Wax Crayon Paintings

Just like its counterpart, Becoming I, the energy of the oblong orb in Becoming II is viscerally palpable as it rises and appears to unfold and extend outside of the canvas plane as ...

The palette of Wave exudes a soothing, earthly, elegance. Working with a new medium and a new palette, Teichert is communicating with us more subtly than ever before: her line, while...

The energy of the oblong orb is viscerally palpable as it rises and appears to unfold and extend outside of the canvas plane as it reaches the top. Housed in a rich cerulean blue the mass of energy is ever-so-slightly tethered to the bottom through the suggestive grounding of the green line...

Soft rays of white pigment filter out from the pulsing line and lead our eyes into fields of colour that are so fresh and so deep that you may have gotten lost in them were it not fo...

Omnipresent immerses the viewer in fields of soft blue and mango orange. These fields are divided and joined by a tonal grey undulating mass that takes one through the painting like ...

Oil pastels, acrylic, wax pencil, graphite, watercolor and collage elements on paper framed to 39.5 X 31.5. sheet measures 30 X 22 inches. (no glass) Raimundo Figueroa...

An eye-catching acidic green transforms into a deep blue beneath the turbulent gray and black energy field. Through the centre of the field are interwoven lyrical lines that come fro...

This colourfield, awash with peony pink, suspends a grey wave that appears as though it is passing through. Working with a new medium and a new palette, Teichert is communicating wit...

The grand scale of Metamorphosis Duo has a magnified cellular quality - as though they are strands of DNA recombining and bringing forth new life. The primary colours used here reinf...

Going Deeper has a novel orientation in relation to the rest of Teichert's Connectivity series and with this orientation she has achieved a distinct feeling of falling - or possibly ...

Joanna Commings Dance Movement 2 Original Abstract Figure Painting Acrylics and wax crayon on paper unframed 87 x 60 cm (Please note that in situ images are purely an indication of h...

Like a moment of inspired creativity when the juices are flowing and everything starts coming together, this painting is on fire. The field of orange metamorphizes into hot salmon pi...

Untitled 01, 2017 Wax crayon on canvas (Signed on reverse) 59.05 H x 39.37 W in. 150 H x 100 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on...

Untitled 01, 2017 Wax crayon on canvas (Signed on reverse) 39.37 H x 31.49 W in 100 H x 80 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on w...

Wonderful 1980's abstract of sunset through Golden Gate Bridge arch. Unsigned. Presented in rustic painted wood frame. Image size: 8.5"H x 11"W.

Untitled 02, 2017 Wax crayon on canvas (Signed on reverse) 59.05 H x 39.37 W in. 150 H x 100 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on...

Untitled 04, 2017 Wax crayon on canvas (Signed on reverse) 78.74 H x 59.05 W in. 200 H x 150 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on...

Untitled 06, 2016 Wax crayon on canvas (Signed on reverse) 78.74 H x 59.05 W in. 200 H x 150 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on...

Untitled 05, 2017 Wax crayon on canvas (Signed on reverse) 78.74 H x 59.05 W in 200 H x 150 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on ...

Layers of reflective gold, burnished brown and black descend like a curtain over a pool of lilac in this rich painting. Two horizontal brush strokes in sea blue mark a horizon like a...

A crayon and chalk drawing of a band by French artist Jean Arène. The work is signed and dated top left. Presented in plain metal frame under glass. A charming coloured drawing of a Provencal musical band. The French equivalent of a 'mariachi band'. Two trumpet players, a tuba and a drum. The musicians are all wearing straw 'boater' hats and striped blazers. In the background is the terrace of a café with its green tables. Arene has captured, with a lightness of touch, all the excitement and animation of the scene. Jean Arène was a student of August Chabaud, a highly sought after French artist in Provence who in turn took his inspiration from Cezanne. After a stint in 1949 at the School of Fine Arts in Marseille, then a year in Paris in 1950 with the poster artist Paul Colin, Jean Arène returned to Marseille the following year where he founded the "Group of under 30' with Trofimoff, Trabuc, Zutter and Mela and began painting as an autodidact, while earning a living in advertising and decoration. His first exhibition dates from 1956. Then, from 1957, Jean Arène left the city for the countryside, which served as his base for many trips, often hitchhiking and backpacking, but always accompanied by a pencil and a sketchbook: Spain, Morocco in 1957, West Africa in 1960, (followed by an exhibition in Dakar), Northern Europe (Germany, Denmark, Sweden, Norway, Lapland , Lofoten, Netherlands and Belgium) In 1963 a trip to Tunisia. Then in 1966 his first retrospective in Toulon. In 1970 Arène left for the United States and Mexico, followed two years later by West Africa again: Tassili, the Sahara and Algeria. He exhibited extensively in Provence and the Gard: Aix-en-Provence, Uzès, Avignon, La Ciotat...

