American Impressionist Art

"Pony and Groom" is an unframed, oil on wood panel, contemporary impressionist painting. Painted during the 2014 Wellington Winter Equestrian Festival. Center stage, stands a fit, br...

Abstracted landscape by Derrik Van Nimwegen (American, b. 1969). Moody and expressive, the "background" landscape captures the feel of winter with ...

"Mountain Stream" by Charles Movalli (1945-2016) is a breathtaking piece. Movalli skillfully employs a rich and harmonious Impressionistic color palette to evoke the play of light an...

Majestic Morning is a beautiful oil painting on canvas panel by award winning contemporary artist Michael Budden that showcases a kaleidoscope of colors that depict the morning su...

Original American Airlines San Francisco vintage travel poster. Artist: Dong Kingman, 1970s linen-backed authentic travel poster, ready to frame. Grade A- condition. Size 20...

Beautiful California landscape painting of a path to the beach by listed Berkeley, California artist Rowena R. Smith (American, 1881-195...

Miniature landscape by Kathleen Murray (American, b. 1958). Signed "MURRAY" in the lower right corner. "Big Sur Cove Kathleen Murray 2011 Oil" is written on verso. No frame. Kathlee...

Emile Albert Gruppe (American, 1896-1978) "Winter - Gloucester, Mass" Oil on canvas Signed "Emile A. Gruppe" (lower right) Canvas: 20 x 24 Inchesinches Framed: 27 x 31 inches Prove...

Gorgeous 1930's seascape of Pebble Beach by M.C. Richardson (Late 19th/Early 20th Century), 1932. Attribution on verso with notes of exhibition (Legion of...

This painting depicts the world famous Untermeyer Garden in Yonkers, New York. Sawyer was an American painter, illustrator, and photographer. He took photographs and made paintings o...

Jim’s of Lambertville is proud to offer this artwork by: Charles Warren Eaton (1857 – 1937) A longtime resident of Bloomfield, New Jersey, Charles Warren Eaton was widely known in ...

Lake Street, c. 1920 -30s, oil on board, 12 x 9 inches, signed lower right and verso, titled verso About the Painting At the center of Oscar Daniel Soellner’s Lake Street, we see the stairway leading to an elevated railway station on what is now Chicago’s Green Line route. When its first section opened in 1893 as the second permanent elevated rapid transit line in Chicago, this route was known as the Lake Street Elevated Railroad. Chicago’s “L,” like the New York subway and rapid transit system, played an instrumental role in the development of the urban economy and the overall look and feel of the city. The formal aspects of urban railroads and the role they played in efficiently moving large number of everyday citizens across America’s growing metropolises were catnip for many American Scene painters during the first half of the 20th Century. Here, Soellner uses the techniques of the impressionists and the palette of the Ash Can School, to convincingly depict a classic Chicago scene...

Morning Swim Impressionist Nude Woman Portrait Artist signed, titled verso. Wallace Bassford was an American painter and illustrator, known particularly for his floral still-lifes an...

Artist: Harold Altman (American, 1924-2003) Title: Four Walking Figures Year: c.1980 Medium: Original color lithograph Edition: Inscribed "Artist Proof" in pencil Paper: Arches ...

This is a beautiful Cape Cod Massachusetts spring landscape with a rural farm and water behind it was painted by American artist Aldro Thompson Hibbard (1886-1972). Hibbard was born in Falmouth, Vermont and later became one of the founders of the Rockport Art Colony, living on Cape Ann in Massachusetts and summering in Jamaica, Vermont. Trained at the Boston Museum School, Hibbard carried forth the tenets of traditional academic art into the 20th century. He became very well-known for his New England...

Signed lower left: W.E. Schofield

Jonas Lie (American, 1880-1940) Boat at the End of a Jetty OIl on canvas board Signed lower right 12.75 x 10.5 inches 18.75 x 16.75 inches, framed Jonas Lie was a prolific painter, ...

Exploring the purity of the feminine form and the excitement of High-End Fashion, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composi...

Jim’s of Lambertville is proud to offer this artwork. Signed and dated lower right. Complemented by a hand carved and gilt frame. Illustrated in "New Hope for American Art" by Jam...

Exhibited: National Oil & Acrylic Painters' Society "Best of America Exhibition," October 10–November 9 , 2024. Depicts the artist's dog Bjorn in action.

