Ross Braught Landscape Print - Bad Lands Nocturne (South Dakota)
Want more images?
Request additional images from the seller
1 of 8 images

Ross Braught
Bad Lands Nocturne (South Dakota)

1934

About

Pencil signed, titled and dated lower margin. Housed in a custom walnut frame with archival 8 ply mat and Museum Glass (UV Protection/Anti-reflective). Outer dimensions measure 22 ½ x 24 ¾ x ½ inches; image measures 13 x 15 ¾ inches (sight). About the artist: After a successful career as an artist and educator, Ross Braught disappeared from view for the last two decades of his life, leaving only a post office box as contact. Yet no one was able to track down the mysterious figure, and thus his life’s work became the source of legend rather than of history. In a way, this was fitting for an artist who portrayed ancient myths and saw their resonance in nature. A 20th-century Romantic, Braught felt a life force coursing through all of creation. Like an artful Prospero, he celebrated the strange and wild and transformed the ordinary into mesmerizing wonder. Born in Carlisle, Pennsylvania, Braught attended the Pennsylvania Academy of Fine Art, studying with Daniel Garber. Winning academic approval, he was awarded the Emlem Cresson Memorial Travelling Scholarship, which allowed him to visit England and Italy. In the twenties, he exhibited regularly at the Pennsylvania Academy, the National Academy of Design, the Corcoran Gallery, and the Society of Independent Artists. Braught married in 1923, and the couple settled in Upper Black Eddy, a tiny town on the Upper Delaware. Moving to Woodstock, New York, in 1928, the artist pursued his emerging interest in lithography. As the decade grew to a close, his paintings increased in size, and the motif of branching trees became a strong design element. During the Woodstock period, he began to explore the expressive possibilities of pictorial space with elevated perspective and compressed focus. Facing debt, Braught accepted a position at the Kansas City Art Institute as head of painting in 1931. During the summers, he travelled to the Dakota Badlands, the Grand Canyon, and the Colorado Rockies, and the experience Western spaces inspired more adventurous artistic compositions, in which landscape forms were highly stylized. When Braught turned to figural works, he now orchestrated rhythmic compositions of organic shapes. The flow from one form to another appears like a metamorphosis unfolding before the viewer’s eyes. The masterwork of this phase of Braught’s art is the 27-foot mural, Mnemosyne and the Four Muses, at the top of the Grand Staircase of the Kansas City Music Hall. The Braughts travelled to Tortola in the British Virgin Islands for the first time in 1936. After a three-year stint teaching at Cornell, the artist moved to the island with his family in 1939, where they took up residence in a hotel for the next seven years. The island – its jungles and its people – provided a deep well of inspiration for Braught as the exotic pushed him to find new means of expression: “serious hunting for the real beauty of life.” Due to shortages because of the war, Braught took to drawing with the children’s pencils available. The resulting works are testimony his capacity to create infinitely complex works with such a simple tool – verification of Thomas Hart Benton’s assertion that Braught was the greatest draughtsman of his age. His affinity for twisting tree branches now explored into intricate mazes of jungle growth: “The agitated movement of plants forms gave forth so much life and vitality that the utter lack of air currents and the breathlessness of atmosphere is a realization that comes as an afterthought.” After the war, Braught returned to teach at the Kansas City Art Institute, where he stayed until 1962. As an instructor, he encouraged his students to be bold colorists. In his own work, he transplanted natural forms to the studio. In these late paintings, his spatial configurations became increasingly elaborate with tricky perspectives and reflections. These playful compositions, which hover between abstract design and illusion, anticipate post-modern works of later decades. With a reorganization of the Kansas City Art Institute, Braught returned to Philadelphia. It is believed that his wife may have had Alzheimer’s, but the only communication from him was sending some pieces to the Institute in the early 60s. In 2000, Hirschl and Adler, New York organized the exhibition, “Ross Braught: A Visual Diary,” which cast the spotlight on the artist once again. Expedited and International Shipping is available; please contact us for an estimate.

Details

  • Artist
    Ross Braught (1898 - 1983, American)
  • Creation Year
    1934
  • Medium
  • Movement & Style
  • Condition
    Excellent
  • Dimensions
    H 22.5 in. x W 24.75 in. x D 0.5 in.H 57.15 cm x W 62.87 cm x D 1.27 cm
  • Gallery Location
    Denver, CO
  • Reference Number
    LU2731849493
  • Seller Reference Number
    21414
Buyer Protection Guaranteed
Our Promise To You: If you're not happy with the way an item arrived, we'll work with you and the seller to reach an optimal resolution. Read more

Delivery, Returns & Payment

  • Delivery
    Rates vary by destination and complexity
    Shipping methods are determined by item size, type, fragility and specific characteristics.
    Shipping costs are calculated based on carrier rates, delivery distance and packing complexity.
  • Return Policy

    This item can be returned within 7 days of delivery.

