Alex Katz Paintings

One of a kind Mixed Medium on Canvas Artwork: Original abstract mixed media work on canvas, which combines new media - digital original hand painting, printed on canvas, then hand p...

View of a Port "59" French Modernist School Oil on canvas Illegibly signed. l.r., dated "59" 28 3/4 x 23 3/4 (30 x 25 frame) inches A positively brilliant, Modernist view of a French port...

[Bruce Sargeant (1898-1938)] River Scene with Seven Rowers 1937 Signed in red, l.l. Oil on canvas 96 x 84 inches (243.8 x 213.4 cm) $18,000 + $1,000 framing This work is offered...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

[Bruce Sargeant (1898-1938)] Single Rower n.d. Signed in red, u.r. Oil on canvas mounted to Masonite 37.25 x 71.5 inches (94.6 x 181.6 cm) $8,500 + $800 framing This work is off...

Oil on canvas laid on board painting titled "Untitled (Colorado Mesa and Trees)" by John Edward Thompson (1882-1945). A semi-abstract painting of a Colorado landscape, painted in shades of purples, yellows and browns. Presented in a wood frame, outer dimensions measure 32 x 36 x ⅜ inches. Image sight size is 27 ¼ x 31 ¾ inches. Painting is clean and in very good condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Thompson’s professional career as an artist and art educator is largely associated with Denver and Colorado where he lived and worked for more than thirty years. While he may not have achieved a commanding national profile, his well-informed and unceasing efforts as the Dean of Colorado Artists in the first half of the twentieth century introduced modernity into Colorado art and art education, making it possible for all types of good art to be seen and appreciated. Producing his first drawings at age fourteen for a Professor Berger in his hometown, Thompson thereafter enrolled in the Art Students League of Buffalo, studying with Lucius Hitchcock, one of America’s noted illustrators. During that time he befriended artist George Carlock, nephew of Elbert Hubbard who headed the famous Roycroft Colony near East Aurora, New York, where they sketched and painted on the weekends. Thompson also developed his skill in bag-punching, later earning him extra money while studying in Paris. The four Sherwood Smith money prizes he won for his life-class drawings in Buffalo enabled him to attend the Art Students League in New York for two years, beginning in 1899, where he studied with Frank Vincent DuMond. He also won a scholarship in drawing to the Chase School of Art (also known as the New York School of Art) where he was monitor of Hitchcock’s illustration class. The money he earned from illustration work in New York helped finance his trip to Europe where in the spring of 1902 he studied with Myron Barlow, an American based in Étaples in northern France. The atmosphere of the fishing port -- also an international art colony at the time -- introduced Thompson to the color and life of France. In November 1902 he entered the Académie Julian in Paris, working under Jean-Paul Laurens, Henri Royer and Marcel Baschet who imparted a healthy respect for sound draughtsmanship. Among his classmates were Sheldon Cheney, American author on art and the theater, and Anton Otto Fischer, German-born illustrator and later Howard Pyle’s student in the United States. During his second year abroad Thompson spent his mornings at Julian’s and his afternoons at the Académie La Palette, directed by Jacques-Émile Blanche who attracted many British and American students seeking exposure to the latest avant-garde trends. He benefitted from the critiques of Charles Cottet, Lucien Simon and Edmond Aman-Jean with whom Birger Sandzén also studied in Paris. In the spring of 1904 Thompson left for Holland, spending the next year and a half in the painting village of Laren near Amsterdam where he met Johannes Albert Neuhuys, one of the best known painters of the Laren School, and the celebrated genre painter, Jozef Israӫls, with whom he studied. During that time Thompson had two of his paintings accepted for the 1904 exhibition of the Société des Artistes Français. Returning to Paris in July 1905 he briefly studied again at the Académie Julian and Académie La Palette before breaking with the academic style to pursue independent