Jacques Petit Art

This is an exclusive handprinted limited edition cyanotype. "Pacific Ocean Currents (Blue Border)" is a handmade cyanotype print of rough water texture resembling Pacific Ocean swell...

First Edition and Subscription Edition lithographs available Full plate: 34 Presented in a acid free mount Modern hand-coloured lithograph for the first edition of David Roberts' Th...

Original pencil signed Grant Wood lithograph, "February," created 1940. A fine impression and one of the most important of the 19 lithographs created by the painter of "American Goth...

Paul Sample The Slope Near the Bridge, 1950 Signed in pencil lower left Lithograph on wove paper Image 8 15/16 x 12 15/16 inches Sheet 11 5/16 x 15 1/16 inches From the edition of 25...

DAVID ROBERTS RA Tiberias Looking Towards Hermon 1796 - 1864 First Edition and Subscription Edition lithographs available Full plate: 38 Presented in a acid free mount Modern hand-...

David Roberts RA Hebron 1796 - 1864 First Edition and Subscription Edition lithographs available Full plate: 55 Presented in a acid free mount Modern hand-coloured lithograph for th...

"Lautrec Book: From Au Pied du Sinai written by Georges Clemenceau" lithographs created by the legendary Henri de Toulouse-Lautrec. This book, Au Pied...

Joe Jones Fishing Village, 1949 Signed in pencil lower right margin Lithograph on wove paper Image 9 5/16 x 12 9/16 inches Sheet 12 x 15 15/16 inches From the edition of 250 The initial details of Jones' career are sparse, and this is intentional. The young artist was engaged in a process of self-reinvention, crafting a persona. When he submitted a work to the Sixteen Cities Exhibition at New York City's Museum of Modern Art in 1933, he briefly characterized himself: "Born St. Louis, 1909, self-taught. " Jones intentionally portrayed himself to the art community as an authentic working-class figure, backed by a compelling history. He was the youngest of five children in a family led by a one-armed house painter from St. Louis, a Welsh immigrant, and his German American spouse. At the age of ten, Jones found himself in a Missouri reformatory due to authorities' concerns over his graffiti activities. After completing elementary school, he traveled by freight car to California and back, even being arrested for vagrancy in Pueblo, Colorado. Returning to St. Louis, he attempted to settle down by working alongside his father. Yet, Jones felt a profound restlessness and was drawn toward a more elevated artistic pursuit in his late teenage years. He discovered a local collective of budding artists that formed St. Louis’s "Little Bohemia," sharing a studio and providing mutual support until he managed to secure his own modest workspace in a vacant garage. Jones’s initial creations comprised still lifes, landscapes, and poignant portraits of those close to him. These subjects were not only accessible but also budget-friendly, as hiring models was beyond his means. He depicted himself, his father, mother, and eventually, his wife. In December 1930, at the age of 21, Jones wed Freda Sies, a modern dancer and political activist who was four years older than him. By 1933, Jones had started gaining noteworthy local recognition through a solo exhibition at the Artists’ Guild of Saint Louis. Of the twenty-five paintings on display, one, titled River Front (private collection, previously with Hirschl and Adler Galleries), was selected to illustrate a feature article about his show in The Art Digest (February 15, 1933, p. 9). Shortly before this exhibition, a young surgeon named Dr. Robert Elman took an interest in Jones’s art, purchasing several pieces and forming a group of potential patrons committed to providing the emerging artist with a monthly stipend in exchange for art. This group was officially known as the "Co-operative Art Society," but it was informally dubbed the "Joe Jones Club. " Jones became an active participant in the St. Louis artistic scene, particularly within its bohemian segments. He embraced modernism and was a founding member of the "New Hat" movement in 1931, a playful rebellion against the conservative and traditional mainstream art establishment. The summer of 1933 marked a significant shift in Jones’s journey. Sponsored by a dedicated ally, Mrs. Elizabeth Green, Jones, along with Freda and Green, embarked on an eastward road trip. In Washington, D. C., they explored the Corcoran Gallery of Art, the Freer Gallery (part of the Smithsonian Institution), the Library of Congress, and Mount Vernon. Following this whirlwind of art and American culture, they made their way to New York, where they visited various museums and galleries, including a stop at The New School for Social Research, which featured notable contemporary murals by fellow Missourian Thomas Hart Benton and the politically active Mexican artist, José Clemente Orozco. From June through August, Jones and Freda resided in the artist colony of Provincetown, Massachusetts, later returning home via Detroit to see Diego Rivera’s Detroit Industry mural housed at the Detroit Institute of Fine Arts. While Elizabeth Green allegedly hoped that Jones would refine his artistic skills under the guidance of Charles Hawthorne or Richard Miller in Provincetown, Jones followed a different path. Rather than pursuing conservative mentors, he connected with an engaging network of leftist intellectuals, writers, and artists who dedicated their time to reading Marx and applying his theories to the American landscape. Jones's reaction to the traditional culture of New England was captured in his statement to a reporter from the St. Louis Post Dispatch: “Class consciousness . . . that’s what I got of my trip to New England. Those people [New Englanders] are like the Chinese—ancestor worshipers. They made me realize where I belong” (September 21, 1933). The stark social divisions he witnessed there prompted him to embrace his working-class identity even more fervently. Upon returning to St. Louis, he prominently identified himself as a Communist. This newfound political stance created friction with some of his local supporters. Many of his middle-class advocates withdrew their backing, likely influenced not only by Jones’s politics but also by his flamboyant and confrontational demeanor. In December 1933, Jones initiated a complimentary art class for unemployed individuals in the Old Courthouse of St. Louis, the same location where the Dred Scott case was deliberated and where slave auctions formerly took place. Concurrently, the St. Louis Art League was offering paid courses. Emphasizing the theme of social activism, with a studio adorned with Soviet artwork, Jones’s institution operated for just over a year before being removed from the courthouse by local officials. The school’s political focus and unconventional teaching practices, along with its inclusion of a significant number of African American students during a period marked by rigid racial segregation, certainly contributed to its challenges. Under Jones’s guidance, the class created a large chalk pastel mural on board, measuring 16 by 37 feet, titled Social Unrest in St. Louis. Mural painting posed no challenge for the former housepainter, who was adept at handling large wall surfaces. His first significant commission in St. Louis in late 1931 was a mural that celebrated the city’s industrial and commercial fortitude for the local radio station, KMOX. This mural, aimed at conveying optimism amid severe economic hardship, showcased St. Louis's strengths in a modernist approach. When Jones resumed mural work in late 1933, his worldview had evolved considerably. The mural produced for the school in the courthouse, conceived by Jones, featured scenes of modern St. Louis selected to highlight political messages. Jones had observed the technique of utilizing self-contained scenes to craft visual narratives in the murals he encountered in the East. More locally, this compositional strategy was commonly employed by the renowned Missouri artist...