    View details
  • Online Payment Methods
    1stdibs accepts the following payment methods
  • Item Invoice
    Generate an invoice that you can customize and print.

About the Seller

5 / 5
Vetted
1stdibs seller since 2013
Located in Denver, CO
You may also contact the seller by phoneCall seller through 1stdibs
More From This Seller
Portrait of a child
Portrait of a child
Ross Braught
Mid-20th Century American Modern Portrait Drawings and Watercolors
Graphite
Masterfully rendered in graphite on paper. Housed in a custom frame with all archival material, outer dimensions measure 23 ¼ x 25 inches; image measures 17 ½ x 19 ¼ inches. Abou...
Mountain Slope
Mountain Slope
Sven Birger Sandzen
1920s American Modern Landscape Prints
Lithograph
Original lithograph printed in 1925 in an edition of 100 and pencil signed by the artist. Custom frame with archival mat and glass included; framed dimensions measure 13 ½ x 16 ½ x ...
Farm in the Rockies (Colorado) - original framed vintage lithograph
Farm in the Rockies (Colorado) - original frame...
Frederick Shane
1930s American Modern Landscape Prints
Lithograph
Original WPA-era lithograph depicting a farm in the rocky mountains. pencil signed by the artist, lower right margin. Presented in a custom frame, outer dimensions measure 20 ½ x 2...
Dawn Came; edition of 250
Dawn Came; edition of 250
Victoria Hutson Huntley
1940s American Modern Landscape Prints
Lithograph
An original lithograph by Victoria Huntley. Presented in a custom frame, outer dimensions measure 18 ½ x 21 ½ x ¾ inches. Image size is 9 ½ x 12 ½ inches. Born in Hasbrouck Heights...
You May Also Like
Short Symphony, hand colored lithograph of vintage cars
Short Symphony, hand colored lithograph of vint...
Michael Chapman
1960s American Modern Landscape Prints
Archival Ink, Archival Paper, Lithograph, Watercolor
Michael Chapman 4 color lithograph with watercolor, edition: 50 21 x 28" Michael Chapman is an American artist. He strives to capture the transitory nature of life--cars speed...
Mexican Street Scene, Mid Century Monochromatic Lithograph
Mexican Street Scene, Mid Century Monochromatic...
Ross Curtis
Mid-20th Century American Modern Landscape Prints
Paper, Lithograph
This mid 20th century lithograph on paper of a town by the mountains is by California Expressionist painter and sculptor Ross Curtis (1918-2007). Curtis was the co-founder of a noted...
Thomas Hart Benton, "Down The River, 1939" Lithograph 13 x 10 WPA MCM
Thomas Hart Benton, "Down The River, 1939" Lith...
Thomas Hart Benton
1930s American Modern Figurative Prints
Lithograph
Framed size is 23 1/4 x 19 1/2 inches Thomas Hart Benton (American 1889-1975) was born into a powerhouse political Missouri family in 1889. His great uncle, for whom he was named...
In the Park, Dark.
In the Park, Dark.
George Wesley Bellows
Early 20th Century American Modern Figurative Prints
Lithograph
Mason 30.i/ii. Image: 16 7/8 x x 16 1/4 (sheet 24 1/8 x 28 3/4). Edition 81, #34. A rich impression printed on sturdy wove paper, with full margins. This is a fine lifetime impressi...
Victoria Club
Victoria Club
James Abbott McNeill Whistler
Late 19th Century American Modern Figurative Prints
Lithograph
Victoria Club. 1879 and 1887. Lithograph. Way catalog 11 state ii; Levy catalog 22; Tedeschi, Stratis and Spink catalog number 15 state ii. 8 x 5 3/8 (sheet 16 5/8 x 12 1/16). A ri...
Union Square.
Union Square.
Raphael Soyer
1920s American Modern Landscape Prints
Lithograph
Union Square 1929-30. Cole 17A. 7 1/8 x 8 3/4. Edition 25. A well-inked impression printed on white wove paper. With the blindstamp of the printer Jacob Friedland in the lower margin...
Cityscape Reflections - Misty Morning.
Cityscape Reflections - Misty Morning.
Gerald Geerlings
1970s American Modern Landscape Prints
Lithograph, Pastel, Color
Cityscape Reflections - Misty Morning. 1980. Lithograph with pastel coloring. Czestochowski 42. Edition 40. 14 x 10 3/16 (sheet 18 x 14). Tape stains in the margins, not affecting th...
North Village, Port Clyde, Maine.
North Village, Port Clyde, Maine.
Stow Wengenroth
1930s American Modern Landscape Prints
Lithograph
North Village, Port Clyde, Maine. October, 1938. Lithograph. Stuckey 77. 9 x 15 3/16 (sheet 15 1/8 x 19 3/8). Edition 60. Slight mat line, otherwise good condition. A fine impression...

Why Shop on 1stdibs?

Learn More

Only Vetted, Professional Sellers

Buyer Protection Guaranteed

Fully Insured Global Deliveries