall, who at that time owned the Phillips Mill property. Nearly a year later, in 1929, a committee headed by artist, William Lathrop, negotiated to purchase the Mill property from Dr. Marshall for the purpose of holding art exhibitions. Thus, the Phillips Mill Art Association was formed. RAD Miller was a regular exhibitor at the Phillips Mill with the traditional New Hope Impressionists. Many of the original founders of the New Hope Art Colony, set in their ways, frowned upon the concept of modernist painting. A decision was made by the Association to not include the growing group of modernist painters in the area to exhibit with them at Phillips Mill. Although clearly not a traditional impressionist, Miller was not being excluded with the others, largely because his father-in-law formerly owned the mill and was one of the Association’s board of directors. RAD was sympathetic to his fellow modernists. In 1933, he was one of the original members of the Independents, a group formed for modernist artists who chose to embark on a more non-traditional creative path. They would exhibit in tandem with the Impressionists but at different locations. Around the time of his arrival to New Hope in 1928, Miller struck up a friendship with Thomas Hart Benton, and in 1932 he worked under Benton on a mural project. RAD’s paintings...

In some instances, a painting will look significantly much better in person than it does digitize. This is one instance. In-person, this painting will knock your socks off. It is...

Exhibitions: It's a Man's World, Illustration Art by and for Men: November 14-17 2012, Illustration House NYC

"At the Opera" WPA Social Realism Mid 20th Century Modern Theatre American Scene John Winters (1904 - 1983) "At the Opera" 17 x 14 inches oil on canvas Signed and dated 1943 lower r...

By French famous Transgender artist, Michel Marie Poulain (Born Paris December 5, 1906. Died 1991) this rare oil on canvas it represents the Queen and he...

Signed expressionist oil on canvas portrait circa 1942 by French painter Jean Albert Pougny. The work depicts a violinist in an interior. Signatur...

This is a possible self portrait by the famed female surrealist artist. It is also strikingly similar in style with it's exaggerated eyes to her portrait of Jean Genet, ( Leonor F...

Frame size 42 x 52.5 inches ELISABETH RONGET "AU CAFE” OIL ON CANVAS, SIGNED FRANCE, C.1940 Elisabeth Ronget 1886-1962 Elisabeth Boehm Ronget was born in 1896 in Conitz, Polan...

Joaquín Asensio Mariné (1890-1961) - Beach - Oil on canvas Oil measures 65x81 cm. Frame measures 81x96 cm. Asensio Mariné (Barcelona, 1890-1961) was a painter who specialized in lan...

Date: 1940 Medium: Oil on Canvas Signature: Signed Lower Right Dimensions: 26.00" x 26.00" Fertilizer advertisement, image of a man, girl, boy and dog. This illustration was also a...

Oil on canvas. Framed. Signed lower right.

JJ Nowotny Untitled, 1944 (date partially obscured but appears to be '44) Oil on canvas 24 x 30 in. Framed: 31 x 37 x 2 in. Signed and dated lower right

Old World, by 1943, oil on canvas, signed lower right, 43 ½ x 30 ½ inches, artist’s name and title inscribed verso; exhibited 1) Romantic Painting in America, Museum of Modern Art, N...

Riders of Pigeon Hill, c. 1940s, oil on canvas, signed lower right, 24 x 36 inches, label verso with title, artist’s name and address; same information inscribed verso; ex-collection...

"Two Seas and a Moon" Surrealism American Scene WWII Modern WWI Denver WPA Era Arnold Ronnebeck (1885 - 1947) Two Seas and a Moon 30 x 22 1/2 inches Oil on Canvas, c. 1943 Signed u...

Stowe Vermont Village Sleigh Ride - Mid Century Winter Figurative Landscape A bright, crisp morning and a sleigh ride through new snow in Stowe, Vermont...

Nicely painted mid century impressionist bather scene by John Edward Costigan (1888 - 1972). Oil on board. Framed. Signed verso.

