Oil Crayon Figurative Drawings and Watercolors

Getting Ready for the Revolution - Learning How to Ride in the Subway Litho crayons on illustrator’s board, c. 1932 Signed: Adolf Dehn (VED) lower right corner (signed by Virginia De...

Work : Original Drawing, Unique Work, Handmade Artwork. The work has been treated with Archival Varnish with UV protection and it is not framed. Medium : Soft Pastel and oil based p...

Eileen Lake Crayon on paper, early1930's Initialed in pencil lower right (see photo) Titled and annotated verso "Eileen Lake, early 1930s girlfriend" Note: Eileen Hall Lake was an American poet and Adolf Dehn's girlfriend in the early 1930s. Provenance: Estate of the artist By descent Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

Work : Original Painting and Drawing - Handmade Artwork, Unique Work. The work has been treated with an anti-UV varnish Medium : Oil painting and oil-based coloured pencils on Canson Archival paper 270 Gsm. Artist : Gabriel Riesnert Subject : Jardin imprévu (Title) Signature : The work is signed, titled and dated verso. It will be supplied with a certificate of authenticity from the artist. Size : H29,7 cm x W21 cm. Not Framed (Without frame, image is just to give an example) . Museum matting & backing included, ready to be framed in a standard A4 frame...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

This piece is part of an intimate journal series the artist has made over the years in which she has registered dreams, thoughts, feelings, desires, and emotions. It's about her inte...

This piece is part of an intimate journal series the artist has made over the years in which she has registered dreams, thoughts, feelings, desires, and emotions. It's about her inte...

This piece is part of an intimate journal series the artist has made over the years in which she has registered dreams, thoughts, feelings, desires, and emotions. It's about her inte...

This piece is part of an intimate journal series the artist has made over the years in which she has registered dreams, thoughts, feelings, desires, and emotions. It's about her inte...

From The British mandate Pre State of Israel Palestine Period. Eliahu Sigad (Eliyahu Sigard), painter, born 1901, Lithuania. Founder of Israeli Painters' Association. Educated in Eur...

Overflowing with imaginative symbolism, Rafael Melendez's Neo-conceptualist work on paper, Foot Head Smoking, 2022, captivates avant-garde enthusiasts seeking a distinctive approach ...

Michael Lucero (born 1953) is an American sculptor. His work has been exhibited in the Carnegie Museum of Art and the Mint Museum. Lucero works with multiple mediums and usually work...

Oil pastel, wax pastel, acrylic on paper.

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in...

Work from the series “Robinson Crusoe. A story of loneliness ” 71x80 cm

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Womenswear. There, he tutored many contemporary greats, including John Galliano, Stella McCartney, Christopher Kane, Wes Gordon, Zac Posen and Hussein Chalayan. Examples of Tangye’s portraits are held in many important collections, both public and private, including the Victoria and Albert Museum (V&A), Harvard University and London’s National Portrait Gallery. Throughout his teaching career Tangye quietly developed a particularly idiosyncratic art practice. By employing a decisive line with bold applications of richly layered materials, Tangye explores the nuances of the human form in an effort to expose his subjects’ true essence and energy. — Howard Tangye Richard M...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Expressionist ink and pastel crayon drawing of flowers in vase. Framed in a vintage cobalt blue glass original frame Hand signed and dated Framed it measures 13.5 X 10.5 The actual paper is 7.5 X 5.5 Born in 1897, Ben-Zion Weinman celebrated his European Jewish heritage in his visual works as a sculptor, painter, and printmaker. Influenced by Spinoza, Knut Hamsun, and Wladyslaw Reymont, as well as Hebrew literature, Ben-Zion wrote poetry and essays that, like his visual work, attempt to reveal the deep “connection between man and the divine, and between man and earth.” An emigrant from the Ukraine, he came to the US in 1920. He wrote fairy tales and poems in Hebrew under the name Benzion Weinman, but when he began painting he dropped his last name and hyphenated his first, saying an artist needed only one name. Ben-Zion was a founding member of “The Ten: An Independent Group” The Ten” a 1930’s avant-garde group, Painted on anything handy. Ben-Zion often used cabinet doors (panels) in his work. Other members of group included Ilya Bolotowsky, Lee Gatch, Adolph Gottlieb, Louis Harris, Yankel Kufeld, Marcus Rothkowitz (later known as Mark Rothko), Louis Schanker, and Joseph Solman. The Art of “The Ten” was generally described as expressionist, as this style offered the best link between modernism and social art. Their exhibition at the Mercury Gallery in New York held at the same time as the Whitney Annual Exhibition of Contemporary American Painting, included a manifesto concentrating on aesthetic questions and criticisms of the conservative definition of modern art imposed by the Whitney. Ben-Zion’s work was quickly noticed. The New York Sun said he painted “furiously” and called him “the farthest along of the lot.” And the triptych, “The Glory of War,” was described by Art News as “resounding.” By 1939, The Ten disbanded because most of the members found individual galleries to represent their work. Ben-Zion had his first one-man show at the Artist’s Gallery in Greenwich Village and J.B. Neumann, the highly esteemed European art dealer who introduced Paul Klee, (among others) to America, purchased several of Ben-Zion’s drawings. Curt Valentin, another well-known dealer, exhibited groups of his drawings and undertook the printing of four portfolios of etchings, each composed of Ben-Zion’s biblical themes. He worked as a WPA artist. Ben-Zion’s work is represented in many museums throughout the country including the Metropolitan, the Whitney, and the Museum of Modern Art in New York, the Art Institute of Chicago, the Philadelphia Museum of Art and the Phillips Collection, Washington. The Jewish Museum in New York opened in 1948 with a Ben-Zion exhibition. Ben-Zion consistently threaded certain subject matter—nature, still life, the human figure, the Hebrew Bible, and the Jewish people—into his work throughout his life. "In all his work a profound human feeling remains. Sea and sky, even sheaves of wheat acquire a monolithic beauty and simplicity which delineates the transient as a reflection of the eternal. This sensitive inter- mingling of the physical and metaphysical is one of the most enduring features of Ben-Zion's works." (Excerpt from Stephen Kayser, “Biblical Paintings,” The Jewish Museum Catalogue, 1952). Mystical Imprints: Marc Chagall, Ben-Zion, and Ben Shahn presents the print work of three prominent 20th century Jewish artists born in the Russian Empire. Among these seventy pieces are etchings and lithographs from Chagall’s Bible series...

