Emile-Louis Minet Art

"Barns in the Helderberg, New York" by Martin Lewis shows neighbors (one in a Model T car) visiting outside a series of barns with a tree in the background...

Hungarian/American artist/illustrator depicts a charming scene of sledding in the snow in Central Park. The work is abstract in its design as it's functional in its narrative - Unpublished New Yorker...

Original watercolor landscape painting of Niagra falls in the winter and in the spring. The pair of paintings are signed by the artist in the bottom corne...

Themistokles von Eckenbrecher (1842 Athens - 1921 Goslar), Norwegian pine grove, 1901. Watercolor on blue-green paper, 30 x 22 cm. Signed, dated and inscribed in his own hand "TvE. Fagermes [i.e. Fagermes]. 26.6.[19]01." - Slight crease throughout at left margin, otherwise in good condition. About the artwork Themistokles von Eckenbrecher often traveled to Norway to study the nature that fascinated him there. On June 26, 1901, near the southern Norwegian town of Fagernes, in the summer evening sun, he saw a small pine grove, which he immediately captured in a watercolor. He exposed the trees growing on a small hill in front of the background, so that the pines completely define the picture and combine to form a tense motif. The tension comes from the contrast of form and color. The trunks, growing upward, form a vertical structure that is horizontally penetrated by the spreading branches and the pine needles, which are rendered as a plane. This structural tension is further intensified by the color contrast between the brown-reddish iridescent trunks and branches and the green-toned needlework. Themistokles von Eckenbrecher, however, does not use the observed natural scene as an inspiring model for a dance of color and form that detaches itself from the motif and thus treads the path of abstracting modernism. Its inner vitality is to be brought to light and made aesthetically accessible through the work of art. It is precisely in order to depict the inner vitality of nature that von Eckenbrecher chooses the technique of watercolor, in which the individual details, such as the needles, are not meticulously worked out, but rather a flowing movement is created that unites the contrasts. The trees seem to have formed the twisted trunks out of their own inner strength as they grew, creatingthose tense lineations that the artist has put into the picture. The inner strength continues in the branches and twigs, culminating in the upward growth of the needles. At the same time, the trunks, illuminated by the setting sun, seem to glow from within, adding an almost dramatic dimension to the growing movement. Through the artwork, nature itself is revealed as art. In order to make nature visible as art in the work, von Eckenbrecher exposes the group of trees so that they are bounded from the outside by an all-encompassing contour line and merge into an areal unity that enters into a figure-ground relationship with the blue-greenish watercolor paper. The figure-ground relationship emphasizes the ornamental quality of the natural work of art, which further enforces the artwork character of the group of trees. With the presentation of Themistokles von Eckenbrecher's artistic idea and its realization, it has become clear that the present watercolor is not a study of nature in the sense of a visual note by the artist, which might then be integrated into a larger work context, but a completely independent work of art. This is why von Eckenbrecher signed the watercolor. In addition, it is marked with a place and a date, which confirms that this work of nature presented itself to him in exactly this way at this place at this time. At the same time, the date and place make it clear that the natural work of art has been transferred into the sphere of art and thus removed from the time of the place of nature. About the artist Themistocles' parents instilled a life of travel in their son, who is said to have spoken eleven languages. His father, who was interested in ancient and oriental culture, was a doctor and had married Francesca Magdalena Danelon, an Italian, daughter of the British consul in Trieste. During a stay in Athens - Gustav von Eckenbrecher was a friend of Heinrich von Schliemann and is said to have given him crucial clues as to the location of Troy - Themistokles saw the light of day in 1842. After an interlude in Berlin, where Themistokles was educated at the English-American School, the journey began again. From 1850 to 1857 the family lived in Constantinople, after which the father opened a practice in Potsdam, where Themistokles, who wanted to become a painter, was taught by the court painter Carl Gustav Wegener. In 1861 the von Eckenbrechers left Potsdam and settled in Düsseldorf. There Themistokles received two years of private tuition from Oswald Aschenbach, who greatly admired the talented young artist. After his artistic training, he undertook extensive travels, often accompanied by Prince Peter zu Sayn-Wittgenstein, which took him to northern and eastern Europe, but above all to the Middle East and even to South America. The paintings that resulted from these journeys established his artistic reputation and led to his participation in large panoramas such as the 118 x 15 metre Entry of the Mecca Caravan into Cairo, painted for the City of Hamburg in 1882. 1882 was also the start of a total of 21 study trips to Scandinavia, most of them to Norway, and the unique Norwegian landscape with its rugged fjords became a central motif in his work. Along with Anders Askevold and Adelsteen Normann...

Baobab N2 from the series: ‘Baobab. La sombra de África’ (‘Baobab. Africa’s shadow’), is a drawing by the contemporary Spanish artist, Calo Carratalá. This drawing is mounted on a wo...