Initialed lower right, 'A.E.M' for Anna Elisabeth Munch (Danish, 1876-1960) and painted circa 1940. This notable Danish Modernist first studied with Karl Jensen (1889) and C. N. Overgaard (1891–1892). She later traveled and studied in Italy and, subsequently, at the Académie Julian under Jean Paul Laurens and Benjamin Constant. After her return to Denmark, Munch became a student of the Impressionist Julius Paulsen (1895-1897) and made her début at the 1898 Charlottenborg Spring Exhibition. Munch became the first Danish woman to receive commissions for large devotional altarpieces and her early subjects were often derived from Nordic and Christian mythology. These themes were also explored in the large fresco commissions she completed after studying fresco with Joakim Skovgaard (1909-10). Munch continued her studies in both France and Italy and also traveled extensively to Sweden and Norway. Together with the writer Sophie Breum, Munch built a house on the island of Funen at the artist's colony of Kerteminde. Munch illustrated several of Breum's books and, through her, was introduced to the women's movement. She furthered her art studies with Fritz Syberg...

Artist: Pál Fried (Hungarian, 1893-1976) Title: "Hortense (Ballerina)" *Signed by Fried lower left Circa: 1940 Medium: Original Oil Painting on Canvas Framing: Framed in a light gold...

Signed figures and animals in cityscape oil on canvas circa 1940 by French impressionist painter Jules Rene Herve. This large piece depicts a view of Paris on a bright summer's day. Children enjoy donkey rides in the shade of the green trees and there is a view of the Champs-Elysees. Signature: Signed lower left & again verso Dimensions: Framed: 40"x48" Unframed: 32"x40" Provenance: Private UK collection Jules Rene Hervé began his formal art studies in an evening school in Langres, France. Hervé was trained at the Ecole nationale supérieure d’arts decoratifs of Paris, and studied with Fernand Cormon and Jules Adler...

Oil on canvas dating from 1946 by Jean-René Chatelain. Beautiful canvas of a neo-realism soothed. Measurements : with frame: 81x72x7.5 cm - 31.9x28.3x3 inches, without frame: 68x58 c...

This mid-20th-century oil painting by Danish artist Sophus Vermehren (1866-1950) depicts a grandmother reading to her granddaughter, who is convalesci...

Signed impressionist figures in cityscape oil on canvas circa 1940 by French painter Jules Rene Herve. This bustling evening scene depicts a view of The Place de l'Opera square in Paris, France. Signature: Signed lower left & again verso Dimensions: Framed: 25"x29" Unframed: 18"x22" Provenance: Private French collection Jules Rene Hervé began his formal art studies in an evening school in Langres, France. Hervé was trained at the Ecole nationale supérieure d’arts decoratifs of Paris, and studied with Fernand Cormon and Jules Adler...

James Chapin Man on First, 1948 Signed lower right Oil on canvas 28 x 24 inches Provenance: D. Wigmore Fine Art Co., New York William L. Gladstone Collection Exhibited: Bethlehem, Pennsylvania, Lehigh University Art Galleries, Zoellner Arts Center, Baseball Art from the Gladstone Collection, March 14 - June 10, 2001. Concord, Massachusetts, Concord Museum, The Art of Baseball, April 17 - September 20, 2015. Literature: Shelly Mehlman Dinhofer, The Art of Baseball: The Great American Game in Painting, Sculpture & Folk Art, New York, 1989, fig. 56, illustrated. Michael Ruscoe, Baseball: A Treasury of Art and Literature, Southport, Connecticut, 1993, pl. 46, p. 139, illustrated. Joseph Stanton, "Painting Baseball," NINE: A Journal of Baseball History and Culture, University of Nebraska Press, Vol. 25, No. 1, 2016. James Ormsbee Chapin was born in West Orange, New Jersey, on July 9, 1887. When he was sixteen, he took a job in a New York bank. In the evenings, he attended drawing classes at Cooper Union and later at the Art Students League. Six years or so later, with a small but sufficient sum of money to sustain him, Chapin left the bank to study in Europe. He distinguished himself as an award-winning student at the Royal Academy in Antwerp, Belgium, before leaving for Paris where he was influenced by the work of Cezanne. Chapin returned to the United States in 1912 to alleviate family debts by working at various illustration jobs. In 1915 or 1916 he met Robert Frost at his publishers, Henry Holt & Co., for whom he designed books. This friendship lasted over 30 years. After several years working as a commercial artist, Chapin found he was greatly dissatisfied. In 1924 he fled New York, settling in the quiet mountains of New Jersey. There he rented a log cabin on the farm of the Marvin family for four dollars a month. Chapin spent the next four and a half years painting the Marvin family as he saw them day by day. In 1935 Chapin accepted a one-day-a-week job at the Pennsylvania Academy of the Fine Arts as instructor to the advanced portrait class. In the late 1930s, he accepted a teaching position in California. There he met and soon after married Mary Fischer...

