Robert Funk Fine Art Abstract Drawings and Watercolors
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Gritty Street Scene with Parked Cars - Roaring Twenties New York
By Ruth Light Braun
Located in Miami, FL
A gritty New York City street scene with period Roaring Twenties Cars and stuffed metal garbage cans is depicted by female artist Ruth Light Braun. ...
Category
1920s Post-Impressionist Landscape Drawings and Watercolors
Materials
Paper, Crayon
Asian Calligraphic Shapes Over Biomorphic Forms
By Paul Rand
Located in Miami, FL
Legendary Graphic designer Paul Rand was also a Fine Artist/Painter. In the present work, " Untitled: Asian Calligraphic Shapes Over Biomorphic Forms," Paul explores the relationship...
Category
1950s Minimalist Abstract Drawings and Watercolors
Materials
Paper, Watercolor, Gouache, Pencil
Rowing Sculling Team Regatta, Life Magazine - African American Illustrator
By E. Simms Campbell
Located in Miami, FL
E. Simms Campbell was the first African-American illustrator/ cartoonist published in nationally distributed, slick magazines, he created Esky, the familiar pop-eyed mascot of Esquire. This early work of 1930 was done on assignment for an interior page of Life Magazine. It features two Rowing teams engaged in spirited competition with cheering onlookers. This is a highly stylized black-and-white illustration and is masterfully executed. The work is composed of two illustrations, 6 x 9 inches and 2-3/4 x 2 inches respectively. It is initialed center bottow ESC. unframed
Campbell left the University of Chicago and transferred to and received his degree from the Chicago Art Institute.[3]
Professional career
During a job as a railroad dining-car waiter, Campbell sometimes drew caricatures of the train passengers, and one of those, impressed by Campbell's talent, gave him a job in a St. Louis art studio, Triad Studios.
He spent two years at Triad Studios before moving to New York City in 1929. A month afterward, he found work with the small advertising firm, Munig Studios, and began taking classes at the National Academy of Design.During this time, he contributed to various magazines, notably Life, & Judge
Following the suggestion of cartoonist Russell Patterson to focus on good girl art, Campbell created his "Harem Girls", a series of watercolor cartoons that attracted attention in the first issue of Esquire, debuting in 1933. Campbell's artwork was in almost every issue of Esquire from 1933 to 1958 and he was the creator of its continuing mascot, the cartoon character in a silk top hat.
He also contributed to The Chicagoan, Cosmopolitan, Ebony, The New Yorker, Playboy, Opportunity: A Journal of Negro Life, Pictorial Review, and Redbook.
His commercial artwork for advertising included illustrations for Barbasol, Springmaid, and Hart Schaffner...
Category
1930s Figurative Drawings and Watercolors
Materials
Ink, Illustration Board, Gouache, Pencil
Geometric Abstract Collage Flat Color "Old Lady with Spring Hat "
By Ivan Chermayeff
Located in Miami, FL
Famed graphic designer Ivan Chermayeff creates a portrait made from cut paper and magazine clippings. Chermayeff names it "Old Lady with Spring Hat " and as one views it "charming"...
Category
1990s Abstract Geometric Mixed Media
Materials
Paper, Magazine Paper, Pencil
Gnarled Tree - African American Artist
By Charles Alston
Located in Miami, FL
Executed in 1930, this abstract yet representational biomorphic charcoal work by African American Artist Charles Henry Alston prefigures his ...
Category
1930s American Realist Landscape Drawings and Watercolors
Materials
Paper, Charcoal
Pre-War Abstraction - Modernism - Tan Bronze Tope - Nonrepresentational
By Elsie Driggs
Located in Miami, FL
Pioneering female abstract artist Elsie Driggs paints stylized abstract organic forms in a warm palette of orange browns and tope. She merges abstraction with some figuration. A structured face composed of lines and tone emerges from an orange background. It's 1939, and even though Driggs is not well known, she is preceding many of the marquee names of abstraction by a decade. Although under the radar, this is a major work and is titled on the back stretcher is " Egyptian Gothic." It features the artist's inventiveness with her fine pencil lines incorporated in flat washes of color and collage elements. Signed lower right and inscribed on frame verso with title, artist and the date of 1939. Provenance, Christie's, Freemans. Framed under glass..
Elsie Driggs (1898 – July 12, 1992 in New York City) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism, and for her later floral and figurative watercolors, pastels, and oils. She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape. Her works are in the collection of the Whitney Museum of American Art, the Houston Museum of the Fine Arts, the Fine Arts Museums of San Francisco, the James A. Michener Art Museum in Pennsylvania, and the Columbus Museum of Art, among others. She was married to the American abstract artist Lee Gatch.