Baobab N11 from the series: ‘Baobab. La sombra de África’ (‘Baobab. Africa’s shadow’), is a drawing by the contemporary Spanish artist, Calo Carratalá. This drawing is mounted on a w...

Abstracted New York City landscape drawing of urban rooftops and tree tops "Rooftops", created by William Clutz in 1977 30 x 20 inches, charcoal and pastel on paper 33 x 25 inches in light wood frame This framed pastel on paper was made in 1977 by William Clutz. It features an abstracted depiction of New York City rooftops as seen from a high window. Of particular note is the artist's technique with pastel; a wonderful texture and motion is created by closely woven striated lines. Sunlight reflects off brown rooftops and peaking green tree tops. The charcoal and pastel drawing is framed in a natural light wood frame with non-reflective glass and wire backing for installation. About the Artist: Renowned as the “impressionist of the contemporary metropolis”, William Clutz uses the city, in its entirety, as his subject. Pedestrians crossing streets become stars of the stage; the hustle and bustle of traffic and surrounding buildings are the chorus; each play their part in the overall composition. Lighting and color shift this observation of the everyday into a remarkable wonder. “It is surely Clutz”, wrote Gerrit Henry in Art News, 1979, “an artist who has rejected the niceties of representation in favor of the quintessence.” The young artist moved to New York City in 1955 and just four years later had his first solo exhibit at the Condon Riley Gallery. Clutz went on to show in major uptown galleries such as David Herbert, where, notably in 1962 he received a NYTimes review titled, Return of the Figure. That same year, his role in the revival of figuration was further solidified with inclusion in the MoMA group show, Recent Painting USA, The Figure. This was a pivotal turning point from which emerged a 50-year exhibiting career. Resume Born: Gettysburg, PA 1933 Mercersburg, PA 1933-1951 New York City 1955-1996 Education Painting: Thomas Danaher(WPA artist) 1944-51 Mercersburg Academy, PA 1947...

Treesong (Contemporary, Realist Charcoal Landscape Drawing by Sue Bryan) 18 x 24 x 2 inches Charcoal and acrylic on Primed Arches Paper Mounted on Wood Panel Excellent condition, Ready to hang as is This contemporary charcoal landscape drawing on arches paper was completed in 2021 by Sue Bryan. Born in Ireland, the artist uses landscapes from her childhood as inspiration for her current work primarily consisting of beautifully detailed charcoal drawings of trees and wooded landscapes. The artist captures exquisite detail and luminous light with the mere use of black and white charcoal and carbon pencil. The artist creates this tree through a blend of light and shadow that demonstrates the artist's masterful technique. Dark leaves and winding branches in black charcoal contrast elegantly against a light filled sky. There is sturdy wire installed on the back for easy hanging. Artist Statement: "My work is drawing based. As a native of Ireland, the landscape there has certainly shaped and influenced my own history. Many of my drawings are of places that have a deep personal association for me; an endeavor perhaps to stay connected to my roots. My aim is not only to convey a sense of place and belonging, but also an attempt to capture the ineffable, to evoke a feeling or a memory, to invite the viewer to look beyond and beneath what they see. My process is one of building up tones and textures using a combination of charcoal, carbon and graphite, all of which yield a wonderful range of blacks and grays that vary in density and transparency as much as in tonality. Much of drawing’s appeal to me lies in its very constraint, in its simplification, in the reduction of nature’s macrocosm to the coal-black char of organic matter. For me, the act of drawing is an end in itself." About the work: A native of Ireland, Sue Bryan explores the memories of youth rooted in her homeland's landscape. Employing charcoal on both paper and panel, these moody and misty studies reminds us that the water-locked terrain is not always sunny and green. Exquisite detail found in each tree branch or mass of tall grasses lining the horizon dominates the foreground. Light emulates from the background attempting to penetrate the density of opaque cloud cover. Bryan's small scale drawings convey an intimate and highly personal sense of place and belonging. SELECTED EXHIBITIONS 2019 'A Quiet Respite", Carrie Haddad Gallery, Hudson, NY 2018 'DRAWN',5th Annual International Exhibition of Contemporary Drawing, Manifest Gallery, OH 2018 'On Paper - An Exhibition of Drawings', Florence Academy of Art, NJ 2018 'MONOCHROME', Bo.Lee Gallery, London 2017 'Arboreal', Manifest Gallery, OH 2017 'Hudson Valley Landscapes', Carrie Haddad Gallery, Hudson, NY 2017 'Affordable Art Fair, Battersea, London, October 2017 'A Long Way from Home', Bo.Lee Gallery, London 2017 187th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2017 'Palette', Abend Gallery, Denver, CO 2017 'Summer Exhibit', Carrie Haddad Gallery, Hudson, New York 2017 'Exquisite Abandon : Contemporary Miniature Works', Laguna College of Art & Design 2017 8th Annual Drawing Discourse, University of North Carolina Ashville 2017 'Small is Beautiful', Le Salon Vert, Geneva Switzerland 2016 'Smart Dust', Group Show, Sla307, 307 West 30th Street, New York, NY 2016 'Inside Outside', Carrie Haddad Gallery, Hudson, NY 2016 7th Annual Drawing Discourse, S Tucker Cooke Gallery, University of North Carolina Asheville 2016 186th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2016 DRAWN, 3rd Annual International Exhibition of Contemporary Drawing, Manifest Gallery, OH 2016 'Summer Group Invitational', George Billis Gallery, NYC 2015 'Radical Inventions', Carrie Haddad Gallery, Hudson, NY 2015 'Strange Paradise', First Street Gallery's National Juried Exhibition, Juror Steven Harvey 2015 185th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2015 'DRAWN' 2nd Annual International Exhibition of Contemporary Drawing, Manifest Gallery 2015 7th Annual Juried Exhibition, Prince Street Gallery, NYC, Juror Robert Berlind 2015 Bradley International Print & Drawing Exhibition, Heuser Art Center, IL, Juror Beth Grabowski 2015 'Interactive Lines' Small Group Invitational, Cabarrus Arts Council, Condor, NC 2014 ‘Regarding the Sublime’, Small Group Invitational, North Park University, IL 2014 27th Northern National Art Competition, Nicolet College Art Gallery 2014 184th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2014 'DRAWN’ 1st Annual International Exhibition of Contemporary Drawing, Manifest Gallery 2014 POP-UP : On and Off the Wall, Series 2, Invited Artist, First Street Gallery, NYC 2014 5th Drawing Discourse, University of North Carolina, Asheville, Juror Tim Lowly 2013 VISTA [landscape in contemporary art], National Juried Show, Manifest Gallery 2013 Marks, A National Juried Drawing Exhibition, Madelon Powers Art Gallery, East Stroudsburg University, PA 2013 American Art Today : Figures, The Bascom, A Center for Visual Art, Juror Jonathan Stuhlman 2013 First Street Gallery's National Juried Exhibition, Juror Donald Kuspit 2013 4th Annual Drawing Discourse, S Tucker Cooke Gallery, University of North Carolina, Asheville, Juror Susan Hauptman 2012 Fort Wayne Museum of Art Contemporary Realism Biennial, Fort Wayne Museum of Art, Juror Frank Bernarducci 2012 25th Northern National Art Competition, Nicolet College Art Gallery, Juror Sarah McKenzie 2011 Salmagundi Annual Non-Member Open Exhibition, Salmagundi Club, NYC 2011 33rd Bradley International Print & Drawing Exhibition, Juror Robert E Marx