Expressionist ink and pastel crayon drawing of beans (carobs, flowers?) in pods Hand signed. Born in 1897, Ben-Zion Weinman celebrated his European Jewish heritage in his visual works as a sculptor, painter, and printmaker. Influenced by Spinoza, Knut Hamsun, and Wladyslaw Reymont, as well as Hebrew literature, Ben-Zion wrote poetry and essays that, like his visual work, attempt to reveal the deep “connection between man and the divine, and between man and earth.” An emigrant from the Ukraine, he came to the US in 1920. He wrote fairy tales and poems in Hebrew under the name Benzion Weinman, but when he began painting he dropped his last name and hyphenated his first, saying an artist needed only one name. Ben-Zion was a founding member of “The Ten: An Independent Group” The Ten” a 1930’s avant-garde group, Painted on anything handy. Ben-Zion often used cabinet doors (panels) in his work. Other members of group included Ilya Bolotowsky, Lee Gatch, Adolph Gottlieb, Louis Harris, Yankel Kufeld, Marcus Rothkowitz (later known as Mark Rothko), Louis Schanker, and Joseph Solman. The Art of “The Ten” was generally described as expressionist, as this style offered the best link between modernism and social art. Their exhibition at the Mercury Gallery in New York held at the same time as the Whitney Annual Exhibition of Contemporary American Painting, included a manifesto concentrating on aesthetic questions and criticisms of the conservative definition of modern art imposed by the Whitney. Ben-Zion’s work was quickly noticed. The New York Sun said he painted “furiously” and called him “the farthest along of the lot.” And the triptych, “The Glory of War,” was described by Art News as “resounding.” By 1939, The Ten disbanded because most of the members found individual galleries to represent their work. Ben-Zion had his first one-man show at the Artist’s Gallery in Greenwich Village and J.B. Neumann, the highly esteemed European art dealer who introduced Paul Klee, (among others) to America, purchased several of Ben-Zion’s drawings. Curt Valentin, another well-known dealer, exhibited groups of his drawings and undertook the printing of four portfolios of etchings, each composed of Ben-Zion’s biblical themes. He worked as a WPA artist. Ben-Zion’s work is represented in many museums throughout the country including the Metropolitan, the Whitney, and the Museum of Modern Art in New York, the Art Institute of Chicago, the Philadelphia Museum of Art and the Phillips Collection, Washington. The Jewish Museum in New York opened in 1948 with a Ben-Zion exhibition. Ben-Zion consistently threaded certain subject matter—nature, still life, the human figure, the Hebrew Bible, and the Jewish people—into his work throughout his life. "In all his work a profound human feeling remains. Sea and sky, even sheaves of wheat acquire a monolithic beauty and simplicity which delineates the transient as a reflection of the eternal. This sensitive inter- mingling of the physical and metaphysical is one of the most enduring features of Ben-Zion's works." (Excerpt from Stephen Kayser, “Biblical Paintings,” The Jewish Museum Catalogue, 1952). Mystical Imprints: Marc Chagall, Ben-Zion, and Ben Shahn presents the print work of three prominent 20th century Jewish artists born in the Russian Empire. Among these seventy pieces are etchings and lithographs from Chagall’s Bible series...

