Plum Branches and Flowers
View Similar Items
Want more images or videos?
Request additional images or videos from the seller
1 of 9
Joseph O'SickeyPlum Branches and Flowers1985
1985
About the Item
- Creator:Joseph O'Sickey (1918 - 2013, American)
- Creation Year:1985
- Dimensions:Height: 13.625 in (34.61 cm)Width: 17 in (43.18 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA119081stDibs: LU1407858042
Joseph O'Sickey
Joseph O'Sickey, born in Detroit in 1918, has been a painter and teacher throughout his career. As a child he attended Saturday classes at the Cleveland Museum of Art, which retains one of his paintings in its permanent collection, and the Cleveland Institute of Art, where he received a Bachelor's degree in 1940. He graduated from the Cleveland School of Art (now the Cleveland Institute of Art) in 1940 and taught at Ohio State University (1946-47), Akron Art Institute (1949-52), Western Reserve University School of Architecture (1956-64), and Kent State University (1964-89). Among the most honored painters active in the region, O'Sickey won the Cleveland Arts Prize in Visual Arts in 1974, and was called "a dean of painting in Northeast Ohio" by Steven Litt, art and architecture critic of the Plain Dealer. However, his work continued to develop through his 20s, strongly influenced by post-impressionism. O'Sickey was represented in New York by Jacques Seligmann Galleries during the 1960s and 1970s (which presented seven one-person shows of his work) and by Kennedy Galleries in the 1980s and 1990s. In Ohio, notable exhibitions include a Distinguished Alumnus one-person show at the Cleveland Institute of Art (1982); a one-person show at the Canton Museum of Art (1995); exhibition in 24 May Shows at the Cleveland Museum of Art between 1938 and 1977. O'Sickey's work is also in the collections of the Cleveland Museum of Art, Ohio; Canton Museum of Art, Ohio; Westmoreland Museum of American Art, Greensburg, Pennsylvania; Butler Institute of American Art, Youngstown, Ohio; and Columbus Museum, Columbus, Georgia.
About the Seller
5.0
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1978
1stDibs seller since 2013
711 sales on 1stDibs
Typical response time: 1 hour
Associations
International Fine Print Dealers Association
More From This SellerView All
- untitled (Reclining Female Nude)By Charles Harris ( Beni Kosh )Located in Fairlawn, OHAka Beni Kosh Still Life with Flowers Colored pencil on paper Unsigned Signed with the estate stamp on reverse (see photo) Estate No. 716 Condition: Soft fold through image, wri...Category
1960s Contemporary Still-life Drawings and Watercolors
MaterialsGouache
- Plum Branches and FlowersBy Joseph O'SickeyLocated in Fairlawn, OHPlum Branches and Flowers watercolor on wove paper, 1985 Signed and dated in pencil lower right corner From the artist's 1985 sketchbook Inspired by O'Sickey's love of Japanese and Chinese art and calligraphy. Provenance: Estate of the artist Condition: Excellent Image/Sheet size: 13 5/8 x 17 inches Joseph B. O’Sickey, Painter 1974 CLEVELAND ARTS PRIZE FOR VISUAL ARTS The title conferred on him by Plain Dealer art critic Steve Litt in a 1994 article, “the dean of painting in northeast Ohio,” must have pleased Joseph O'Sickey. It was more than 30 years since he had burst onto the local (and national) art scene. O’Sickey was already in his 40s in that spring of 1962 when he had his first one-man show at the Akron Art Museum and was signed by New York’s prestigious Seligmann Galleries, founded in 1888. In the decade and a half that followed, he would have seven one-man shows at Seligmann, which had showed the work of such trailblazing figures as Seurat, Vuilliard, Bonnard, Leger and Picasso, and appear in all of the group shows. O’Sickey took the Best Painting award in the 1962 May Show at the Cleveland Museum of Art (CMA). He and would capture the same honor in back-to-back May Shows in 1964 and ’65, and again in 1967. The remarkable thing, noted the Plain Dealer’s Helen Borsick, was that he accomplished this sweep in a variety of painterly styles, even using that most hackneyed of subjects, flowers. “The subject doesn’t matter,” he told her, “what the artist brings to it is the important thing.” O’Sickey’s garden and landscape paintings were big and bold, eschewing delicate detail in favor of vitality and impact. The great art collector and CMA benefactor Katherine C. White, standing before one of O’Sickey’s vivid garden paintings, compared the sensation to “being pelted with flowers.” Though he might represent an entire blossom with one or two smudged brush strokes or a stem with a simple sweep of green, O’Sickey rejected the moniker of Impressionist—or Pointillist or Abstract painter or Expressionist. “My work,” he said, “is a direct response to the subject. I believe in fervor and poetic metaphor. I try to make each color and shape visible and identifiable within the context of surrounding colors and shapes. A yellow must hold its unique quality from any another yellow or surrounding color, and yet read as a lemon or an object, by inference. It does not require shading or modeling—the poetic