Boys Swimming Industrial Landscape WPA Mid 20th Century Social Realism Modernism Henry Schnakenberg (1982 - 1970) Boys Swimming Industrial Landscape 11 1/2 x 15 1/2 sight Oil on Canvas Signed lower left 14 1/2 x 18 1/2 inches, Framed Bio In many cases, American artists visited the Armory Show in New York in 1913, and returned to their studios to react to or against what they saw. However, for Henry Ernest Schnakenberg it was much more life altering. Prior to visiting this important exhibition of American and European modernist art...

Impressive American modernist winter landscape. Detailed and well painted skating scene. Oil on canvas. Nicely framed.

Oil Painting Portrait of Ashcan Artist John Sloan. Signed I. Holtz. The youngest of four children, Holtz was born and spent his early childhood in Skierniewice, Poland, a small town near Warsaw. His father was a hat maker and a furrier. In 1935, prior to World War II, when Holtz was ten years old, his family moved to Jerusalem, Israel, where they settled in the Geula neighborhood near Meah Shearim. Itzhak Holtz's passion for art began early. When he was five years old, in Poland, his father first drew a picture of a horse and sled in the snow for him. The young Holtz looked at the drawing and studied it in wonderment. From that moment on, Holtz remembers, he constantly begged his father to draw for him. His enthusiasm for art grew and Holtz longed to study art. In 1945, he enrolled at the Bezalel Academy of Art and Design in Jerusalem, where he primarily studied lettering and poster work in a program geared toward commercial art Holtz became interested in painting, prompting him to move to New York City in 1950 to study at the Art Students League of New York under Robert Brackman and Harry Sternberg, and then at the National Academy of Design under Robert Philipp. Holtz has stated that his artwork, which primarily but not exclusively, depict scenes of Jewish spirituality and tradition, is driven by his Orthodox Jewish beliefs: "You have to live that religious life to fully capture it on canvas." He has been classified in the school of genre painting, often depicting street scenes of ordinary people in everyday Jewish life in the back alleys and markets of Jerusalem neighborhoods such as Me'ah Shearim and Geula; and in New York neighborhoods and hamlets such as Monsey, Boro Park and Williamsburg. Along with street scenes, his work includes portraits of scribes, tailors, cobblers and fishmongers, and images such as shtetls, lighthouses, and wedding scenes. He started out painting mostly portraits in order to support his family, before expanding to include street scenes. His beloved subject matter is painting scenes of Jewish life, his childhood memories when his mother took him along shopping for the Sabbath to the markets of Meah Shearim, has left a deep impression on him and influenced many of his works. Holtz has experimented in the abstract, but then reverted to representational and figurative art to which he devoted himself exclusively. His Israeli street scenes are said to combine “an affectionate recollection of the past with the brilliance of the color of modern Israel.” Holtz has stated that he struggled at first when he arrived to the USA because of financial reasons and because he only knew Polish, Yiddish and Hebrew, but then made good ties with his instructor who greatly influenced him Robert Philipp who helped him make friends and referred him to paint portraits. Examples of Holtz's work throughout the years include: Yerusalem Wedding (2010), depicting a Chuppa in Jerusalem on early evening, oil on canvas; The Funeral(1966), depicting five stoic Hasidim carrying a body on a bier over to a gravesite, with the people behind them crying, in charcoal on paper and oil on canvas; Rejoicing (1974), an image of religious men dancing, in felt pen and marker on paper; and the oil painting Shamash Learning in Shul (2003), a portrait of a pious Jew studying the Talmud inside a claustrophobic synagogue scene. Throughout the years Holtz has created hundreds of works in many art mediums, including, genre scenes, portraits, still lifes and landscape scenery, his works are sought after by art collectors worldwide, and he has been called the greatest living Jewish artist. It is said that no artist ever explored the Jewish subject like Holtz. Today some of his oil paintings have been commanding over $100,000. Holtz creates his scenes after researching locations, and often uses locals as models. He paints slowly and with great care, but with a swift Impressionistic style. The people in his portraits and scenes are generally more cheerful and optimistic than standard portraits of Hassidic individuals. He paints oils and watercolors, and also does felt pen, pastel, marker, ink and charcoal drawings, as well as woodcuts. His oil paintings typically have a brown hue, while his work with felt pen is often in sepia tones, and on some of his works he used very bright colors, with a strong emphasis on the interplay of light and shadow. He is heavily influenced by the ancient staircases and alleyways of Jerusalem, with its modest religious population, which has made a strong impression on him in his youth, the streets of Tzfat, and the works of Rembrandt, Johannes Vermeer and Peter Bruegel, as well as Jewish artists Moritz Daniel Oppenheim...