Bijin-ga series II (nº 02) Title: “Hairdresser” The interest in this picture is focused on the hairstyles of both women, a hairdresser leaning forward with a bow of intense black color, arranging his client's especially long hair. The ways of gripping both the hair and the comb, making it slide through the ocher-scented kimono of the customer, decorated with sea stars, stand out. Highlighting with great detail the drawing of loose hair on the obi of white lines on a red background, and the kosode of plum color. This image is part of the Bijin-ga Series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print "Hairdresser" (1798-1799), 39,8 x 26,8 cm. Museum of Fine Arts. Boston-USA. Utamaro drawn a series of twelve prints whose themes were related to the manual works of women, and this "Hairdresser" is one of them. Mario BGil reproduces the seal of the censor (Kiwame) and writes his own signature, Mario BGil, in Japanese, with the date 14 (2014). The mesaurements of the drawing are 76 x 56 cm. (29,92 x 22,05 in.), with a painted surface of 67 x 49,5 cm. With his work on the bijing-ga series, Mario BGil wanted to embellish, give brilliance and volume to the images presented by japanese artist Kitigawa Utamaro in those beautiful engravings, ennobled with the patina of time, which have served as inspiration. The result obtained is almost life-size portraits, endowed with strong chromaticism and valuable contrasts, all enhanced, in turn, with the volume provided by the weight and rigidity of the paper, and its thick texture (Fabriano Artistico “grana grosso”, 640g/m2; the thickness and hardness of the paper makes it necessary to transport it without rolling). In this way, Mario BGil pays tribute to his admired artist and offers us a new and enriched vision of this popular facet of oriental art from the 18th and 19th centuries. ABOUT THE ARTIST Mario BGil is a self-taught artist who for years has combined his creative activity with his work in the business world, away from commercial art galleries. Man of very diverse interests and great artistic sensitivity, studied Art History and in 2012, a deep interest in oriental art was awakened in him so that he began to study the great masters of Japanese Ukiyo-e prints, who had such an influence on the European avant-garde of the late 19th century. The discovery of Kitagawa Utamaro (1753-1806), a key figure in the metropolitan culture of Edo (now Tokyo), and a point of reference in the history of Japanese engraving...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Womenswear. There, he tutored many contemporary greats, including John Galliano, Stella McCartney, Christopher Kane, Wes Gordon, Zac Posen and Hussein Chalayan. Examples of Tangye’s portraits are held in many important collections, both public and private, including the Victoria and Albert Museum (V&A), Harvard University and London’s National Portrait Gallery. Throughout his teaching career Tangye quietly developed a particularly idiosyncratic art practice. By employing a decisive line with bold applications of richly layered materials, Tangye explores the nuances of the human form in an effort to expose his subjects’ true essence and energy. — Howard Tangye Natasha (Sitting), 2012 Mixed media on Pergamenata parchment 100 x 70 cm (39.37 x 27.55 in) (signed) (unframed) — This portrait shows Natasha, an ex-student and model. Here she’s posed in Howard’s studio wearing a look from Louise Gray’s S/S 2013 collection. The collection featured headwear by Stephen Jones, the renowned British milliner who created the cut-out plexiglass fascinator Natasha wears here. This work hails from a series commissioned by Dan Thawley, director of “A Magazine Curated By” for the edition guest edition by Jones who dedicated his issue to Anna Piaggi...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, includi...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Bijing-Ga Series XII (Nº 12) Title: Reflective Love. Lovely portrait of a beauty looking over her shoulder. In Reflective Love (from the Utamaro...