study at the Louvre and other Paris museums. There he assimilated diverse art forms including classical mosaics and murals, Persian miniatures, Old Master drawings and paintings, as well as the work of Daumier, Renoir, Toulouse-Lautrec and Van Gogh. He visited Gertrude Stein’s salon and viewed the Fauves’ work at the 1905 Salon d’Automne and the Cézanne retrospective at the 1907 Salon that greatly influenced his own creative output. Reexamining all that he had learned from a new perspective, he began developing his own vision, melding Cézanne’s color planes with the traditional art he loved. He considered Cézanne’s work a “belated return of art to the classicism of the old masters” and their concern with structural qualities, form, line and color. Thompson and Carlock became Thomas Hart Benton’s first two American friends after he arrived in Paris in 1907 to study at the Académie Julian, as noted in Tom Benton’s America: An Artist in America. Carlock introduced Thompson to the great English color scientist, Percival Tudor-Hart. Working in his atelier from 1905 to 1908, he received a thorough grounding in composition research and color theory and also learned to think constructively for himself. For a time he painted scintillating color landscapes at Chezy-sur-Marne near Chateau Theirry. Thereafter he lived for six months at the home of the novelist George Sand at Gargilesse-Dampierre where he produced Impressionist style canvases. After 1908 he worked independently, taking painting trips to Martigues, Aix and Marseilles in the south of France. He also traveled to England, Spain and Italy, studying important public art collections in those countries. At the outbreak of World War I he returned to Buffalo, New York, to await a quick end to the hostilities that did not materialize. Eager to paint and intrigued by railroad folders describing the light and rugged country in Colorado, he traveled to the state in 1914 where he spent about seven months at Shaffers Crossing and Pine in the mountains west of Denver. Among the images he produced there was Pine, Colorado. Reflecting his exposure to Post-Impressionism in Europe and stylistically very different from most of the art being produced in Colorado at that time, the painting has a certain freedom and minimum of detail combined with a sound structural base characterizing his work over the next thirty years. In addition to falling in love with the Colorado landscape in 1914, he met his future wife Harriette C. Brown, whom married the following year and returned to Buffalo. His European credentials gained him several students of Polish heritage in Buffalo – Józef Bakoś, Alexander Korda and Walter Mruk. They followed him to Denver after he relocated there with his wife in 1917. Bakoś and Mruk later moved to Santa Fe where along with Fremont Ellis, Willard Nash and Will Shuster they became two of the founding members of Los Cinco Pintores (The Five Painters), the city’s first modernist art group. In the mid-1920s Thompson comprised part of the summer school faculty at the Santa Fe Art School that included Bakoś and Mruk, as well as Andrew Dasburg, B.J.O. Nordfeldt and Walter Ufer. Seeking to educate the public in the fine arts, Thompson and his young students introduced modernism to Colorado in 1919 at the twenty-fifth annual exhibition of the Denver Art Association. It quickly became known as the Denver Armory Show because it generated similarly vituperative polemics in the local press as did the Armory Show held six years earlier in New York. Thompson’s painting, Organization of Rocks and Trees, was ridiculed by Horace Simms in the Rocky Mountain News as reflecting “downright idiocy of conception.” Some critics in the local press even went so far as to label the artist a “Bolshevik.” He successfully weathered the storm, going on to teach for a time in the early 1920s at the Denver Academy of Fine and Applied Arts along with Laura Gilpin, Anne Van Briggle Ritter, Arnold Rönnebeck and Paul St. Gaudens. After he resigned, a group of students – among them Donald Bear, Josephine Hurlburt, Charles F. Ramus and Frank Vavra...

Price includes $400 cost of framing. Oil on canvas mounted to Masonite Signed in red, u.r. This work is offered by ClampArt in New York City.