Eugenie Schein was both a dancer and an artist. Her artwork subjects revolved primarily around dancers and dancing, though she also captured everyday scenes in New York. Both Midto...

"Swinging Harmony," is an oil painting on canvas by Edgar O'Kiechle. It transports viewers into a lively dance scene featuring a couple of black dancers swinging at the heart of the...

Oil on canvas by Louis BERTHOMME SAINT-ANDRE, France, 1940s. Young Red-haired Woman. with frame: 74x63 cm - 29.1x24.8 inches ; without frame: 61x50 cm - 24x19.7 inches. Format 12F. ...

Medium: Oil on Canvas Signature: Unsigned Preliminary study for Life magazine, Circa 1941. Features a study of the work titled; "The Postman Always Drinks...

Jordi Freixas Cortés (1917-1984) - Banyoles - Oil on canvas Oil measures 46x65 cm. Frameless. Jordi Freixas Cortés (1917-1984) Jordi Freixas Cortés is a Catalan painter with a colo...

1940s New York Interior -- An Evening Scene of Artist and His Wife Wonderful moody 1940s New York interior and figurative oil painting in Ashcan Schoo...

Signed and dated nude figure in interior oil on canvas by French post impressionist painter Pierre De Belay. This work depicts a painting of Pierre De Belay's wife - Helene. Here she...

Henri Ernest Clément DUPONT-CRESPIN (Notre Dame de Bondeville 1882 – Paris 1953) View of the rooftops of Paris Oil on canvas H. 65 cm; L. 92 cm Signed and dated lower right “3-1948” Exhibition: 60th exhibition of the Salon des Indépendants from April 22 to May 15, 1949 at the Musée des Beaux-Arts de la ville de Paris under number 893 Henri Dupont was born in Normandy near Rouen, and to stand out from his very, even too classic, name, he adopted that of his mother as a complement, which would become his unique artist name. He was a drawing teacher at the Épinal high school and also worked at the town museum, lending his eye to the identification of several old paintings. From 1928 and until the day before his death, Dupont-Crespin exhibited at the Salon des Indépendants. The vast majority of his works are landscapes, but there are also portraits of his colleagues, friends and relatives. In 1940 he published a collection of engravings...

Joséphine Beaudouin (1909-2005) Poetry of the Bird, surrealist painting, 1948 Oil on canvas Signed "Joséphine Beaudouin" and dated "1948" lower left 13,7 x 10,6 inch Born in Albi in 1909, Josephine Beaudouin (née Cals) showed an early interest in drawing. At the age of twelve, she moved to Paris where her mother, Jeanne Ramel-Cals, ran a literary salon that was frequented by art world figures such as Ambroise Vollard. In 1925, while her first drawings appeared in the magazine Crapouillot, the young artist entered the School of Decorative Arts where she studied fresco painting. She married the architect Eugène Beaudouin in 1928, with whom she traveled throughout Europe. Beaudouin, a member of the Académie des Beaux-Arts, designed a series of buildings that were precursors of modern architecture in France (Clichy, Maison du Peuple; Antony, Résidence universitaire Jean Zay). Josephine Beaudouin exhibited at the Salon des Indépendants, the Salon des Tuileries, the Salon d'Automne and the Salon des Artistes Décorateurs. The work of the one that Jean Cocteau described as "bewitching" is full of mystery. Her work bears the stamp of an extraordinary personality. Indeed, Josephine Beaudouin developed a penchant for dreams at a very early age and took refuge in the works illustrated by Gustave Doré. Her technical virtuosity and overflowing imagination were praised by the critics of her time who unanimously greeted her Marmorées (ill.1). Named by René Barotte, these are paintings made on marble slabs from 1955. The artist exploits the infinite resources of the veins of this support which inspires him poetic compositions with unusual subjects. Marked by surrealism, she returns to the fantastic by delivering a prodigious creation of the mind made of dreamed cities and trompe-l'oeil. The 1948 painting that we propose probably represents a red-billed chough. The bird is a recurring theme in the work of Josephine Beaudouin, as in her life. An avid ornithologist, she kept an aviary in her Parisian home where many island birds were kept. She also built up a collection of stuffed birds. Still on this theme, the writer Claude Aveline (1901-1992), author of the poem L'Oiseau-Qui-N'Existe-Pas, invited several visual artists to freely interpret what this bird could be. The first series of works was produced between 1956 and 1963. In 1957, Joséphine Beaudouin delivered a work with a pen of great finesse, now preserved at the Centre Pompidou (ill.2). Several renowned artists also responded to the invitation of the poet such as Jean Cocteau and Ossip Zadkine. The precision of the graphics of our painting testifies to an attentive observation of the anatomy of the birds. The artist paints with great delicacy: the technique is impeccable, the drawing is careful, the material is smooth, the details are represented with great finesse and mastery. Bibliography : Fernand Pouillon...

