John Whorf Art

Farmhouse by the Sea - Original Watercolor on Paper Tranquil landscape of a seaside farmhouse on the sand surrounded by coastal plants, in soft neutral watercolors. A distant ocean s...

"Homestead" is a regional, American landscape by Pennsylvania Impressionist and New Hope School painter Harry Leith-Ross. The painting is a 14" x 19" watercolor on paper, signed "Lei...

A watercolour on paper view of a canal in Venice by French artist Paule Soulé. The pain ting is signed bottom right and presented in a gilt and painted wood frame under glass. A cha...

Beautiful mid-century 1940's watercolor of a bucolic farmhouse scene - sunset, undulating clouds, and grazing cows - by Thelma Fike Rodenhorst (Americ...

Leigh Ann Van Fossan's "Nocturne" is an original, handmade oil painting that depicts sailboats floating in the darkness as their lights and the moon casts glimmering reflections on t...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

Two Mid Century Rural Landscapes in Watercolor on Paper Two lovely watercolors by Beverly Lyons (American, 20th Century). In the top watercolor, an expansive sky sits above a strip ...

George Raab (American, 1866 - 1943) Signed: G. Raab 1912 (Lower, Right) " Doctor Lake ", 1912 Oil on Canvas 18" x 22" Housed in a 3" Period Carved Frame in the style of Newcomb ...

Silver Plume, Colorado - near Georgetown, mountain landscape with fall colors, Aspen and Pine trees, river, houses and mountains by early 20th century Co...

" Summer Landscape ", c. 1900 - 1910 Oil on Canvas 13 1/2" x 18 1/4" Housed in a 1 1/2" Frame Overall Size: 16 1/2" x 21 1/8" Appears to be in very good condition.

Painted from life, the Swiss Alps as viewed from Italy. Framed in a thick grey wooden frame. Dimensions framed: 12.5 x 19.25 inches Nelson H. White was born in New London, Connectic...

Original signed watercolor painting of a ranch in the Colorado mountains in springtime or summer coloring of green, blue, yellow, white and brown by Denver artist, Irene Fowler. Presented in a custom frame with all archival materials, outer dimensions measure 17 ½ x 23 ½ x 1 ½ inches. Image size is 12 x 18 inches. About the Artist: An important figure in the development of Denver as an artistic city, Irene Fowler was a public school teacher and founding member of the Denver Artist’s Guild (now the Colorado Artist’s Guild) in addition to being a prolific artist. She exhibited in Denver at the Schlier Gallery (where she had a solo exhibition), at the Chappell House, the University Club, and the Broadmoor Art Gallery in Colorado Springs. In 1950-1952 she served as president of the Denver Artist’s Guild. Fowler painted in oil or watercolor and her paintings were almost exclusively done en plein air. Her landscapes of Colorado...