Pastel Paintings

Mel began her artistic career as a devoted clay sculptor. However, as time passed, she began to long for a change. Several years back she explored new options while exhausting more m...

Take A Bow, Original Pastel Impressionist Seascape, 2021 9" x 8" (HxW) Pastel Painting on Board This work features a warm-toned contemporary seascape capturing the orange sky of the...

Born in the South of France in 1926 and raised by very strict parents, Jean Sanglar was prohibited from playing with same age mates. Truly talented, as a young boy he drew frequentl...

A wonderful pastel on board by French Nabis painter Edouard Vuillard depicting an interior scene with a yellow lamp amongst several other trinkets on a table and paintings and a cupboard on the wall behind. This piece is a study for the portrait of Madame Adrien Benard. Signature: Signed lower right and dated 1924 Dimensions: Framed: 15.5"x118" Unframed: 9.5"x12" Provenance: With thanks to Mathias Chivot who kindly confirmed the authenticity of this work. This work is catalogued in the archives of Roussel-Vuillard. Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...

Signature: Signed Lower Left

Oil and pastel on paper - Unframed In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets intui...

Pastel, oil and ink on paper - Unframed In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets ...

Contemporary Los Angeles artist Laura Letchinger creates over-sized abstract paintings with an urban industrial, minimalist, street or pop art edge. Her mixed-media artworks are laye...

A young boy and girl playing a game of checkers. Cover of Collier's magazine, January 17, 1906 Jessie Wilcox Smith was a gifted student of ...

Pastel and spray paint on paper