Jean Ferdinand Chomel Art

Trees at Bloom, 1939, oil on canvas, 32 x 24 inches, signed lower right About the Painting Trees at Bloom was painted when Clarence Holbrook Carter lived in Pittsburgh and served as an instructor in the Department of Painting and Design at the Carnegie Institute of Technology (now Carnegie-Mellon University), a position he held from 1938 through 1944. It depicts a thick forest at the base of distance hills just outside the city. During his tenure in Pittsburgh, Carter was deeply influenced by not only the industrial might of the steel mills and iron forges of the city, but also the beauty of the surrounding landscape. As Frank Anderson Trapp noted in his book on the artist, for Carter “the terrain itself had its own special vitality, with its craggy, wooded hills threaded with ravine and watercourses . . . . the signs of industrial blight that were unalleviated in some parts of the country were there relieved by the geological variety of the parent landscape, and by the irrepressible presence of its natural growth, which softened the whole.” Trapp continues, “in his scenes of rural situations, Carter had a special gift for rendering those elements convincingly.” With the profusion of flowering trees which diffuse the light and the red cardinals darting from one branch to another, Trees at Bloom portrays the “irrepressible presence of nature” that Trapp describes. About the Artist Together with Charles Burchfield, Clarence Holbrook Carter was Ohio’s premiere American Scene painter and later an innovative magic realist. The son of a no-nonsense public-school administrator, Carter was born in 1904 outside of Portsmouth, Ohio, a small town in the heart of the Ohio River...

Duncan Gleason lived in New York and other places for work or studies but it was really Southern California where he felt most at home, and looking at his body of work, that love of ...

This large green field overlooking the Long Island Sound Beach depicts a parent without definition, mother or father, observing their child in the gr...

An elegant vintage impressionist oil on canvas painting signed by artist Tasica -1977. The painting features a street scene in the...

An elegant oil on canvas landscape painting featuring a lake view in a paradisiac environment. The painting is finely framed in custom giltwood frame. A wonderful addition to any liv...

Six O-Clock, c. 1942, oil on canvas, 30 x 20 inches, signed and titled several times verso of frame and stretcher (perhaps by another hand), marked “Rehn” several times on frame (for the Frank K. M. Rehn Galleries in New York City, who represented Craig at the time); Exhibited: 1) 18th Biennial Exhibition of Contemporary American Oil Paintings from March 21 to May 2, 1943 at The Corcoran Gallery of Art in Washington, D.C. #87, original price $450 (per catalog) (exhibition label verso), 2) Craig’s one-man show at the Frank K. M. Rehn Galleries, New York City, from October 26 to November 14, 1942, #10 (original price listed as $350); and 3) Exhibition of thirty paintings sponsored by the Harrisburg Art Association at the State Museum of Pennsylvania in Harrisburg in March, 1944 (concerning this exhibit, Penelope Redd of The Evening News (Harrisburg, Pennsylvania) wrote: “Other paintings that have overtones of superrealism inherent in the subjects include Tom Craig’s California nocturne, ‘Six O’Clock,’ two figures moving through the twilight . . . .” March 6, 1944, p. 13); another label verso from The Museum of Art of Toledo (Ohio): original frame: Provenance includes George Stern Gallery, Los Angeles, CA About the Painting Long before Chris Burden’s iconic installation outside of the Los Angeles County Museum of Art, Urban Light, another artist, Tom Craig, made Southern California streetlights the subject of one of his early 1940s paintings. Consisting of dozens of recycled streetlights from the 1920s and 1930s forming a classical colonnade at the museum’s entrance, Burden’s Urban Light has become a symbol of Los Angeles. For Burden, the streetlights represent what constitutes an advanced society, something “safe after dark and beautiful to behold.” It seems that Craig is playing on the same theme in Six O-Clock. Although we see two hunched figures trudging along the sidewalk at the end of a long day, the real stars of this painting are the streetlights which brighten the twilight and silhouette another iconic symbol of Los Angeles, the palm trees in the distance. Mountains in the background and the distant view of a suburban neighborhood join the streetlights and palm trees as classic subject matter for a California Scene painting, but Craig gives us a twist by depicting the scene not as a sun-drenched natural expanse. Rather, Craig uses thin layers of oil paint, mimicking the watercolor technique for which he is most famous, to show us the twinkling beauty of manmade light and the safety it affords. Although Southern California is a land of natural wonders, the interventions of humanity are already everywhere in Los Angeles and as one critic noted, the resulting painting has an air of “superrealism.” About the Artist Thomas Theodore Craig was a well-known fixture in the Southern California art scene. He was born in Upland California. Craig graduated with a degree in botany from Pomona College and studied painting at Pamona and the Chouinard Art School with Stanton MacDonald-Wright and Barse Miller among others. He became close friends with fellow artist Milford Zornes...

This is an oil on canvas painting depicting a group of people, seaside. The gilt frame is finely hand carved. The piece is from the 1980s and is signed Dimensions: Framed 18" H, ...

This painting is illustrated in the Catalogue of the 1945 Encyclopedia Britannica Collection of Contemporary American Painting, p.84. Written and edited by Grace Pagano. "Painting ...

Claude Muncaster ( 1903-1974) PRSMA, RWS, ROI, RBA British. Chap Wells and Chap Fell, Cumbria (The Lake District). Oil on board circa 1936. Signed , and old London...

A fine oil by Bengy Hansson ( Danish) circa 1974. Landscape with a quarry . An extensive natural landscape interupted by mans activity scaring the natural topography creating artific...

Melissa Sims’ work utilizes motifs from collage and pop art, in that several different images are combined into one cohesive but surreal landscape. Sims c...

Painting size 12 ½" x 14 ½", framed 18" x 20 ¼" x 2" Signed "Friedman" lower right Inscribed verso: "Title: Autumn Day Drive. Associated impressions of two drives Hudson River and F...