Mary Carroll Art

Emil Faesch (1865 Basel - 1915 Basel). Sketch of a head. Charcoal on painting cardboard, 60 x 47.5 cm (folio size), signed and dated at lower right "E. Faesch. 1888.". Minor browning. - Carved in stone - About the artwork The life-size head has an immensely present presence. This effect is due to the fact that Faesch took his cue from academic classical...

Outsider artist Scott Harbison imagines a world of curious alien beings and wide-eyed mutant animals, naively navigating unknown territory. His mischievous figures are activated by s...

Maikel van Emmerik Rhino 40 x 60 cm ( framed included in price 50 x 70 cm) Acrylic paint on canvas Maikel van Emmerik is a Dutch wildlife painter whose art reveals a profound fascin...

Signed lower right: Johan Arsenius and dated 1858 or 1853, attributed Johan Georg Arsenius (1818 - 1903), was a Swedish military man, painter and draftsman. Up for sale is important ...

A pair of exquisite drawings by American Ashcan School artist Alexander Oscar Levy.

Puissance is a beautiful and unique charcoal drawing on paper of a dynamic horse. The Fabriano paper is a high quality watercolor grade set in a custom white wood frame, all archival...

Charles Hunt, Jr. was born in Kensington, London, in 1829 and was part of a dynasty of painters. He was the son of the genre painter Charles Hunt (1803-1877) and father to four sons ...

Anne Siems was born in Berlin, Germany. As a child, she lived for three years near Buenos Aires, Argentina. Her first extended stay in the US was as an exchange student. After finish...

Contemporary pink, green, and yellow toned figurative abstract by Houston based artist Matthew Reeves. The work features and central figure with a white rabbit in the foreground. Si...

Hermann Prell (1854 Leipzig - 1922 Dresden-Loschwitz). Half-length portrait of a Pharisee, 1885. Sketch for the right-hand figure in the painting Judas Iscariot, 1886. Pencil drawing heightened with opaque white and black chalk on beige-grey wove paper (papier vélin), 34 x 27.8 cm (visible size), 52 x 45 cm (mount), signed, dated and inscribed "H. PRELL 1885 zu 'Judas'". Minor browning, collection stamp on the reverse. - In the shadow of betrayal - About the artwork This painting is the sketch for the head of the Pharisee offering the coins to Judas in one of Herrmann Prell's major works, the painting Betrayal of Judas, completed in 1886. The painting belongs to the Staatliche Kunstsammlungen Dresden and is illustrated in Adolf Rosenberg: Prell, Bielefeld and Leipzig 1901, p. 21 (Fig. 19). It is especially highlighted in Thieme-Becker (vol. 27, p. 376). Hermann Prell, Betrayal of Judas, 1886 The monumental head, which fills the picture and is distinguished by its ornamented robe, is almost a lost profile, which in the executed painting is justified by the Pharisee's turning towards Judas. Despite the fact that the sitter withdraws from the viewer by turning away, it was necessary to artistically elaborate the motivation for the purchase of one of Christ's disciples, which is why the drawing focuses on the expression of the face, while the 'accessories' are treated in a more summary manner. In characterising the face, Hermann Prell performs a balancing act: since the Pharisee, despite his destructive actions, is an actor in the history of salvation, the head must show a dignity appropriate to the event, but at the same time the physiognomy must also bear witness to the scheming attitude that led to the betrayal. To solve this dilemma, Prell draws on the traditional depictions of the heads of the apostles, shading the face to indicate the obdurate darkness of the spirit and moving the base of the nose slightly upwards while the mouth falls away, thus giving a physiognomic expression to the motivation of the action. The fatal drama of the betrayal is expressed in the monumentalisation of the head and in the thunderous white highlights that contrast with the darkness of the chalk. As a study, considered by the artist to be a work in itself, this drawing reveals the pictorial problems and brainstorming of monumental painting. About the artist In 1872 Prell, who was one of the most important exponents of monumental painting of his time, began studying painting with Theodor Grosse at the Dresden Academy of Art and continued with Carl Gussow at the Berlin Academy in 1876. Hans von Marées taught him in Rome in 1878. More influential on his work, however, were Arnold Böcklin and Max Klinger, with whom Prell had been friends since his student days and with whom he worked together on several occasions. Prell's first major work, which established his reputation as a monumental painter, were the frescoes in the banqueting hall of the Architektenhaus in Berlin in 1881/82, commissioned by the state and depicting the different periods of architecture. Prell then went to Italy for two years to study fresco painting. Other major commissions followed. These included monumental frescoes in the town halls of Worms (1884), Hildesheim (1882-92), Gdansk (1895) and Dresden, the staircase of the Silesian Museum of Fine Arts in Breslau (1893/94), the throne room of the German Embassy in Rome (1896-99) and the staircase of the Albertinum in Dresden (1900-1904). From 1886 Prell taught at the academy of arts in Berlin and in 1892 he was appointed professor at the academy of arts in Dresden. His students included Osmar Schindler and Hans Unger...

Anne Siems was born in Berlin, Germany. As a child, she lived for three years near Buenos Aires, Argentina. Her first extended stay in the US was as an exchange student. After finish...

Derek Penix's (US based) "Penguins" is an oil painting that depicts a huddle of penguins flocking gently together at water's edge. Bio/Artist Statement: Derek Penix was born on December 29, 1980 in Tulsa, Oklahoma. Growing up Penix was surrounded by artists in his family as his mother and grandfather painted. Penix did not pursue painting until after graduating high school. Penix’s mother encouraged him to pursue his talent and took his paintings down to a local gallery where he sold his first piece. Through the years Penix has been inspired by old masters such as Nicolai Fechin, Sargent and the French Impressionists, but it has been over the last few years that Penix has been the most influenced by artist Quang Ho. Penix had the opportunity to take a workshop under Mr. Ho and later to study briefly with him. Since then, Penix believes his paintings have grown more in the last two years than in his last ten years of painting. As an artist Penix gains inspiration from his environment whether that be at the park, in his home, or traveling abroad. He enjoys the freedom to paint different subject matter and has learned to push himself to try new things, even if they are out of his comfort zone. Penix was recognized in South West Art...