Carolyn Bullis Blish Art

Vibrant figurative seascape of a beach in Mazatlan, Mexico with several figures and a catamaran reflecting beautifully in the shallow water by William A. Corbett (American. 1914-1960). Titled "Beach- Mazatlan" on verso. Signed "William Corbett" in lower left corner. Presented in a simple wood frame, with a double mat of off-white silk and royal blue with plexiglass. Image size: 22”H x 14.75”L William A. Corbett began drawing at an early age. He constructed signs and displays for theaters and nightclubs around Pittsburg. He studied art with Vincent Nesbert at the Pittsburg Art Institute and with Robert Gwathmoy, Roy Hilton, and Robert Laper at the Carnegie Institute of Technology. He also studied painting and sculpture at the Louisville Art Center. Corbett was in the Army Engineers at Fort Knox, Kentucky where he studied, practiced, and had exhibits with army artists there from 1941-1943. He was very much interested in materials and technique, content and style in painting. His favorite Artists were El Greco, Leonardo, Rembrandt, Renoir, Burchfield, and Andrew Wyeth, Jr. He studied two years at Boston museum School with Karl Zerbe, Daivid Aronson and others. He later designed and did art work for General Outdoor Advertising Co. In 1943, he married Ruth Osborne of Louisville and they had one son, Michael. In 1951 he moved to Fort Lauderdale, Florida with his family. Exhibitions: Army Art Show--- 1st Prize in Landscape, 1942 Kentucky & southern Indiana Exhibition-- Honorable mentions for Fisherman's Curse 1949, Don Q...

"Good Health Week" WPA American Scene Mid 20th Century Modern Social Realism Jo Cain (1904 – 2003) Good Health Week 10 ½ x 15 1/2 inches Oil on pape...

Man Working Mid 20th Century American Scene Social Realism Industrial WPA Modern Jo Cain (1904 - 2003) Telephone Pole Worker 38 1/4 x 18 1/2 inches Oil on pap...

A serene Hudson River scene by a student of Louis Comfort Tiffany. Anna May Walling was born in 1881, a native of Goshen, New York. She was a graduate of the Blair Academy, and Prat...

"Going to the Festival" WPA Ashcan 20th Century American Scene Modern Realism Daniel Celentano (1902 - 1980) "Going to the Festival," 14 1/2 x 10 1/2. Watercolor on paper, c. 1930s....

Bridge Painter WPA American Modernism Mid 20th-Century Realism Industrial Worker. Sight size: 18 x 23 1/4 inches. Estate stamped verso. This drawing is the study for a large oil we ...

Fletcher Martin (1904 - 1979) Sleigh Ride, Woodstock, New York circa 1955 Watercolor on paper 14 x 11 inches Signed lower right Provenance: James Cox Galler...

TOBACCO ROAD Mid 20th Century Realism 1940 Drawing from the Novel WPA Literary 2 10 1/2 x 6 (sight), Signed David Fredenthal lower right. Framed by Lowy....

"Brick Layers" WPA American Scene Mid 20th Century Modern Drawing Men Working. 21 x 15 inches Watercolor on paper. c. 1938. Signed lower left. BIO David Fredenthal (1914 - 1958) was one ot America's most respected watercolor artists. He was famous for his bold, intensely vigorous and complex paintings and drawings that expressed his deep feeling for excitement with life and living. He was a draftsman with seemingly a special gift for catching anything, physically and emotionally on the spot, and he never went anywhere without three or four loaded pens and a sketchbook in his pocket. As part of the WPA project he executed a number of murals including the Sports Pavilion on the Heinz Building of the New York World's Fair 1939. Some of his fresco and mural techniques were inspired by his friendship with Diego Rivera who had admired and encouraged him in the early 1930's. After he won a traveling scholarship to Europe from The Museum of Modern Art at age 19, he was the recipient of two Guggenheim grants in Painting. He had his first solo exhibition at the Downtown Gallery in New York in 1937 at age 23, and many others after that including the Whitney Museum of American Art in 1947. Because of Fredenthal's prodigious drawing gifts, he was chosen by Erskine Caldwell to illustrate his novel "Tobacco Road" in 1940. He was a War Artist Correspondent for both the State Department (the European and Asian fronts) and Life magazine from 1943 to 1946 and his work was featured in Life magazine regularly during the war and after until the end of his life. Also featured in Life in 1956 were drawings that Fredenthal had vividly recorded on his sketch pad, of the entire filming of the movie, The Pride and the Passion, starring Cary Grant, Sophia Loren, and Frank Sinatra, along the treacherous mountain passes of Spain. Though he was fiercely committed to an art that expressed deeply human social values and issues and was quite hostile to abstraction, he was friendly with a number of abstract artists such as David Smith, Ad Reinhardt, Philip Guston, Paul Feeley, and Herman Cherry.

Large Watercolour of Pleasure Boats Moored on the River in Florida by USA Artist David Coolidge AWS (American 20th-21st Century) Art measures 40 x 30 i...

Surveyors WPA American Scene Mid 20th Century Modern Social Realism Men Working Jo Cain (1904 - 2003) Surveyors 30 ½ x 40 ¼ inches (sight) Gouache on paper c. 1930s Signed lower rig...

This cartoon by Charles Addams is generations ahead of its time. To get the punch line, you need to know the meaning of a Satyr or Pan. Satyr: Part man and part beast. - A male nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated permanent erection. Early artistic representations sometimes include horse-like legs; Satyrs were characterized by their vulgar, indecent ribaldry, and were rowdy lovers of wine, music, dancing, and women. They inhabited remote locales, such as woodlands, and they often attempted to seduce or rape nymphs and mortal women alike. It's prudish 1950s America, where TV programs show husband and wife sleeping in separate beds. The discussion and representation of sex was repressed. To make a bold statement about censorship and the uncompromising moral climate of the time, Addams uses a reference from the mythical world to make a statement about the real world. In doing so, he anticipates the sexual revolution of the late 1960s and 1970s. The satyr/pan symbolizes nonconformistism. He has his own earthy customs, attitudes, and ideas. Because of that is being handcuffed and formally taken away by the state whose goal is to repress natural erotic fun and frolic that is ubiquitous in todays society. A proper and perfectly pressed Park Ranger cleans out a lustful undesirable from pristine woodlands. With startled expressions, a vulnerable family of correct women witness the event as they are about to have a picnic. The Satyr grasps his Pipes of Pan just over his crotch. The background is populated by phallic symbols. This is one a the rare instances where Addams address the issue of sex. The Ranger is a dead ringer as a self portrait of Addams. Original illustration for a cartoon, showing a uniformed ranger leading away a manacled satyr, in front of a startled picnic party. Ink and grisaille wash on Whatman cold press illustration board, signed "Chas Addams...