Vintage 1930s - 1940s oil painting of an adobe church in New Mexico with a brilliant blue sky and clouds (likely Rancho de Taos), circa 1940. Painted by Denver modernist, Paul K...

This early 20th-century oil painting by Spanish artist César Fernández Ardavín (1883-1974) depicts a cheerful young woman before a mirror. Buoyant and playful, she sits casually on ...

BUCKLEY MACGURRIN "ALEXANDRIA" OIL ON CANVAS, SIGNED, TITLED AMERICAN, DATED 1949 EXHIBITED: DALZELL-HATFIELD GALLERY 14 X 20 INCHES Buckley MacGurrin 1896 –1971 Buckley MacG...

Signed oil on canvas coastal landscape by French modern painter Maurice Brianchon who was known as one of the Painters of Poetic Reality. This simple and charming piece depicts a view of the beach at Soorts-Hossegor on a grey day. The figures of two soldiers walk across the sand and others are gathered on the walkway beyond. Signature: Signed lower right Dimensions: Framed: 30"x38" Unframed: 21"x29" Provenance: Private collection - Switzerland As a young man, Maurice Brianchon studied at school in Le Mans before joining the École des Beaux-Arts in Bordeaux. He went on to study at the École des Arts Décoratifs in Paris, remaining there from 1917 to 1923 and working under the direction of Eugène Morand. It was here that he met and became friends with Oudot and Legueult. When he exhibited for the first time at the Salon d'Automne he was immediately elected as a member. He received the Blumenthal Award in 1924 and the Carnegie Prize in 1939. He was a founder member of the Salon des Tuileries and was appointed to serve on the committee in 1941. He also exhibited at the Salon de la Société Nationale des Beaux-Arts in Paris. He took part in major exhibitions abroad, including the Venice Triennale, Antwerp, Rio de Janeiro, New York, Madrid, Brussels and Stockholm. He soon made his mark as a decorative artist, creating stage sets for the Opéra for a production of Griséldis (1922) in collaboration with Legueult, and for Noble and Sentimental Waltzes ( Valses Nobles et Sentimentales) (1938), Sylvia (1941) and The Model Animals ( Les Animaux Modèles) (1944). He created a large, decorative piece entitled Symphony at the Palais de Chaillot, where he worked with Chapelain-Midy, Planson and Oudot. He also decorated the Lycée Janson-de-Sailly with murals. With his wife Marguerite Louppe he produced three large panels commissioned by the state in 1942 for the Conservatoire. The Gobelins and Aubusson tapestry works produced tapestries after his cartoons. He also produced cartoons for stained glass windows at the church of Assy in 1946. He taught at the Estienne school and the École des Arts Décoratifs in 1937 and in 1949 at the École des Beaux-Arts. He often painted landscapes showing the banks of the Seine, as did the Impressionists, and demonstrated a particular interest in circuses and music halls, as can be seen in Acrobats and French Can Can...

Wonderful 1940s figurative of paper boy reading the comics by Louise Miller Clark (American, 20th Century). Signed "Louise Miller" lower right. Unframed. Im...

American Soldiers Landing Boats with Warships Firing in the Distance Landing party during WWll with Navy ships lay down covering fire in the background, attributed to Linna Annetta F...