evocation is part of the whole.” “The subject,” O’Sickey used to tell his students at Kent State University, where he taught painting from 1964 to 1989, “has to be seen as a whole and the painting has to be structured to be seen as a whole.” He liked to think of it as “a process of controlled rapture.” When, in the 1960s, fond childhood memories drew him to the zoo, he found himself responding to the caged animals in their lonely dignity (or indignity) with sharp-edged, almost silhouette-like forms that evoked Matisse’s paintings and cut-paper assemblages. One observer was left with the impression that the artist had “looked at these animals, past daylight and into dusk when they lose their details in shadow and become pure shapes, with eyes that are seeing the viewer rather than the other way around. This is a world of shape and essence,” wrote Helen Borsick. “All is simplification.” O’Sickey attributed his ability to capture his subjects with just a few strokes—in an almost iconographic way—to a rigorous exercise he had imposed upon himself over a period of several months. Limiting his tools to a large No. 6 bristle brush and black ink, he set himself the task of drawing his pet parakeet and the other small objects in its cage (cuttlebone, feeding dish, tinkling bell) hundreds of times. The exercise gave him “invaluable insights into painting. . . . Because of the crudity of the medium, every part of these drawings had to be an invention and every mark had to have its room and clarity.” Then he began adding one color at a time—“still with the same brush and striving for the same clarity”—and headed off to the zoo where “the world opened up to me. I learned how little it took to express the subject.” Born in Detroit at the close of the First World War, O’Sickey grew up in St. Stanislaus parish near East 65th and Fleet on Cleveland’s southeast side. (The apostrophe was inserted into the family’s proud Polish name by a clerk at Ellis Island.) An early interest in drawing and painting may have been kindled by the presence on the walls of Charles Dickens Elementary School, one of only three grade schools in the district with a special focus on the arts, of masterful watercolors by such Cleveland masters as Paul Travis, Frank N. Wilcox and Bill Coombes. As a youngster O’Sickey took drawing classes at the Cleveland Museum of Art, and he and his brother spent hours copying famous paintings; while a student at East Tech High School in the mid-’30s, he attended free evening classes in life drawing with Travis and Ralph Stoll at the John Huntington Art and Polytechnic Institute, and Saturday classes at the Cleveland School (later the Cleveland Institute) of Art, where he earned his degree in 1940 under the tutelage of Travis, Stoll and such other legendary figures as Henry Keller, Carl Gaertner, William Eastman, Kenneth Bates...Category
1980s Contemporary Still-life Drawings and Watercolors
MaterialsWatercolor
- Baggage Claim (Bags #1)By Darius StewardLocated in Fairlawn, OHCreated in 2017 this series, Baggage Claim, speaks to the symbolic emotional weight one accumulates through life and how the accumulations weigh down the spirit. The artist used handbags...Category
2010s Contemporary Still-life Drawings and Watercolors
MaterialsWatercolor
- Homage to MorandiBy Phyllis SloaneLocated in Fairlawn, OHHomage to Morandi Watercolor, c. 1990 Signed lower right: Sloane An important exhibition size watercolor by the artist. Acquired by the Cleveland Clinic, de-accessed in 2021 Conditio...Category
1990s Contemporary Still-life Drawings and Watercolors
MaterialsWatercolor
- Baggage Claim, Bags #2By Darius StewardLocated in Fairlawn, OHSigned "Rhonda V" in memory of the artist's mother From the series: Baggage Claim, inspired by the death of the artist's mother. The reference to "Baggage" is symbolic to all the emotion and hurt one accumulates through life and how the accumulations weights down on the spirit. Watercolor on Yupo paper...Category
2010s Contemporary Still-life Drawings and Watercolors
MaterialsWatercolor
- Trompe-l'Oeil StudyBy Eugene BermanLocated in Fairlawn, OHTrompe-l'Oeil Study Watercolor on heavy wove paper, 1943 Signed with the artists initials, lower center of image; Dated 1943, lower center of image Provenance: Swann Galleries, 2007, realized $2,640 Condition: Excellent. Fresh colors. Framed with conservation glass. Sheet: 14 3/4 x 11 1/4" Frame size: 20 3/4 x 17 Berman brothers (painters) From Wikipedia, the free encyclopedia Eugene Berman in Italy in the 1960s Eugène Berman (Russian: Евгений Густавович Берман; 4 November 1899, Saint Petersburg, Russia – 14 December 1972, Rome) and his brother Leonid Berman...Category
1930s Surrealist Still-life Drawings and Watercolors
MaterialsWatercolor
You May Also Like
- Intérieur Provence, Realistic Figurative original Drawing, Colorful, InteriorLocated in AIX-EN-PROVENCE, FRColoured Pencils and pastel on Hahnemühle paper - Realistic Figurative original Drawing, Colorful, Interior. Work Title : Intérieur Provence Artist : Gabriel Riesnert...Category
21st Century and Contemporary Contemporary Interior Drawings and Waterco...