Bijin-ga series XXIX (Nº 29) Title: Bijin Ôkubi Upper torso portrait of a Japanese beauty, depicted with a graceful hand gesture and an ornate headdress. Her soft round features contrast with the colourful sharp angles of the collars of her kimono. Her elongated oval face, straight nose and red butterfly lips are typical of the prototype of a beautiful woman, Bijin-ga. Her upper torso and face occupying the central section of the picture show a composition type that became known in time as Large-head pictures, or Okubi-e; compositions with which Utamaro became a model for generations of woodblock artists. This image is part of the Bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

Here for your consideration is an original drawing done with conte crayon with hints of watercolor of a floating market place by the French artist, Rob...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Bijin-ga Series I (Nº1) Title: Karagoto of The Chojiya Head and bust portrait of the beautiful courtesan Karagoto, of the Chojiya House, who appears looking to her left while drying her right ear with the sleeve of her yukata (a fine summer garment, normally made of cotton that was normally used after bathing). The wide sleeve falls from her ear covering her right breast and leaving the left one uncovered. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Womenswear. There, he tutored many contemporary greats, including John Galliano, Stella McCartney, Christopher Kane, Wes Gordon, Zac Posen and Hussein Chalayan. Examples of Tangye’s portraits are held in many important collections, both public and private, including the Victoria and Albert Museum (V&A), Harvard University and London’s National Portrait Gallery. Throughout his teaching career Tangye quietly developed a particularly idiosyncratic art practice. By employing a decisive line with bold applications of richly layered materials, Tangye explores the nuances of the human form in an effort to expose his subjects’ true essence and energy. — Howard Tangye Philip Ellis (Standing - Stripe Top...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Womenswear. There, he tutored many contemporary greats, including John Galliano, Stella McCartney, Christopher Kane, Wes Gordon, Zac Posen and Hussein Chalayan. Examples of Tangye’s portraits are held in many important collections, both public and private, including the Victoria and Albert Museum (V&A), Harvard University and London’s National Portrait Gallery. Throughout his teaching career Tangye quietly developed a particularly idiosyncratic art practice. By employing a decisive line with bold applications of richly layered materials, Tangye explores the nuances of the human form in an effort to expose his subjects’ true essence and energy. — Howard Tangye Craig (Richard's Friend - Sitting - Blue Jacket), 2012 Mixed media on grey...

Bijin-ga series XXI (Nº 21) Title: The courtese Hinakoto of the Hyôgorô House of Edo The courtesan Hinakoto is depicted by smoking tobacco. She takes the pipe delicately in her left hand and, in her right hand, she seems to be holding a “uchiwa” (rigid hand fan) that comes out from the bottom of the drawing, decorated with written calligraphy. Some strands of hair that fall on her temple and her scant clothing show that the painter has surprised her in a relaxed moment in which she does not lose her elegance and slenderness. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, includi...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

French Mid Century Picasso Influenced stylised zoomorphic female nude drawing, oil crayon on paper, Paris School, signed and dated 1963. The work is presented in a chrome period fram...

Bijing-Ga series XXVII (Nº 27) Title: Tomomoto Toyohina Tomimoto Toyohina was a much sought-after geisha (entertainer) who performed narrative ballads accompanied by the shamisen. She was one of several non-prostitute beauties, including teahouse waitresses, whom Utamaro depicted repeatedly in the early to mid 1790s. She appears here with a brush in hand, dressed and combed with simple elegance. This composition is from a six-print series comprising half-length portraits of famous beauties (Famous beauties of Edo). Utamaro elevated Tomimoto Toyohina to the status of one of the three most renowned beauties of her age (together with Okita and Ohisa). She was from a prominent family of musicians that provided entertainment in the Yoshiwara. Toyohina’s appeal undoubtedly was as much due to her appearance as to her skills in singing, and Utamaro’s celebration of her would have further elevated the status of an already well-known lineage. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

BIJIN-GA SERIES XVIII (Nº 18) Title: Obvious Love (Arawaruru Koi) This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print Obvious Love (Arawaruru Koi) (1793-94); 38,8 x 26,2 cm.. Art Institute Chicago, USA. A sensual woman seems to care little that her kimono is open, exposing a breast. Her hair is in disarray , the hairpin at the front about to fall and she holds one of the hairpins in her left hand. She appears to be looking down outside the frame of the picture, perhaps in mid-conversation. The term “arawaruru” refers to a love so wholehearted that it expresses itself in the lover´s face and mannerisms. In the 1780's and 90's the publisher Tsutaya Juzaburo and the designer Kitagawa Utamaro worked together on the production of many woodblock prints, most of them of the bijin-ga type. One of their most popular productions was a set of images that purported to depict psychological classifications of women - 'fickle', 'interesting', etc.. Perhaps in response to this success, they then came up with something similar - a set of prints...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Next Door Neighbor Oil pastel and ink on handmade paper, 2012 Signed vertically lower left in image (see photo) Series: 99% Exhibited: Swarthmore College, List Gallery, Hiden in Pla...

Beijing-ga Series XXX (nº 30) Title: “Takashimaohisa” Ohisa, along with Okita and Tomimoto Toyohina, were the three most famous beauties of the time. The first two were waitresses...