Rhoda Yanow

Dancers Dressing Room original 36x24 figurative French Impressionism pastel

Known for it's timeless charm, the quaint Cotswolds of England are what dreams are made of. First Slaughter, Upper and Lower Slaughter adjacent to Bourton-on-the-Water are such places! The Eye Brook weaves through the Slaughters, affectionately known as "the Slaughter;" the name was derived from the local marsh rather than what one might otherwise expect! This original impressionist landscape exemplifies the historical importance of the mill in these hamlets as well as the warm and inviting feeling of the region of Cotswolds, England. Also exemplifying the English countryside in this original impressionist landscape are the thatched rooves, architecture, rugged terraine and locals lingering, all seemingly frozen in time! Legendary artist John Phillip Osborne, applying many of the principles of the Barbizon school of art painters as well as classic impressionism, was the leading instructor of the highly regarded Ridgewood Art Institute of New Jersey for more than thirty four years. Osborne taught a generation of his students to go beyond the obvious in portraying their subject matter in a composition striving to capture the genuine overall feeling of the moment. He had graduated with honors from Pratt Institute of NYC and then continued his studies at the Art Students League, also of NYC. Original Osborne oil paintings...

Dreaming of summer being back in full swing congers up memories of the young and fit lifeguards on duty, surrounded by families, swimmers of all levels, sun worshipers and other vaca...

One would expect him to nearly collapse, ready for nap time, from jumping the waves in the strong sun plus beachball in tow, but instead he is relishing the day, begging for more! This figurative marine landscape offers a turquoise blue ocean and an array of other summer shades of blue in both sea and sky with impressionist impasto paint application thereby creating the levels of motion and excitement that the artist is portraying. Well known and established for his dynamic portait and figurative works, noted artist Joseph Sundwall...

And they're off! Hungry for victory, with the full knowledge that their life is about to change forever if they could just place! They've taken care to bond with their horse, not wanting to miss any opportunity for glory! The jockeys have lifted off their saddle to unleash the horse's speed, crop in hand always looking for an advantage! Painted by professional portrait artist Joseph Sundwall of New York this equine and figurative impressionist landscape is packed with excitement and elegance, motion and grit! The artist has used techniques from impressionist to abstraction with carefully placed colors and textures to accentuate the drama that's unfolding in this original equine oil painting. Sundwall grew up in Chicago where his artistic talents were recognized as a young child. His development lead him to study art at the Kansas City Art Institute, then the famed Art Students League and National Academy of Design in NYC and followed by training in London at the St. Oswald Studios. He developed his exceptional ability to create figurative compositions as well as portraiture to significant acclaim having refined his techniques with famed portrait artist Everett Raymond Kinstler...

The thrill of traversing the beautiful spring countryside rushes color to their cheeks, tightens their calves, lowers their heels and steadies their hands as they ready for the hunt. The horn is sounded, the hounds begin chase and the riders reassure their horse while urging them forward. The scent of the fox, the chase, the jumping across the creeks and over downed branches has come to an end for another equestrian hunt shared with the other highly regarded club members. They walk their horses for a while as the horses and hounds cool down and the riders are waiting on brandy to mellow out the day's excitement. With pristine riding gear intact they let their minds wander to both family and club hunts and events of times gone by. Artist Joseph Sundwall...

While some of the sailors are slower to prepare their boats to sail despite the the calm waters, the call of the sea remains constant. Whether it's the boat gently bobbing up and down or the seafoam green, aqua, peach and pink sky or the lavender horizon or the birds eye blue...

Evocative figurative painting of a woman seated in a studio by an unknown artist (20th Century). A woman dressed in red is sitting in a chair atop a platform. There are studio lights...

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing an...

Pierre Carro (1952) - Spanish Dancers - Pastel Drawing measurements 45x34 cm. Frame measurements 93x79 cm.

Eric Hallström (1893-1946) Swedish Party Time pastel on paper signed Eric Hallström image dimensions approx 19.29 x 23.22 inches (49 x 59 cm) frame 26.37 x 30.70 inches (67 x 78 cm...

"Sojourner" by Morakinyo Femi is a captivating artwork that presents a young man seated in a fashionable attire, adorned with striking jewelry and sport...

Karl Stohner (1894 Mannheim - 1957 Paris), Ballerina in the dressing room, 1924. Pastel on painting cardboard, 65 x 45 cm, 77,5 x 59,5 (frame), signed lower left "Stohner" and dated "[19]24". Behind glass in gold stucco frame of the time. - Painting cardboard slightly warped, in the lower area minimally stained, frame with age patina and traces of abrasion. - The Naturalness of Artificiality - We see a ballerina putting on her right ballet shoe while the left one is still lying on the floor in front of her. It is precisely the casualness of the scene that gives it its intimacy: the blonde young woman is completely absorbed in the activity of getting ready for the dance, oblivious to us, while we are positioned right in front of her in the dressing room, inaccessible to the audience, watching her dress. Even though she does not yet perform a dance step, there is a graceful elegance in the action shown that seems quite natural in contrast to the rehearsed art form of dance. The young woman is not presenting herself to an audience in a perfectly formed movement, but is performing an everyday action, unaware that she is being watched. Concentrated, almost devotional, she pulls the ballet slipper over the verses, not noticing that one of the straps of the tutu has slipped off her shoulder, reinforcing the erotic moment of the scene. Inspired by Edgar Degas, Karl Stohner has painted the scene in strong pastel tones. The dominant blues and turquoises give the scene a magical, mysterious quality and, like the pink of the stockings and ballet slippers, are borrowed from Degas's dancers. Degas's colors, however, are cooler tempered, which is particularly evident in the light impasto applied incarnate. This is where the vividness of Auguste Renoir comes into play, making the dancer seem entirely flesh and blood. Karl Stohner, who has studied the pastels of Degas and Renoir intensively, combines the two artists here to create his own pictorial language. He has laid out the background in broad layers of strokes, ranging in color from white to turquoise to dark blue. The result is a dynamic, pattern-like structure that contrasts with the woman's calm, inward-looking posture. The fund anticipates the dynamics of the choreography of the dance for which the ballerina is preparing. At the same time, the broad pastel line in the background is an adequate means of painting to depict the soft, flowing elegance of the dancer. About the artist Against the wishes of his wealthy parents, Karl Stohner decided to become a painter. His talent was discovered by the director of the Mannheim Art Gallery, Fritz Wichert, who supported him from then on, including financing study trips to Paris. There he discovered the art of Degas, Cézanne and Renoir, which inspired his work. GERMAN VERSION Karl Stohner (1894 Mannheim - 1957 Paris), Ballerina im Ankleideraum, 1924. Pastell auf Malkarton, 65 x 45 cm, 77,5 x 59,5 (Rahmen), unten links mit „Stohner“ signiert und auf „[19]24“ datiert. Hinter Glas im Goldstuckrahmen der Zeit. - Malkarton leicht verzogen, im unteren Bereich minimal fleckig, Rahmen mit Alterspatina und Abriebspuren - Die Natürlichkeit der Kunstform - Wir sehen eine Ballerina, die sich den rechten Ballettschuh anzieht, während der linke noch vor ihr auf dem Boden liegt. Gerade aus der Beiläufigkeit der Szenerie speist sich ihre Intimität: Die blonde...