Two Football Players After the Game
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Mark BeardTwo Football Players After the Gamen.d.
n.d.
About the Item
- Creator:Mark Beard (1956, American)
- Creation Year:n.d.
- Dimensions:Height: 20 in (50.8 cm)Width: 16 in (40.64 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU93236224232
Mark Beard
Contemporary New York City-based artist Mark Beard has long demonstrated command in a variety of mediums — he works in oil paint, bronze, ceramics and more. Beard is known mainly for his portraits and figurative paintings, but he is prolific in figurative drawing and nude photography as well.
Beard was born in Salt Lake City, Utah. In 1986, he began working as a set designer, and for the next decade, he created more than 20 sets in New York City, London, Frankfurt, Vienna and Cologne. As a painter and printmaker, Beard didn’t wish to confine himself to a rigid style and instead sought to explore Impressionism, Art Nouveau and other movements in a range of mediums. In order to freely move from one style to the next, Beard created several different personas, assigning a specific biography to each one.
Beard's most prominent artistic alter ego is Bruce Sargeant, whom the artist has positioned in exhibitions as an early 20th-century painter. Beard's work as Sargeant is a detailed study of the male physique. The paintings often feature sculpted athletic men engaged in physical activities like wrestling and rowing. The work is steeped in homoeroticism, and the artist’s name itself is a reference to painter John Singer Sargent — while he’s best known for his Edwardian-era portraits, John Singer Sargent also created murals and drawings of male nudes that were similarly reflective of a homoerotic sensibility.
Beard is also an accomplished landscape painter. His great-grandfather, George Beard, was a regional painter and photographer of the Rocky Mountains. Mark spent summers at his grandfather's 19th-century log cabin retreat as a child. These formative experiences are reflected in his own stunning landscape paintings.
Beard's artwork is held in many high-profile museum collections, including the Whitney Museum of American Art, the Museum of Modern Art, the Metropolitan Museum of Art, the Wadsworth Atheneum Museum of Art and the Museum of Fine Arts, Boston.
Today, Beard resides in the Manhattan loft that he purchased in 1994 with his partner, James Manfred. It serves as both his home and his studio. The space is filled with his oil paintings, drawings and sculptures.
On 1stDibs, find Mark Beard paintings, drawings, photography and more.
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- [Bruce Sargeant (1898-1938)] Michael HuntingBy Mark BeardLocated in New York, NYOil on canvas Signed in red, u.r. 14 x 11 inches, canvas size 14.5 x 11.5 inches in distressed gold leaf frame This artwork is offered by ClampArt, located in New York City. “Bruc...Category
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- Head of an AngelLocated in New York, NYProcaccini was born in Bologna, but his family moved to Milan when the artist was eleven years old. His artistic education was evidently familial— from his father Ercole and his elder brothers Camillo and Carlo Antonio, all painters—but his career began as a sculptor, and at an early age: his first known commission, a sculpted saint for the Duomo of Milan, came when he was only seventeen years old. Procaccini’s earliest documented painting, the Pietà for the Church of Santa Maria presso San Celso in Milan, was completed by 1604. By this time the artist had made the trip to Parma recorded by his biographers, where he studied Correggio, Mazzola Bedoli, and especially Parmigianino; reflections of their work are apparent throughout Procaccini's career. As Dr. Hugh Brigstocke has recently indicated, the present oil sketch is preparatory for the figure of the angel seen between the heads of the Virgin and St. Charles Borrommeo in Procaccini's altarpiece in the Church of Santa Afra in Brescia (ill. in Il Seicento Lombardo; Catalogo dei dipinti e delle sculture, exh. cat. Milan 1973, no. 98, pl. 113). As such it is the only known oil sketch of Procaccini's that can be directly connected with an extant altarpiece. The finished canvas, The Virgin and Child with Saints Charles Borrommeo and Latino with Angels, remains in the church for which it was painted; it is one of the most significant works of Procaccini's maturity and is generally dated after the artist's trip to Genoa in 1618. The Head of an Angel is an immediate study, no doubt taken from life, but one stylistically suffused with strong echoes of Correggio and Leonardo. Luigi Lanzi, writing of the completed altarpiece in 1796, specifically commented on Procaccini's indebtedness to Correggio (as well as the expressions of the angels) here: “Di Giulio Cesare...Category
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