Career
Born in Hartford, Connecticut, Driggs grew up in New Rochelle, a suburb of New York City, in a family that was supportive of her artistic interests. After a summer spent painting with her sister in New Mexico in her late teens, she felt she had found her life's calling. At twenty, she enrolled in classes at the Art Students League of New York, where she studied under George Luks and Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration.[1]
Driggs eventually settled in New York City, where she found representation with the progressive Charles Daniel Gallery.[2] (Advised that the old-fashioned and misogynistic Daniel would be unlikely to take on a woman artist, she signed the works she left for his consideration simply "Driggs" and waited to meet him in person until he had expressed his eagerness to include her in his gallery.)[3] In sympathy with those artists Daniel represented who were part of the burgeoning Precisionist movement, such as Charles Demuth, Charles Sheeler, George Ault, Niles Spencer, and Preston Dickinson, she too painted "the modern landscape of factories, bridges, and skyscrapers with geometric precision and almost abstract spareness."Impressionism and academic or Ashcan realism represented the past, in Driggs' view, and she intended to be resolutely modern. She was an attractive and engaging woman, but her demeanor belied a strong ambition and a clear sense of what it would take to make her mark in the New York art world. Driggs was part of the pre-eminent first group of Precisionist painters, including Demuth and Sheeler, who exhibited at the Daniel Gallery in the 1920s. Although a later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s, Driggs felt that the style came to an end with the 1929 stock market crash.[5]
In 1926 she painted her most famous work, Pittsburgh, a dark and brooding picture now in the permanent collection of the Whitney Museum of American Art, which depicts the gargantuan smokestacks of the Jones & Laughlin steel mills in Pittsburgh. Its focus is an overpowering mass of black and gray smokestacks, thick piping, and crisscrossing wires with only clouds of smoke to relieve the severity of the image, yet it was an image in which she found an ironic beauty. She called the picture "my El Greco" and expressed surprise that viewers in later years interpreted the painting as a work of social criticism. Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present. If anything, Precisionism, like Futurism, was a celebration of man-made energy and technology. One year later, she painted Blast Furnaces, in a similar vein. As noted above, Piero della Francesca's mural depicting "The Story of the True Cross" in Arezzo, with its tubular, static and frozen forms was the major influence on Driggs' "Pittsburgh" (it may have been the major influence for "Blast Furnaces" as well).[7]
After Pittsburgh, Driggs' most acclaimed work was probably Queensborough Bridge...
Category
1930s Mixed Media
Materials
Paper, Watercolor, Pencil
Art Deco Couple In Front of Black and White Art Deco Architecture
Located in Miami, FL
Art Deco Illustrator Charles Perry Weimer creates a powerfully graphic depiction of a 1930s couple in front of a classic Art Deco building with a...
Category
1930s Art Deco Landscape Drawings and Watercolors
Materials
Paper, Ink
The Thinker
By Willem de Kooning
Located in Miami, FL
A large charcoal-on-paper rendering by arguably one of America's most influential artists. It comes from the pioneering Allan Stone Galleries, who ...
Category
1960s Abstract Expressionist Figurative Drawings and Watercolors
Materials
Paper, Charcoal
$68,000 Sale Price
20% Off
Searching the Car - Desaturated Colors Muted Warm Yellows and Grey
By Harry Beckhoff
Located in Miami, FL
This Harry Beckhoff illustration is masterfully rendered and intricately designed in line and wash. It's as abstract as it's representational with its graphic style, clean lines, and flat patterning. Every element in the composition works in harmony without a line out of place. The flat and abstract nature of the work rivals that of the great modernist painters of the 1930s.
Perhaps this was done for a major newsstand magazine like Collier's.
Although he studied with Dean Cornwell and Harvey Dunn, he didn't pursue the style of painterly brushstrokes and impastos. Instead, he defined his forms with flat shapes, whose internal forms are defined by thin lines. The emphasis is more on silhouette and line than it is on texture and lighting. Beckhoff also described his work as having been influenced by illustrators like Pierre Brissaud...
Category
1930s Figurative Drawings and Watercolors
Materials
Watercolor, Illustration Board
Bauhaus . Untitled (French Barque under Staysail)
By Lyonel Feininger
Located in Miami, FL
Bauhaus Iconic work by the master or Cubism and Expressionism
Dalzell Hatfield Gallery, Los Angeles
Bonhams,
Exhibited: Moller Fine Art, "Precision ...