Illustrated in "Joseph Barrett, The Prime Years 1970s - 1990s", pg. 54, plate #062. Jim’s of Lambertville is proud to offer this artwork by: Joseph Barrett (1936 – ) Joseph Barrett was born in Midland, North Carolina, in 1936 and studied at the Massachusetts College of Art in Boston and at the Tyler School of Art in Philadelphia. Barrett, now of Lahaska, Pennsylvania, has been painting his entire adult life. His favorite subjects include the landscape surrounding New Hope and many local landmarks often encompassing figures into his compositions. Barrett utilizes a heavy impasto and his palette bears similarities to that of Fern Coppedge and George Sotter. Barrett’s paintings are always found in unique and somewhat charming handmade frames designed by the artist and finished in metal leaf. A living contemporary of the no longer living “New Hope School” impressionist painters, Joseph Barrett resides outside of New Hope above his old-fashioned antique shop and studio. Entering Barrett’s shop is like taking a step back in time. Inside this cluttered and dusty haven of treasures from the past, is a studio spanning only four by eight feet. This little studio, containing cans of old brushes and hundreds of used paint tubes...

This is a lovely oil on canvas painting that was attributed to Charles Harold Davis when I purchased it about ten years ago. It is unfortunately not signed. The scene is a view throu...

A fine impressionist harbor scene in Gloucester, Massachusetts by American artist Guy Carleton Wiggins (1883-1962). Wiggins was born in Brooklyn, New York, and had a long and success...

This artwork titled ""Parasols and Wildflowers"" 1991 is an original color serigraph on heavy Coventry paper by noted American artist Donald (Don) Hatfield, b.1947. It is hand signed...

Reginald Marsh (1898-1954), Switch Engines, Erie Yards, Jersey City, Stone No. 3, lithograph, 1948, signed in pencil lower right. Reference: Sasowsky 30, o...

White Lily Naranjas And Oranges 2021 RAFAEL SALDARRIAGA was born in Medellin, Colombia in 1955. Arrived in the United States in 1993. After living in New Mexico and Hawaii establishe...

This iconic Impressionist beach scene was celebrated by this artist who had many successful exhibitions during his life of his beach scenes. Done on masonite which is a panel and his preferred material, it is framed in a gold leaf hand carved frame...

Impressionist Style Landscape Painting, Swamp, Water, Oil on Panel, Jill Hackney "A native of New Orleans, Jill Hackney studied painting at The Cleveland Institute of Art and Louisi...

A 1921 Watercolor on Paper late summer landscape of Lake Forest, IL in its original frame by Louis H. Reiss. Image size: 11 1/2" x 22 1/2". Framed size: 21 1/4" x 32". Reiss was...

Vibrant large-scale landscape watercolor of a California vineyard by S.W.A. artist Carolyn Hofstetter (American, b.1927). This beautiful scene of ...

Signed lower left: VICTOR C ANDERSON; titled and signed on verso: DOWN AT VEPPLANKS / by / V. C. ANDERSON

Singed (at lower left): Jane Peterson

Oil on canvas 46 x 55 cm (18 ⅛ x 21 ⅝ inches) Signed lower left, Ridgway Knight Artist biography American artist Daniel Ridgway Knight was born in Pennsylvania and studied at the École des Beaux-Arts in Paris. From 1872 he lived and worked at Poissy on the River Seine, just to the west of Paris. Best known for his landscapes and depictions of peasant women in the fields, Knight earned distinction at the Paris Salon of 1882. He went to be was awarded the Silver Medal and Cross of the Legion d’Honneur at the Exposition Universelle in 1889, the Gold Medal of Honour from the Pennsylvania Academy of Fine Arts in 1893 and in that same year was created a Knight of the Royal Order...

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

Charming 1940s modernist mountain landscape painting featuring a white farmhouse, outbuildings, and trees set in a verdant meadow near Gunnison, on the western slope of Colorado. Maj...

Illustrated in "Joseph Barrett, The Prime Years 1970s - 1990s", pg. 12 #014 Jim’s of Lambertville is proud to offer this artwork by: Joseph Barrett (1936 – ) Joseph Barrett was born in Midland, North Carolina, in 1936 and studied at the Massachusetts College of Art in Boston and at the Tyler School of Art in Philadelphia. Barrett, now of Lahaska, Pennsylvania, has been painting his entire adult life. His favorite subjects include the landscape surrounding New Hope and many local landmarks often encompassing figures into his compositions. Barrett utilizes a heavy impasto and his palette bears similarities to that of Fern Coppedge and George Sotter. Barrett’s paintings are always found in unique and somewhat charming handmade frames designed by the artist and finished in metal leaf. A living contemporary of the no longer living “New Hope School” impressionist painters, Joseph Barrett resides outside of New Hope above his old-fashioned antique shop and studio. Entering Barrett’s shop is like taking a step back in time. Inside this cluttered and dusty haven of treasures from the past, is a studio spanning only four by eight feet. This little studio, containing cans of old brushes and hundreds of used paint tubes...