Melissa Chalhoub, a 2014 graduate of Saint Joseph University in Beirut, seamlessly navigates the realms of cinema and visual art. With a background in directing and sound design for ...

Page size: 17.5 x 17 in. Vintage Frame with gold leaf finish size: 24 x 26 in. This intricately detailed lithograph depicts an vibrant floral scene against a warm, earthy backgroun...

NANCY CHUNN (American, born 1941) Untitled mixed media work Ink and pastel on newspaper De-acidified artistically rendered edition of Washington Post, October 5, 1997, various headlines and illustrations Dimensions Framed, 31 in. x 22 in. Sheet 23 X 14 With a whimsical red mercedes Benz convertible, Snowman, President Bill Clinton, racing cars and the Text "the check is in the mail". Nancy Chunn is an American artist (born 1941) based in New York, Known for her commitment to geopolitical issues, Chunn’s work includes a diverse range of paintings. Nancy Chunn was born in Los Angeles, California and received her Bachelor of Fine Arts in 1969, from the California Institute of the Arts, Santa Clarita, California. She began her career in Southern California before moving to New York in the late 1970s, where she currently lives and works. Chunn has exhibited internationally and has been represented by Ronald Feldman Fine Arts in New York since 1985. Chunn currently teaches at the School of Visual Arts in New York, and taught a master painting class at Otis College of Art and Design in Los Angeles in 2007. Chunn’s paintings commonly expose the political arena and portray the power of the media to define and control public opinion. Her work is mostly painting focused on narrative, cultural references and social problems, history, and symbolism both in the global community. She often uses the news, and famously newspapers to draw inspiration and information, adding her own commentary to these sources. The work she produces is colorful, cartoonish, and laced with humorously dark commentary. A self-proclaimed “political junkie,” she achieved critical success with her early map like paintings of tyrannized nations and has continued her commitment to documenting world events and the repeating cycle of history in the paintings she has produced since the early 1980s. She is largely recognized for the yearlong Front Pages project, where she applied images and text to provide commentary on every cover page of The New York Times from January 1 to December 31, 1996. In 1997, Rizzoli produced a hardcover book illustrating each of the project’s works. Chunn was a 2009 Guggenheim Fellow. She was named Honoree of the fall 2007 Jennifer Howard Coleman Distinguished Lectureship and Residency at Otis College of Art and Design. In 2005, Chunn received an Anonymous Was A Woman Award. She has also twice received a Fellowship Award in Painting from the National Endowment for the Arts, namely in 1985 and 1995. Public collections City of Chicago, Chicago, IL Ms. Foundation for Women, New York, NY Chicago Museum of Contemporary Art, Chicago, IL The New York Times, New York, NY The Progressive Corporation, Cleveland, OH The Prudential Insurance Company of America, Newark, NJ Commissions Public School 125, Queens, NY permanent installation painting, commissioned by the City of New York, 1995 Chicago Library Uptown Branch, Chicago, IL, permanent installation painting, commissioned by the City of Chicago, 1993-1995. Select Exhibitions Include 2017 The Times The FLAG Art Foundation Chelsea New York. The exhibition uses The New York Times as its point of departure. Artists included: Carlos Rolón, Ellsworth Kelly, Felix González-Torres, Fred Tomaselli, Nancy Chunn, On Kawara, Richard Prince, Rirkrit Tiravanija, Robert Gober, Suzanne Caporael. 2009 Black and White Works Ronald Feldman Fine Arts Soho NYC Artists included: Andy Warhol, Bruce Pearson, Buckminster Fuller, Chris Burden, Eleanor Antin, Hannah Wilke, Ida Applebroog, Joseph Beuys, Leon Golub, Les Levine, Nancy Chunn, Todd Siler, Vitaly Komar & Alexander Melamid 1995 Strung Into the Apollonian Dream... took place at Feature Inc. in New York, New York from January 20 - February 24, 1995. Artists included Michael Banicki, Nancy Chunn, Tom Friedman, Felix Gonzalez-Torres, Jenny Holzer, Peter Huttinger, Mike Kelley, Louise Lawler, Sherrie Levine, Allan McCollum, David Moreno, Hirsch Perlman, Raymond Pettibon, Adrian Piper, Richard Prince, David Robbins, Rene Santos...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences whi...