Category
1940s Expressionist Landscape Drawings and Watercolors
Materials
Watercolor, Pencil
Boat Scene
By Fairfield Porter
Located in Miami, FL
Watercolor on heavy paper
work is unframed
Signed by artist in pencil, lower right verso.
Property from the estate of Anne E. C. Porter, with the estate stamp, verso.
...
Category
1950s American Impressionist Landscape Drawings and Watercolors
Materials
Watercolor, Paper
Black Power Fist, Thumbs Up, Peace Sign - Hand Signals
By Murray Tinkelman
Located in Miami, FL
Murray Tinkelman builds his works out of tiny meticulously placed cross hatchings that are organized into horizontal and diagonal structures. Most are done with a ruler and some fre...
Category
1970s Pointillist Figurative Drawings and Watercolors
Materials
Ink, Pen
Connecticut Hills
By Lyonel Feininger
Located in Miami, FL
This later work by Lyonel Feininger approaches almost full abstraction. It was executed in 1950 at a crucial moment in American art history. Abstract Expressionism and non-representational art were in full gear and taking the world by storm. Yet Feininger who was associated with the German expressionist groups: Die Brücke...
Category
1990s Abstract Expressionist Abstract Drawings and Watercolors
Materials
India Ink, Watercolor
The Mohammedan World - Holiday Magazine Cover (unpublished)
Located in Miami, FL
Rudolph de Harak was a graphic and environmental designer and art director for Seventeen Magazine and teacher at Cooper Unio Yale and Parsons School o...
Category
1960s Abstract Geometric Mixed Media
Materials
Tape, Laid Paper
Improversation #3 - Early Abstraction
By John Sennhauser
Located in Miami, FL
Signed and dated lower right;
inscribed, Dated and Signed on Verso
Provenance: Ashley John Gallery
Category
1950s Abstract Expressionist Abstract Drawings and Watercolors
Materials
Watercolor
Bauhaus . Untitled (French Barque under Staysail)
By Lyonel Feininger
Located in Miami, FL
Bauhaus Iconic work by the master or Cubism and Expressionism
Dalzell Hatfield Gallery, Los Angeles
Bonhams,
Exhibited: Moller Fine Art, "Precision ...
Category
1940s Expressionist Landscape Drawings and Watercolors
Materials
Watercolor, Pencil
Improversation #3
By John Sennhauser
Located in Miami, FL
Gallery tags on verso. Work is frame an in very good condition.
Category
1950s Abstract Expressionist Abstract Drawings and Watercolors
Materials
Watercolor, Paper
Connecticut Hills
By Lyonel Feininger
Located in Miami, FL
Executed in 1950 during the heyday of Abstract Expressionism and non-representational art, Feininger reduces a landscape to the bare minimums of lines and wash.
Moeller Fine Art
Category
1950s Abstract Geometric Abstract Drawings and Watercolors
Materials
Watercolor, Pencil
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STUDIES
1982-1984 Painting and Drawing Ateliers – National School of Fine Arts, Mexico City
1985-1986 Artistic Experimentation – Carrillo Hill Museum, Mexico City
1986 Metal Engraving – Museum of Modern Art Sao Paulo Brazil
SOLO EXHIBITIONS
1986 Art Gallery of Santos Municipal Cultural Centre, Sao Paulo, Brazil
1988 Art Gallery of Porto Alegre Municipal centre, R.S. Brazil
1991 Gallery Casa de la Cultura, Morelia Mexico
1994 The Beatty Gallery, Sydney
1996 The Beatty Gallery, Sydney
1996 Michael Burke Gallery, Brisbane
1997 The Beatty Gallery, Sydney
2019 ‘Golden Trinity’, Thienny Lee Gallery, Sydney
2019 ‘Continuous Thread, GAFFA Gallery, Sydney
GROUP EXHIBITIONS
1985 Mail Art Network Kyoto City Museum, Kyoto Japan
1987 Banespa Cultural Centre, Sao Paulo Brazil
1988 IV National Contest of Fine Arts, Cubatao Brazil
1992 NCA Gallery, Sydney
1994 The Beatty Gallery, Sydney
1994/5/6 Selected for the “Fisher’s Ghost” Art...
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Blue & Grey Green Plan: Abstract Geometric Framed Painting in Cool Toned Palette
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"Blue and Grey Green Plan" made by Hudson Valley artists, Donise English, in 2022
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About the artist:
Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. A central checkerboard formation floats over a ground of pastel color or washes of grey or cream. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. The artist recently retired from her decades career teaching at Marist College and is now devoted full time to her art making.