Framed Dimensions: 15 x 22 inches Painted en plein-air in Black Point, Connecticut, Nelson H. White creates a whimsical, romantic landscape. Thickly applied paint in hues of green, ...

Mary Creamer, born Edna Pearl King (American, 1892-1975 ?) Signed: Mary Creamer, (lower, right) " Small Shed under Trees with Foothills in the Distance ", circa 1940s Oil on canva...

A fine small oil study of a Buddha in Japan by American artist Lilla Cabot Perry (1848-1933). Perry was born in Boston, Massachusetts, and went on to...

David Ackerson (b. 1950, American) Title: "Four Horns" Medium: Acrylic on Canvas Size: 40 x 30 in. Markings: Signed LR "David Ackerson" Signed & Titled...

Arthur B. Davies (1862-1928), Sea Maidens (or, Sunshine; Girls on the Beach), soft ground etching and aquatint, 1919, signed in pencil lower right. Reference: Czestochoski 79, second...

Mid century figure study of nude models and a painter in the studio by California artist Genevieve Rogers (American, 1904-1984). Unsigned, but a...

This artwork "Landscape with Farm House in Winter" c.1950, is a oil painting on hardboard by noted California artist Charles Frederick Surendorf, 1906-1979. It is signed at the lower...

Rutledge Bate (American, 1891-1964) Bouquet Still Life, Oil on Canvas, bouquet of chrysanthemums in a blue glass vase, signed lower left, hardwood frame. Image: 21.5" H x 17.5" D; fr...

Josh George's (US based) "The Queen's Formal Entrance" is an original, handmade mixed media painting that depicts a colorful city street with a whimsical sky. About the Artist: Jos...

A lovely impressionist winter oil painting with a farmer going into the barn painted by American artist by Harry Leslie Hoffman (1874-1966). Hoffman was born in Cressona, Pennsylvania, studied in Paris, worked at Yale University, and was a student at the Art Students League with Frank DuMond. He spent much of his life associated with the Old Lyme Colony in Old Lyme, Connecticut. His work was greatly influenced by the impressionist style of Willard Metcalf and became well known for his landscapes, still lifes, and underwater paintings. Oil on panel, signed lower right and on verso, titled in pencil on verso “The Old Barn...

Artist: Harold Altman (American, 1924-2003) Title: Four Walking Figures Year: c.1980 Medium: Original color lithograph Edition: Inscribed Artist Proof in pencil Paper: Arches Im...

Period frame Framed dimensions are 30" x 34" x 2" Signed & dated lower right

A fine New York winter cityscape by American artist Arthur Clifton Goodwin (1864-1929). Born in Portsmouth, New Hampshire, Goodwin lived and worked most of his life in Massachusetts ...

Jim’s of Lambertville Fine Art Gallery is proud to offer this piece by John Whorf (1903 - 1959). Watercolorist John Whorf was born in Massachusetts in 1903. At age 14, Whorf attende...

Original Graphite and Pen Sketch on Paper 12 1/4″ x 15 5/8″ Viewable 26″ x 29 1/2″ Framed Circa 1960’s

Beautiful example housed in new floater frame. Charles Movalli (1945–2016) had a BA from Clark University and a PhD from the University of Connecticut. He painted and wrote about a...

Lovely abstracted floral watercolor painting of bearded irises by artist Jean Warren (American, b. 1945). Signed "J. Warren" lower edge, bi...

Exploring the purity of the feminine form and the excitement of High-End Fashion, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composi...

Women Outside Breton Hotel - Chromolithograph on Paper In a pastel palette, Alson Skinner Clark (American, 1876-1949) captures the rustic beauty of a side street in a Breton village as two women converse outside of a hotel on a blue sky day. Signed “Alson Clark...

The painting may not illustrate your story, but it is universal—that desire to honor one’s forerunners and reflect on their daily lives. Consider the many opportunities, comforts and...

"The Waves Coopers Beach 09.21.2020" is an oil painting of an Hamptons beach, Cooper's beach, Southhampton NY. The work is set in a hand made gold frame, crafted in Pisa Italy, as pi...

This American Impressionistic portrait by Elizabeth Baker (1860-1927) is signed in the lower left center. The charming little blue eyed blond little girl's soft gaze engages the viewer. This impressionist's specialty is portraits in pure aquarelle and in oil. She painted many life sized portraits...

American, b. 1942 John Charles Terelak is recognized as one of America's finest living impressionists. Born in Boston, Massachusetts, he received formal art instruction at the Vespe...

Lillian Mathilde Genth Golden Harbor, Gloucester, circa 1910 Signed lower right, titled in graphite on verso Oil on canvas 20 x 25 inches Born in Philadelphia, Lillian Mathilde Gen...