American Modern Landscape Paintings

"Old Mine Dump, Ward Colorado" is an original oil on canvas painting by Virginia True (1900-1989) from 1929. Signed and dated by the artist in the lower right corner, titled verso. Presented in a custom hand carved gold frame measuring 23 x 29 inches. Image size measures 18 x 24 inches. Provenance: Private Collection, Denver Colorado Painting is in good condition - please contact us for a detailed condition report. About the Artist: Virginia True first came to Colorado in 1928 as part of her travels around the American West, during which she painted and sketched prolifically. She had been trained at the Pennsylvania Academy of Fine Arts in Philadelphia, where she would have been exposed mainly to realist painting. Upon coming to Colorado, she was introduced to Southwestern Modernism, which began at once to influence her work. Her interest in Western subjects, namely landscapes, mining towns, cowboys and native plants, informed her work both in Colorado and throughout her life. True was educated in Missouri and taught art for four years in Indianapolis before moving to Boulder, Colorado in 1929. She taught art at the University of Colorado, Boulder and was the President of the Boulder Artist’s Group. In 1926 she left Colorado to teach at Cornell in Ithaca, New York. Her exhibition venues included the Denver Art Museum, the National Association of Women Painters and Sculptors, and the Carnegie Institute. Prizes: Denver Art Museum, 1932, 1933; Kansas City Art Institute, 1935; Rochester Memorial Art Gallery, 1939; Annual Colorado Artists Exhibition, 1932, 1933; First Prize, Midwest Art...

New York Skyline, 1928, oil on canvas, 16 x 24 inches, signed and dated lower right About the Painting In New York Skyline, we see a masterful, expr...

Watercolor on paper. Image size is 7 ¾ x 10 ¼ inches, dimensions with mat measure 16 ¼ x 18 ¼ inches. This piece is unframed, housed in an archival mat. Framed pictures are mock-ups and custom framing options are available. Painting is clean and in very good vintage condition - please contact us for a complete condition report. Expedited and international shipping is available - please contact us for a quote. Provenance: Estate of Arnold Ronnebeck About the artist: Modernist sculptor, lithographer and museum administrator, Rönnebeck was a noted member of European and American avant-garde circles in the early twentieth century before settling in Denver, Colorado, in 1926. After studying architecture at the Royal Art School in Berlin for two years beginning in 1905, he moved to Paris in 1908 to study sculpture with Aristide Maillol and Émile-Antoine Bourdelle. While there he met and befriended American modernist painter, Marsden Hartley, of whom he sculpted a bronze head that was exhibited at the Salon d’Automne in Paris in 1912 and the following year at Hartley’s solo show of paintings at Alfred Stieglitz’s Gallery 291 in New York. A frequent guest of Gertrude Stein’s Saturday "evenings" in Paris, she described Rönnebeck as "charming and always invited to dinner," along with Pablo Picasso, Mabel Dodge (Luhan) and Charles Demuth. After the outbreak of World War I in 1914, Rönnebeck returned to Germany where he served as an officer in the German Imperial Army on the front lines. Twice wounded, including in the Battle of Marne in France, Kaiser Wilhelm II awarded him the Iron Cross. During the war Hartley fell in love with Rönnebeck’s cousin, Lieutenant Karl von Freyburg, who was killed in combat. As a tribute to Freyburg, Hartley created Portrait of a German Officer (1914) now in the Metropolitan Museum of Art in New York. After the war Rönnebeck traveled in Italy with German writer, Max Sidow, and German poet, Theodor Daubler, doing a series of drawings of Positano and the Amalfi Coast that formed the basis for his lithographs on the subject. The death of his finacée, the young American opera singer Alice Miriam in 1922 and his own family’s increasing financial problems in post-World War I Germany led him to immigrate to the United States in 1923. After living briefly with Miriam’s family in Washington, DC, he moved to New York where he became part of the avant-garde circle around Alfred Stieglitz. His essay, "Through the Eyes of a European Sculptor," appeared in the catalog for the Anderson Gallery exhibition, "Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs & Things, Recent & Never Publicly Shown, by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O’Keeffe, Alfred Stieglitz." In New York Rönnebeck began producing Precisionist-style lithographs of the city’s urban landscapes which he termed "living cubism." Some of them were reproduced in Vanity Fair magazine. Through Stieglitz he met Erhard Weyhe head of the Weyhe Gallery who, with its director Carl Zigrosser, arranged Rönnebeck’s first solo American exhibition in May 1925 at the gallery in New York. Comprising some sixty works – prints, drawings and sculpture – the show subsequently traveled on a thirteen-month tour of major American cities. Until the end of his life, the gallery represented him, along with other American artists Adolf Dehn, Wanda Gag, Rockwell Kent, J.J. Lankes, Louis Lozowick, Reginald Marsh and John Sloan. In the summer of 1925, as the guest of Mabel Dodge Luhan, Rönnebeck first saw Taos, New Mexico, which Marsden Hartley had encouraged him to visit. It was there that he met his future wife, Louise Emerson, an easel painter and muralist. A year later they were married in New York before relocating to Denver. He served as director of the Denver Art Museum from 1926 to 1930 where he invited Marsden Hartley to lecture on Cézanne’s art in 1928. Rönnebeck fostered the development of the museum’s collection of American Indian art and the curation of modernist art exhibitions. In addition to his work at the museum, he was professor of sculpture at the University of Denver’s College of Fine and Applied Arts from 1929 to 1935, and wrote a weekly art column in the Rocky Mountain News. His best known Denver sculptures from the late 1920s in bronze, copper, stone, wood and terra cotta include a reredos, The Epiphany, at St. Martin’s Chapel; The History of Money (six panels) at the Denver National Bank; The Ascension at the Church of Ascension; and the William V. Hodges Family Memorial at Fairmount Cemetery. At the same time he did a series of terra cotta relief panels for La Fonda Hotel in Santa Fe, New Mexico. In the 1930s his bas-relief aluminum friezes of stylized Pueblo and Hopi Indian Kachina masks...