Artist Statement:
My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure.
Artist CV:
EDUCATION
Master of Fine Arts in Painting
Bard College 1986
Bachelor of Science in Art History
State University College at New Paltz 1977
Additional Study: New York Studio School (Drawing Marathons)
Columbia University, School of Architecture
Women’s Studio Workshop
TEACHING
Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY
Coordinator, Interior Design Program, Florence, Italy campus
1992-present
AWARDS
NYFA Fellowship in Painting 2018
Invitational Award for Outstanding Contemporary Talent,
University of Bridgeport, CT 2000
Purchase Prize, “11th National Juried Exhibition”
College of Notre Dame of Maryland, Baltimore 1999
First Prize, “Women in the Visual Arts ‘95”
Erector Square Gallery, New Haven, CT 1995
Joseph A. Cain Memorial Purchase Award for Sculpture
Del Mar College, Corpus Christi, TX 1994
Honorable Mention, “National Juried Exhibition”
University of Bridgeport, CT 1993
Individual Artists Fellowship in Sculpture
Dutchess Arts Fund 1992/93
Tallix, Morris, Singer Internship in Sculpture
Tallix Foundry, Beacon, NY 1990/91
MEMBERSHIP Royal British Society of Sculptors
SELECTED JURIED/INVITATIONAL EXHIBITIONS
2020
“edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY
2019
“Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY
“Mixed Media”, SITE Gallery, Brooklyn, NY
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“JuxtaPositions”, The Painting Center, New York, NY
“Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY
2017
“Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY
“Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY
2016
“Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD
“Under, Over, After Over”, Vassar College, Poughkeepsie, NY
2015
“Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY
“Gridspace”, KMOCA, Kingston, NY
“Abstraction”, Carrie Haddad Gallery, Hudson, NY
“Assuming Identity”, NY Institute of Technology, New York, NY
2013
“Modern Artists”, Carrie Haddad Gallery, Hudson, NY
“Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY
Stone Canoe/Community Folk Art Center, Syracuse, NY
2012
New York Institute of Technology, New York, NY
“Contemporary Painters (Who Just Happen To Be Women)”,
Carrie Haddad Gallery, Hudson, NY
“Strange Glue: Collage at 100”, Cambridge School, Weston, MA
“Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY
“Fresher Paint”, Rockland Center for the Arts, Nyack, NY
Courthouse Gallery, Lake George Arts Project, Lake George, NY
2011
“Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College,
Newburgh, NY
“Gender Matters/Matters of Gender”, Freedman Gallery,
Albright College, Reading, PA
2010
Carrie Haddad Gallery, Hudson, NY
“Encaustics: Wax and Image”, Westchester Community College,
White Plains, NY
“Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY
“Spring Awakening”, NY Institute of Technology, New York, NY
“Clay City Dreams”, NY Institute of Technology, New York, NY
“Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School,
Providence, RI
2009
“Collage”, NY Institute of Technology, New York, NY
“Working in Wax”, Bedford Gallery, Walnut Creek, CA
“Encaustic 2009”, College of New Rochelle, NY
“Three Artists”, Carrie Haddad Gallery, Hudson, NY
“Convergence: The Human Experience”,Howard County Center for the Arts, MD
2008
“Suckers and Biters: Love, Lollipops, and Exquisite Corpse”
Chashama Gallery, New York, NY
Carrie Haddad Gallery, Hudson NY
2007
“Patterns and Light”, Blue Hill Gallery, Blue Hill, ME
“Suckers and Biters”, AG Gallery, Brooklyn, NY
2006
“100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art,
New York, NY
“On/Of Paper”,Kirkland Art Center, Clinton, NY
“The Love Show”, Manchester Community College, Manchester, CT
2005
The Soap Factory, Minneapolis, MN
“Small Tales”, Valdosta State University, Georgia
National Juried Exhibition,Art Institute and Gallery
Salisbury, MD, Juror: Stephen Haller
“Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY
2004
“Women in the Middle: Borders, Barriers, Intersections”
University of Wisconsin-Milwaukee
“Girl Art Now”,Hera Gallery, Wakefield, RI
3 Person Exhibition, Monterey Peninsula College, Monterey, CA
“The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery
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2003
“Beefcake/Cheesecake”,Orange County Center for Contemporary Art,
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Halpert Bienniel, Appalachian State University, Boone, NC
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“Hudson Valley Regional”, SUNY New Paltz
Juror: Sydney Jenkins, Director, Ramapo College Art Galleries
2001
One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago
One-Person Exhibition, Garrison Art Center, Garrison, NY
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