PATRICK REAULT Born: Bayonne, France, b. 1955 After growing up beside the Dordogne, Reault became in 1975 the theater actor and musician in a band formed in Clermont-Ferrand . In the early 1980s , he moved to Marseille where he began his career as a painter, watercolorist after observing on the way to the oils . Self taught to keep its authenticity and sensitivity, it is days and nights in a cellar, he draws, he paints constantly in search of these sets of lights that have inspired him such as Provencal hills and these two masters such as Nicolas de Stael and William Turner . He sells his watercolors on the quays of the Old Port of Marseille and the sunny Sunday on the pretty little town of Cassis . Then, it is Paris he wins acclaim. Constant evolution of his technique characterizes the work of Patrick Reault. After his debut in watercolor , his paintings are in oil for ten years but the drying times are too long. Acrylic allows him more freedom in his creations and work on the material. Her painting is spontaneous, rhythmic and intense as its colorful landscape. Patrick Reault exhibits in Asia, the US and France, and his talent earned him the favor of many collectors worldwide. The first of his lithographs is published in 1994 by Art Paris Framework. The Hazan editions publish posters of his Provençal landscapes. He exhibited permanently at Opera Gallery today alongside great masters of painting such as Braque, Chagall, Picasso, Utrillo. From the School of Post war french Atists that include Genis Rene Lesieur Pierre Guiramand Paul Cathelin Bernard Brasilier Paul Fusaro Jean Boncompain Pierre and Guy Bardone. Select Exhibitions • April 1982 : Galerie La Poutre, Marseille • 1984 : Giorgione Gallery, Clermont-Ferrand • 1984 : Group exhibition in Cannes , Aix-en-Provence , Le Lavandou...

One of a kind Mixed Medium on Canvas Artwork: Original abstract mixed media work on canvas, which combines new media - digital original hand painting, printed on canvas, then hand ...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

[Bruce Sargeant (1898-1938)] Three Bathers by the Water Signed in red, recto Oil on canvas 96.25 x 67 inches (244.5 x 170.2 cm) $15,000 + $900 framing This work is offered by Cla...

