Ellen Wetherald Ahrens Art

Charcoal on cream laid paper mounted on board. 940x590 mm; 37x23 1/4 inches. Signed in charcoal, lower right recto. Unframed, The Paper has a slight ripple in the chest area. Four s...

Charcoal and watercolor drawing realized by Mino Maccari in 1960s. Hand signed in pencil lower right. Good condition.

Donkey by Georges Manzana Pissarro (1871-1961) Charcoal on paper 19 x 28.2 cm (7 ¹/₂ x 11 ¹/₈ inches) Signed with Estate stamp lower right, manzana-Pissarro This work is accompanied...

WPA Mural Study Mid-Century Modern American Scene Social Realism Workers Anton Refregier (1905-1979) Mural Study, Untitled 7 ¾ x 22 inches (sight) Gouache, pencil, and charcoal on board, c. 1940s Unsigned Provenance: Estate of Seymour Fogel, noted verso Thomas McCormick Gallery...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Juventus Football Player, UEFA Champions League Triumph, 1996. Cm 72 x 50 Technique: Charcoal on paper, signed and dated '96 Author: Marco Silombria (Savona, 1936 - Albissola, 2017...

Moroccan Woman on a Donkey by Georges Manzana Pissarro (1871-1961) Charcoal on paper 26 x 18 cm (6 ¹/₄ x 7 ¹/₈ inches) Signed with Estate stamp lower right Created while Manzana was...

Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. The artwork is unframed and will be shipped rolled in a tube Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Pretenders is an original artwork realized by Mino Maccari in the 1960's. Watercolor and pastel drawing. Hand-signed by the artist on the lower margin. Includes frame (80.5 x 3.5...

Art: 11"x15" Paper: 12"x16" Frame: 20 1/2"x24 1/2" Charcoal drawing, signature stamped lower left Born in 1908, Sylvia Spicuzza was the daughter of noted painter Francesco Spicuzza. Sylvia devoted herself to teaching art to the students of Lake Bluff Elementary School in Shorewood, WI. During this time Sylvia produced a magnificent body of work that was undiscovered until her death. Sylvia's work is rich, diverse and fascinating collection of drawings, watercolors and prints from the 1920's to the 1990's. Her style ranges from early figurative drawings to regionalism, art deco, lyrical abstractions of every conceivable subject (both real and imagined), as well as figurative paintings that reflect the work of Picasso and Ernest Max in the 1930's and 1940's. Biomorphic and organic, Modernist images are presented with Sylvia Spicuzza's own unique sense of style, humor and fantasy. Exhibitions David Barnett Gallery...

Title: Mid Century French School Two Seated Nude Figures Life Study Drawing Medium: Charcoal and graphite on paper, unframed Size: 12.5 x 15.25 inches (height x width) Provenance: pr...

Alice Kent Stoddard 1885-1976 Sledders (circa 1950-1960) Black chalk on card Image Dimensions: 19.75 x 16 inches (50.2 x 40.6 cm) Framed Dimensions: 26.5 x 22.3 inches Signed lower right: Alice Kent Stoddard Alice Kent Stoddard was born in Connecticut, but spent much of her career as an artist in Philadelphia and on Monhegan Island in Maine. She studied with Thomas Eakins, William Merritt Chase and Thomas Anshutz at the Pennsylvania Academy of Fine Arts, as well as at the Philadelphia School of Design for Women. While serving with the YMCA in France during World War I, Stoddard executed many drawings and paintings of the battlefield. However, she is most widely recognized for her bold landscapes and marine paintings of Maine...