Folk Art Art

Acrylic

Artist: Raimundo de Oliveira, Brazilian (1930 - 1966) Title: Revelation Year: 1963 Medium: Oil on Canvas, signed and dated l.r. Size: 28.5 in. x 39.5 in. (72.39 cm x 100.33 cm)

Artist : Casey Whittier Title : Fumble Fingers Materials : Earthenware, mason stains, enamel, microbeads Date : 2017 Dimensions : 16 in x 16 in x 4 in Description : ceramic sculpture with chainmail base Casey Whittier received her BFA from the Kansas City Art Institute and MFA from the University of Colorado Boulder. Her work investigates the fine line between the need to preserve and a desire to re-imagine, re-configure and re-contextualize the world around her. Utilizing a variety of forming methods and clay bodies, Whittier recreates elements from nature, unites the landscapes of her reality with the landscapes of daydreams, exploits the visceral qualities of clay, and ponders the power of shared experience. Through shifts in material, Whittier makes space for metaphorical possibilities to rise to the surface. An exploration of touch and intuitive making is deeply embedded in her studio practice and community-based projects. Ceramic, sculpture, contemporary ceramics, contemporary sculpture, mixed media, textiles, weaving, ceramic artists, contemporary art, fine art, women artists, midwest artists...

Title: Winter Night in City Park Artist: Fannie Lou Spelce Year: 1979 Size: 14" x 18" Medium: Oil on Linen Framing: Framed Condition: Excellent Signature...

ARROW AND BULL ROARER, wood folk art orange brown white Charlie Willeto Navajo Charlie Willetto (Diné/Navajo 1897-1964) ARROW AND BULL ROARER wood, paint, unique 17.5” x 5.5” x 2” ...

Standing Figure, Charlie Willetto Navajo Folk Art wood black white green orange Charlie Willetto (Diné/Navajo 1897-1964) Untitled Standing Figure (black and white on metal stand) wo...

FREE SHIPPING WORLDWIDE Artisan: Jaime Villa Lopez Carved polychrome jar decorated with a sgraffito and geometric design. - Dimensions: 8" x 13" in or...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

This is a traditional American sampler created in 1871 by Elizabeth Uncle, Aged 11 while attending the National Girls School.

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (Edward M. Gomez, "Futuristic Forms Frolic Under Eerie Texan Skies...

CURRIER AND IVES A HALT BY THE WAYSIDE, ca 1870 (Conningham 2694) Lithograph with original color. 1 - 1 1/2 inch margins. Image 8 x 12 1/2 Inches, sheet 10 3/4 x 14 3/4 inches. Ge...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City." (Reynolds, p. 25) After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) "Eagle’s Nest" is Plate Number 37, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds provides the following quote from the artist regarding this print: “The structure on the right is an architectural symbol for an eagle. It is also like a machine that is igniting the shape on the left. Below, the egg that is coming out of the chute is a child which will evolve into another architectural eagle...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined p...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined pa...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

An Oaxacan School oil painting by Maximino Javier from 1983. A whimsical scene of anthropomorphic figures. Framed in stained wood frame, signed in lower left corner. Artist: Maximino Javier, Mexican (1948 - ) Title: Untitled - Bull on Wheels...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City. He was three years old when the terrible explosion occurred there and can remember the terrifying confusion and 'the beautiful red sky and objects flying everywhere in the air.'" (Reynolds, p. 25) While growing up in Texas City, Valton's father worked in auto repair, and was known for his skill in mixing colors for paint jobs. After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) “Height...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City. He was three years old when the terrible explosion occurred there and can remember the terrifying confusion and 'the beautiful red sky and objects flying everywhere in the air.'" (Reynolds, p. 25) While growing up in Texas City, Valton's father worked in auto repair, and was known for his skill in mixing colors for paint jobs. After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) “World of Watermelons” is plate number 19, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. Of “World of Watermelons”, Tyler said “The title here does not represent my own associations with this print. Friends simply began referring to it as ‘the watermelon print...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...