It is infrequent, to say the least, that a diagnosis of tuberculosis proves fortuitous, but that was the event, in 1921, that set Paul Starrett Sample on the road to becoming a professional artist. (The best source for an overview of Sample’s life and oeuvre remains Paul Sample: Painter of the American Scene, exhib. cat., [Hanover, New Hampshire: Hood Museum of Art, 1988] with a detailed and definitive chronology by Sample scholar, Paula F. Glick, and an essay by Robert L. McGrath. It is the source for this essay unless otherwise indicated.) Sample, born in Louisville, Kentucky, in 1896 to a construction engineer and his wife, spent his childhood moving with his family to the various locations that his father’s work took them. By 1911, the family had landed in Glencoe, Illinois, settling long enough for Paul to graduate from New Trier High School in 1916. Sample enrolled at Dartmouth College, in Hanover, New Hampshire, where his interests were anything but academic. His enthusiasms included the football and basketball teams, boxing, pledging at a fraternity, and learning to play the saxophone. After the United States entered World War I, Sample, to his family’s dismay, signed on for the Naval Reserve, leading directly to a hiatus from Dartmouth. In 1918 and 1919, Sample served in the U.S. Merchant Marine where he earned a third mate’s license and seriously contemplated life as a sailor. Acceding to parental pressure, he returned to Dartmouth, graduating in 1921. Sample’s undergraduate life revolved around sports and a jazz band he formed with his brother, Donald, two years younger and also a Dartmouth student. In November 1933, Sample summarized his life in a letter he wrote introducing himself to Frederick Newlin Price, founder of Ferargil Galleries, who would become his New York art dealer. The artist characterized his undergraduate years as spent “wasting my time intensively.” He told Price that that “I took an art appreciation course and slept thru it every day” (Ferargil Galleries Records, circa 1900–63, Archives of American Art, Smithsonian Institution, available on line). In 1920, Donald Sample contracted tuberculosis. He went for treatment to the world-famous Trudeau Sanitorium at Saranac Lake, in New York State’s Adirondack Mountains for the prescribed regimen of rest, healthful food, and fresh air. Visiting his brother in 1921, Paul also contracted the disease. Tuberculosis is highly contagious, and had no certain cure before the development of streptomycin in 1946. Even for patients who appeared to have recovered, there was a significant rate of recurrence. Thus, in his letter to Price, Sample avoided the stigma conjured by naming the disease, but wrote “I had a relapse with a bad lung and spent the next four years hospitalized in Saranac Lake.” The stringent physical restrictions imposed by adherence to “the cure” required Sample to cultivate an alternate set of interests. He read voraciously and, at the suggestion of his physician, contacted the husband of a fellow patient for instruction in art. That artist, then living in Saranac, was Jonas Lie (1880–1940), a prominent Norwegian-American painter and an associate academician at the National Academy of Design. Lie had gained renown for his dramatic 1913 series of paintings documenting the construction of the Panama Canal (The Metropolitan Museum of Art, New York; United States Military Academy, West Point, New York). Primarily a landscape artist, Lie had a particular affinity for scenes with water. His paintings, impressionistic, atmospheric, and brushy, never strayed from a realistic rendering of his subject. Sample regarded Lie as a mentor and retained a lifelong reverence for his teacher. Sample’s early paintings very much reflect Lie’s influence. ` In 1925, “cured,” Sample left Saranac Lake for what proved to be a brief stay in New York City, where his veteran’s benefits financed a commercial art course. The family, however, had moved to California, in the futile hope that the climate would benefit Donald. Sample joined them and after Donald’s death, remained in California, taking classes at the Otis Art Institute in Los Angeles. In Sample’s account to Price, “I couldn’t stomach the practice of painting a lot of High Sierras and desert flowers which seemed to be the only kind of pictures that were sold here so I got a job teaching drawing and painting at the art school of the University of Southern California.” Initially hired as a part-time instructor, Sample progressed to full-time status and ultimately, by the mid-1930s, to the post of Chairman of the Fine Art Department. Sample, however, did not want to wind up as a professor. “Teaching is all right in small doses,” he wrote, “but I have a horror of drifting into being a college professor and nothing more.” At the same time as he taught, Sample began to exhibit his work in a variety of venues at first locally, then nationally. Though he confessed himself “a terrible salesman,” and though occupied with continued learning and teaching, Sample was nonetheless, ambitious. In 1927, he wrote in his diary, “I am eventually going to be a painter and a damned good one. And what is more, I am going to make money at it” (as quoted by Glick, p. 15). In 1928, Sample felt sufficiently solvent to marry his long-time love, Sylvia Howland, who had also been a patient at Saranac Lake. The Howland family were rooted New Englanders and in summertime the Samples regularly traveled East for family reunion vacations. While the 1930s brought serious hardship to many artists, for Paul Sample it was a decade of success. Buttressed by the financial safety net of his teacher’s salary, he painted realist depictions of the American scene. While his work addressed depression-era conditions with a sympathetic eye, Sample avoided the anger and tinge of bitterness that characterized much contemporary realist art. Beginning in 1930, Sample began to exhibit regularly in juried exhibitions at important national venues, garnering prizes along the way. In 1930, Inner Harbor won an honorable mention in the Annual Exhibition of the Art Institute of Chicago. That same year Sample was also represented in a show at the Albright-Knox Gallery in Buffalo and at the Biennial Exhibition of the Corcoran Gallery of Art, Washington, D.C. In 1931, Dairy Ranch won the second Hallgarten Prize at the Annual Exhibition of the National Academy of Design, in New York. Sample also made his first appearances at the Carnegie Institute, Pittsburgh, and The Pennsylvania Academy of the Fine Arts, Philadelphia. In 1936, Miner’s Resting won the Temple Gold Medal at the Pennsylvania Academy’s Annual Exhibition. Always interested in watercolor, in 1936, Sample began to send works on paper to exhibitions at the Whitney Museum, New York. While participating in juried exhibitions, Sample also cultivated commercial possibilities. His first New York art dealer was the prestigious Macbeth Gallery in New York, which included his work in a November 1931 exhibition. In 1934, Sample joined the Ferargil Galleries in New York, after Fred Price arranged the sale of Sample’s Church Supper to the Michele and Donald D’Amour Museum of Fine Arts in Springfield, Massachusetts. In 1937, The Metropolitan Museum of Art purchased Sample’s Janitor’s Holiday from the annual exhibition of the National Academy of Design, a notable honor. As prestigious as this exhibition schedule may have been, by far Sample’s most visible presence in the 1930s and 1940s was the result of his relationship with Henry Luce’s burgeoning publishing empire, Time, Inc. Sample’s first contribution to a Luce publication appears to have been another San Pedro...