Manievich settled in the Bronx, New York, though spent much of his time traveling throughout the Northeast including Upstate New York and the Hudson River Valley. The Catskill Mount...

Oil on canvas, signed and dated to lower right 'Myron Lechay 25'. Signed and titled verso 'Old Blacksmith Shop Myron Lechay'. The old blacksmith shop ...

"Abstract Landscape" by Philadelphia born modernist and surrealist painter Leon Kelly, is a small sized, framed landscape painting. The 5.5" x 9" oil on canvas is mounted to board, s...

Original Provincetown Art Association exhibition label verso with signature 'R. Townsend Whitaker' for Ruth Townsend Whitaker (American, 1887-1937), titled 'Beneath the Pepper Trees' and dated 1930. A delicately painted, early-twentieth century oil landscape showing a group of artists easel-painting in the shade of pepper trees beside a broad river. This early San Diego Modernist was a member of the California Watercolor Society and the San Diego Moderns...

An original gouache and watercolor on paper by well listed female American modernist Jane Peterson. This work comes with a Certificate of Authenticity and in an archival frame prese...

Modernist cityscape of the East River, New York. Oil on canvas, circa 1928. Signed lower right, "Butler". Displayed in a period Newcomb Macklin frame. Image size, 18"L x 14"H.

oil on panel, estate stamp on verso. Outer framed dimensions measure 19.5 x 23 x 1.5 inches Illustrated: "From Sweden to Woodstock: the Art & Career of Carl Eric Lindin", Tom Wol...

oil on canvas board. Outer dimensions of the frame measure 18.625 x 22.5 x 1.75 inches. Provenance: Estate of Carl Eric Lindin Refer to: "From Sweden to Woodstock: the Art & ...

A modernist style winter landscape by John Wenger (1887-1976). Watercolor on paper, circa 1920. Signed lower left, "Wenger". Displayed in a giltwood frame, hanging wire included. ...