Ozer Shabat 1978-1901 Ozer Shabbat was an Israeli painter, a resident of Haifa. Belonged to the Palestine Expressionist group of the late 1920s and early 1930s. Shabbat was born in Wolbrom, Poland. At the end of the First World War he went to Holland for agricultural training in the framework of the HeChalutz movement, prior to his immigration to Palestine. In 1920 he immigrated to Eretz Israel and joined the Hulda group. Later he joined the Merhavia group and there he began painting. Because of his desire to study drawing, he left the group and moved to Jerusalem. In 1921, he wrote articles in the newspaper "HaSadeh" on the subject of agriculture and Dutch cheese. Ozer Shabath won the first prize in a competition for the design of the Dutch Consulate's Garden in Jerusalem, enabling him to travel to Paris in 1923 to study painting. Until 1925 he studied painting at the Grande Chaumiere Academy in Paris. This year he returned to Eretz Israel and settled in Haifa, where he lived until his death. In 1928 he participated for the first time in an exhibition of Eretz Israel artists at the Tower of David. Since then he has participated in all the general exhibitions of Israeli artists. In 1934, together with painters Menachem Shemi, Avraham Mohar, Zvi Meirovitch and others, he founded the Haifa Artists' Group. In 1935-36 he toured Europe and visited Italy, France and England. During his visit, he maintained contacts with artists from the Jewish school of Paris. He has exhibited in several solo exhibitions, represented Israel in exhibitions in Europe and participated in international exhibitions in New York, Johannesburg and Zurich. In 1958 he represented Israel in the Venice Biennale. In 1960, Shabat, together with Elchanan Halpern he represented the Israeli Painters Association at the International Congress of Plastic Arts held in Vienna, Austria . In the 40s and 50s he focused on landscape pictures. However, despite the focus on the Israeli landscape, the approach is universal in the framework of the post-Impressionist painting school. In the 1960s, his approach changed and he turned more to abstraction. The abstract direction gradually evolved. The point of departure of the abstract approach is the architectural landscape, but this view loses its real character and becomes only imaginary: the buildings lose their real character and turn into exclusive geometric areas that are usually set against a dark background. Over time, architecture captured the lion's share of his paintings. Cities like Safed, Jaffa and Jerusalem are the subject of many pictures. He taught painting and art at the schools of the kibbutzim in Ramat Yochanan and Kfar Yehoshua, in high schools in Haifa and in the IDF and Gordon seminars. His paintings were purchased and are in the permanent collection of the Bezalel National Museum (now the Israel Museum), Haifa Museum of Art, Haifa Maritime Museum, Acre Municipal Museum. Select Solo exhibitions 1936 - Nadler Gallery, Haifa. 1943 - The Tel Aviv Museum of Art. 1952 - Artists House, Haifa. 1953 - Bezalel House, Jerusalem. 1955 - Gallery in Geneva, Switzerland. 1955 - The Writers' Club, Haifa. 1959 - Artists House, Haifa. 1960 - Museum of Modern Art, Haifa. 1962 - Museum of Modern Art, Haifa. 1963 - Gallery 220, Tel Aviv. 1968 - The Municipal Museum of Beit Emanuel, Ramat Gan. 1979 - Memorial exhibition marking the first anniversary...

Genre: Impressionist Subject: People Medium: Oil Surface: Panel Frederick Serger (given name Frederick Bedrick Sinaberger) was born in 1889 to a family of Jewish manufacturers in the village of Ivancice near Brno Moravia, a province of Czechoslovakia. Showing artistic talent at a young age, he attended art schools in Brno, Vienna, and Munich. During World War I, Serger joined the Austrian Army...

Vicenç Ferrer Torradellas (1927) - Ibiza Market - Oil on canvas Oil measures 46x55 cm. Frameless. Reus 1927. He studied at the School of Work. He dedicated himself to easel painting...

Antoni Vidal Rolland (1889-1970) - Reading a love letter - Oil on canvas Oil measures 55x46 cm. Frame measures 76x67 cm. Disciple of José Ruiz Blasco in Lonja and of Aleix Clapés. H...