Lighthearted Illustration of Outdoor Pursuits This one being a Skiing scene, a boy and a girl on skis. signed W. Steig Provenance: from Mrs. Joseph B. Ryan, Commissioned by Joe Ryan ...

"Monkey Island at Washington Park Zoo" is an original graphite and charcoal drawing on paper by Francesco Spicuzza. It depicts a number of figures gazing out at a monkey enclosure at a zoo. The artist signed the piece in the lower left. 8 1/2" x 11 3/4" art 17 1/4" x 21 1/8" frame Francesco J. Spicuzza, born in Sicily on July 23, 1883, came to America at the age of 8. He supported himself as a fruit peddler until a newspaperman gave him $4 a week to go to school. He attended classes at the Milwaukee Art Students League, where he studied under Alexander Mueller. There he learned to paint in the then-fashionable "Munich School" technique, with detailed realism in heavy browns and grayed-out hues. Spicuzza completed eight grades in four years, and then in 1911, three businessmen advanced him enough money to allow him to study in New York under artist and teacher John Carlson. It was during this time that Spicuzza changed his style of painting, developing an impressionistic use of color, form and atmospheric renditions. After a period of grinding poverty, one of Spicuzza's pictures won a major New York competition. It was the first of 60 wins, both in the U.S. and Paris. He became a fashionable painter, and many of the leading collections have his work. Spicuzza's typical works were beach scenes, still life, landscapes and portraits done in pastels, oils, ink, charcoal and watercolors. Much of his work traced the history of Milwaukee in the early 1900s. He was probably best known for his scenes of women and children splashing in...

Naturalistic European harbor scene with boats and figures preparing the boats of sailing. The work is signed and dated by the artist in the bottom corner. The paper comes with a blac...

Le Pont du Vey by Paulémile Pissarro (1884-1972) Charcoal on paper 24.5 x 31.5 cm (9 ⁵/₈ x 12 ³/₈ inches) Signed with Estate stamp lower centre and upper right Executed circa 1940s ...