MaterialsWatercolor, Archival Paper, Color Pencil, Pastel
- "The Gift" Original Watercolor on Paper Floralscape by William Verdult, FramedBy William VerdultLocated in Encino, CA"The Gift," an original watercolor on paper by William Verdult, is a piece for the true collector. The artist's genius reflects a fiery artistic approach that inspires unexplored fee...Category
1970s Contemporary Still-life Drawings and Watercolors
MaterialsWatercolor
- MarinBy Echo EggebrechtLocated in New York, NYEcho Eggebrecht Marin, 2005 Watercolor on paper 11 x 17 inches (image) 16 x 23 inches (sheet) 17 x 24 inches (frame) Signed on backCategory
Early 2000s Contemporary Still-life Drawings and Watercolors
MaterialsPaper, Watercolor
- "THUNDER ROLL", watercolor, glass, kitchen, travel, memory, identity, home, loveBy Fleur ThesmarLocated in Toronto, OntarioTHUNDER ROLL is a watercolor on Arches paper by Fleur Thesmar. The artwork measures 22x30". It is professionally framed in white, with UV protection and anti-glare glass. Framed it measures 26x34". A recurring subject for the artist, a world traveller, is memory and landscape, possessions and identity. In "Thunder Roll" we see cherished wine glasses in a carton being packed or unpacked, either way in a state of transition. The play of light on the glass and on the wrapping paper suggests sunny days and warm moments. And the presence of the leaves adds a natural, wholesome energy to this home. From Fleur Thesmar – "The painting "Thunder Roll" is part of a body of work called “Removal” which features semi-realistic still lives of clothes, bubble wrap and sometimes cardboard and glasses. It questions themes such as possession and identity, removal and travel, memories and storage. It also resonates with landscapes and here, with the summer fields in France before the storm. I store memories of large tables, wine glasses and lace napkins...Category
21st Century and Contemporary Contemporary Still-life Drawings and Water...
MaterialsArchival Paper, Watercolor
- "WINTER SEEDS 3", watercolor, new england, snow, wild flowers, seeds, white, iceBy Fleur ThesmarLocated in Toronto, OntarioWINTER SEEDS 3 is a large new watercolor on Arches paper by Fleur Thesmar. The artwork measures 22x30", and is mounted on a simple backing matte. The artwork would ship flat. An extr...Category
21st Century and Contemporary Contemporary Landscape Drawings and Waterc...
MaterialsWatercolor, Archival Paper
- Ghetto Entrepreneur, Petrus Amuthenu, watercolour on fabriano paperBy Petrus AmuthenuLocated in Windhoek, NAGhetto Entrepreneur, 2017. Watercolour on Fabriano Paper Petrus Amuthenu was born in Swakopmund and grew up in northern Namibia in Uukwaludhi. In 2002 ...Category
21st Century and Contemporary Contemporary Still-life Drawings and Water...
MaterialsWatercolor, Paper
Recently Viewed
View AllMore Ways To Browse
Vintage And Flowers
Art Branches
Flower Opened
Vintage Branch
Vintage Branches
May Flower
Eye Flower
Branches Painting
Him And Her Vintage
Flower Vintage Images
Flower Image Vintage
Images Vintage Flowers
Up5 And Up6
Man With Flower
Images Of Vintage Flowers
Background Flower Vintage
Vintage Background Flower
The Green Branch