John Steuart Curry "Sketching Wisconsin," 1946 oil on canvas 31.13 x 28 inches, canvas 39.75 x 36.75 x 2.5 inches, frame Signed and dated lower right Overall excellent condition Presented in a 24-karat gold leaf hand-carved wood frame John Steuart Curry (1897-1946) was an American regionalist painter active during the Great Depression and into World War II. He was born in Kansas on his family’s farm but went on to study art in Chicago, Paris and New York as young man. In Paris, he was exposed to the work of masters such as Peter Paul Rubens, Eugène Delacroix and Jacques-Louis David. As he matured, his work showed the influence of these masters, especially in his compositional decisions. Like the two other Midwestern regionalist artists that are most often grouped with him, Grant Wood (American, 1891-1942) and Thomas Hart Benton (American, 1889-1975), Curry was interested in representational works containing distinctly American subject matter. This was contrary to the popular art at the time, which was moving closer and closer to abstraction and individual expression. Sketching Wisconsin is an oil painting completed in 1946, the last year of John Steuart Curry’s life, during which time he was the artist-in-residence at the University of Wisconsin in Madison. The painting is significant in Curry’s body of work both as a very revealing self-portrait, and as a landscape that clearly and sensitively depicts the scenery of southern Wisconsin near Madison. It is also a portrait of the artist’s second wife, Kathleen Gould Curry, and is unique in that it contains a ‘picture within a picture,’ a compositional element that many early painting masters used to draw the eye of the viewer. This particular artwork adds a new twist to this theme: Curry’s wife is creating essentially the same painting the viewer is looking at when viewing Sketching Wisconsin. The triangular composition of the figures in the foreground immediately brings focus to a younger Curry, whose head penetrates the horizon line and whose gaze looks out towards the viewer. The eye then moves down to Mrs. Curry, who, seated on a folding stool and with her hand raised to paint the canvas on the easel before her, anchors the triangular composition. The shape is repeated in the legs of the stool and the easel. Behind the two figures, stripes of furrowed fields fall away gently down the hillside to a farmstead and small lake below. Beyond the lake, patches of field and forest rise and fall into the distance, and eventually give way to blue hills. Here, Curry has subverted the traditional artist’s self-portrait by portraying himself as a farmer first and an artist second. He rejects what he sees as an elitist art world of the East Coast and Europe. In this self-portrait he depicts himself without any pretense or the instruments of his profession and with a red tractor standing in the field behind him as if he was taking a break from the field work. Here, Curry’s wife symbolizes John Steuart Curry’s identity as an artist. Compared with a self-portrait of the artist completed a decade earlier, this work shows a marked departure from how the artist previously presented and viewed himself. In the earlier portrait, Curry depicted himself in the studio with brushes in hand, and with some of his more recognizable and successful canvases behind him. But in Sketching Wisconsin, Curry has taken himself out of the studio and into the field, indicating a shift in the artist’s self-conception. Sketching Wisconsin’s rural subject also expresses Curry’s populist ideals, that art could be relevant to anyone. This followed the broad educational objectives of UW’s artist-in-residence program. Curry was appointed to his position at the University of Wisconsin in 1937 and was the first person to hold any such position in the country, the purpose of which was to serve as an educational resource to the people of the state. He embraced his role at the University with zeal and not only opened the doors of his campus studio in the School of Agriculture to the community, but also spent a great deal of time traveling around the state of Wisconsin to visit rural artists who could benefit from his expertise. It was during his ten years in the program that Curry was able to put into practice his belief that art should be meaningful to the rural populace. However, during this time he also struggled with public criticism, as the dominant forces of the art market were moving away from representation. Perhaps it was Curry’s desire for public acceptance during the latter part of his career that caused him to portray himself as an Everyman in Sketching Wisconsin. Beyond its importance as a portrait of the artist, Sketching Wisconsin is also a detailed and sensitive landscape that shows us Curry’s deep personal connection to his environment. The landscape here can be compared to Wisconsin Landscape of 1938-39 (the Metropolitan Museum of Art), which presents a similar tableau of rolling hills with a patchwork of fields. Like Wisconsin Landscape, this is an incredibly detailed and expressive depiction of a place close to the artist’s heart. This expressive landscape is certainly the result of many hours spent sketching people, animals, weather conditions and topography of Wisconsin as Curry traveled around the state. The backdrop of undulating hills and the sweeping horizon, and the emotions evoked by it, are emphatically recognizable as the ‘driftless’ area of south-central Wisconsin. But while the Metropolitan’s Wisconsin Landscape conveys a sense of uncertainty or foreboding with its dramatic spring cloudscape and alternating bands of light and dark, Sketching Wisconsin has a warm and reflective mood. The colors of the foliage indicate that it is late summer and Curry seems to look out at the viewer approvingly, as if satisfied with the fertile ground surrounding him. The landscape in Sketching Wisconsin is also revealing of what became one of Curry’s passions while artist-in-residence at UW’s School of Agriculture – soil conservation. When Curry was a child in Kansas, he saw his father almost lose his farm and its soil to the erosion of The Dust Bowl. Therefore, he was very enthusiastic about ideas from UW’s School of Agriculture on soil conservation methods being used on Wisconsin farms. In Sketching Wisconsin, we see evidence of crop rotation methods in the terraced stripes of fields leading down the hillside away from the Curry’s and in how they alternate between cultivated and fallow fields. Overall, Sketching Wisconsin has a warm, reflective, and comfortably pastoral atmosphere, and the perceived shift in Curry’s self-image that is evident in the portrait is a positive one. After his rise to favor in the art world in the 1930’s, and then rejection from it due to the strong beliefs presented in his art, Curry is satisfied and proud to be farmer in this self-portrait. Curry suffered from high blood...