This recently rediscovered expressionist drawing by László Moholy-Nagy is part of a small group of drawings made by the artist early in his career, in Vienna and Berlin. The use of interlaced curves, typical of the artist's technique, gives this hieratic portrait a magnetic radiance, while the absence of any connection with the rest of the body evokes a profane Holy Face. 1. From Hungary to Chicago, the ardent life of László Moholy-Nagy Moholy-Nagy was born in Borsod, now known as Bácsborsód in Southern Hungary, in July 1895. He studied law in Budapest in 1913, when he was drafted into the Austro-Hungarian army to serve as an artillery officer on the Italian and Russian fronts. While serving at artillery observation posts, Moholy-Nagy was able to execute numerous drawings, recording his traumatic war experience, on the reverse of military-issued postcards which he could easily carry with him. In 1917, he was seriously wounded and hospitalized. The following year (around 1918 at the age of 23), he abandoned his plans to become a lawyer in favour of a career as an artist, with the encouragement of his friend, the art critic Iván Hevesy. The drawings executed in those early years reveal Moholy-Nagy's powerful Expressionist lines. In his autobiography of 1944, Abstract of an Artist, Moholy-Nagy explained his early figurative style, writing that contemporary art in those days was too chaotic and that and all the '-isms' were incomprehensible and puzzling to him. He was, however, experimenting with Dadaist compositions already in 1919 and then moved to Vienna and later to Berlin, where he would soon make his first works in his Constructivist style of the early 1920s. In Berlin he met photograph and writer Lucia Schultz who became his wife the next year. In 1922 he met Walter Gropius. During a vacation on the Rhome with Lucia, she introduced him to making photograms on light-sensitized paper. Walter Gropius invited him to teach at the Bauhaus in Weimar in 1923 where he replaced Paul Klee as Head of the Metal Workshop. The Bauhaus became known for the versatility of its artists and Moholy-Nagy was no exception: throughout his career, he became proficient in the fiels of photography, typography, sculpture, painting, printmaking, film-making and industrial design. In 1928 Moholy-Nagy left the Bauhaus and established his own design studio in Berlin. He separated from his first wide Lucia in 1929. In 1931 he met actress and scriptwriter Sibylle Pietzsch. They married in 1932 and has two daughters, Hattula (born 1933) and Claudia. After the Nazis came to power in Germany in 1933, he was no longer allowed to work there. He moved his family to London in 1935. In 1937, on the recommendation of Walter Gropius, Moholy-Nagy moved to Chicago to become the director of the New Bauhaus, but the school closed in 1938. Moholy-Nagy resumed doing commercial design work, which he continued for the rest of his life. In 1939 Moholy-Nagy opened the School of Design in Chicago, which became in 1944 the Institute of Design, becoming part of the Illinois Institute of Technology in 1949. Diagnosed with leukemia in 1945, Moholy-Nagy died of the disease in Chicago in 1946. 2. Description of the artwork This drawing presents us with a frontal representation of a man in his thirties, whose penetrating gaze seems to stare at us. The face is highly symmetrical and is modelled by curved black lines. The very high forehead and the slightly dilated left pupil reinforce the very expressive character of the face. Like the Holy Face which appeared on the cloth stretched out to wipe Christ's face by Saint Veronica, only the model's face is represented on the cardboard piece. The curved lines that define the face, hollowing out the temples, the eyelids, the cheeks and the area around the mouth, create a kind of magnetic radiation around a median point located between the eyebrows. In some respects, this face may evoke one of the most famous representations of the Holy Face: the extraordinary engraving by Claude Mellan...

Ford Crull explore the expressive power of personal and cultural symbols in a series of densely painted and vividly colored compositions. He uses identifiable images such as hearts, ...

Ford Crull explore the expressive power of personal and cultural symbols in a series of densely painted and vividly colored compositions. He uses identifiable images such as hearts, ...

Ford Crull explore the expressive power of personal and cultural symbols in a series of densely painted and vividly colored compositions. He uses identifiable images such as hearts, ...

Ford Crull explore the expressive power of personal and cultural symbols in a series of densely painted and vividly colored compositions. He uses identifiable images such as hearts, ...

Ford Crull explore the expressive power of personal and cultural symbols in a series of densely painted and vividly colored compositions. He uses identifiable images such as hearts, ...

Ford Crull explore the expressive power of personal and cultural symbols in a series of densely painted and vividly colored compositions. He uses identifiable images such as hearts, ...