Neutral toned abstract impressionist portrait of a man wearing a suit by Danish artist Hans Christian Bärenholdt. Signed and dated by the artist at the bottom right. Currently hung i...

WPA Mural Study 1940 American Scene Modern Social Realism Figurative Mid Century Michael Loew (1907-1985) Detail for Mural (Social Security Building Washington D.C.) 24 x 24 inches ...

A unique, humorous and colorful landscape painting by Harold Haydon depicting the artist painting alongside cows. The painting dates from 1941. Harold Emerson Haydon was born in Fo...

Yellow and blue-toned abstract impressionist portrait of a boy by Danish artist Hans Christian Bärenholdt. Signed by the artist at the bottom right. Hung in a gold carved frame. Dim...

A powerful depiction of a KKK member---signed lower right A reminder of the unfortunate history of behavior that this country has not yet ridden itself of.

Ignasi Mundó Marcet (1918-2012) - woman in white - Oil on canvas Canvas measures 73x60 cm. Frame size 76x63 cm. MUNDO Ignasi Ignasi Mundó trained at the School of La Lonja, with Joa...

We are pleased to present a captivating painting by the artist Sam Uhrdin (1886-1964). This beautiful artwork depicts a woman from Dalarna, sitting in front of a warm, glowing fire. The entire painting is bathed in a soft, radiant light, particularly illuminating her face and traditional white/red attire. The woman appears contemplative, lost in thought, perhaps thinking of someone dear to her heart. She is depicted in a kitchen, taking a moment to relax after a day's chores in her home. Sam Uhrdin's artistic journey began in the early 1900s, he traveled to Stockholm in 1903 to further continue his studies in painting. He worked as a painter during the day and attended various evening schools in the evenings. In 1906, he journeyed to America to work as a sign painter, but he mainly ended up working as an upholsterer. Returning to Leksand in 1909 via London and Paris, his artistic talent gained recognition, and with the help of some patrons, he began studying at the Royal Academy of Fine Arts in 1911, occasionally attending Althin's painting school in Stockholm. Financial circumstances cut his study time short, and his skill as a portrait painter earned him numerous portrait commissions, which further occupied his time. In 1921, Uhrdin received a scholarship from the Royal Academy, enabling him to embark on a study trip in 1922 to the Netherlands, Belgium, and France, which he had to cut short due to his wife's illness. He later visited places like Spain and Portugal. Uhrdin's breakthrough came with his portrait of the former Prime Minister Nils Edén, which he executed in 1919. In 1921, he portrayed the participants of the Swedish Academy. Among other representatives of official Sweden captured by Uhrdin were Gustav V, Manne Siegbahn, Ludvig Stavenow, and bishops Gottfrid and Einar Billing. In 1932, he held a solo exhibition at Konstnärshuset in Stockholm, and he participated in various exhibitions, including the Swedish Artists' Association in Stockholm in 1917, Swedish Art at Valand-Chalmers in Gothenburg in 1923, Dalarna Artists displayed at Liljevalchs Konsthall in 1936, and the National Museum's traveling exhibition "Barnet i konsten" (Children in Art...