Known for small scale, modernist urban views of New York City, he depicted the city as a jumble of architecture in varying sombre colors in a mood reminiscent of 19th century Romanticism. He had a highly original technique, which was covering a drawing with small dabs of paint and pushing spots of warm and cool color over one another, which dried into a kind of low relief. It took him about a decade, from 1929 to 1939, to arrive at this style and method that seemed right for him. He decided to paint what he saw without consciousness as to style or composition and with spiritual commitment, devoting himself to divinity in nature, separated from the modern world. By the 1960s, he was doing horizontal work in brighter hues that gave the viewer the impression of being swept along a street or urban path.
David Cox was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of impressionism.
Born in Braunschweig, Germany on Aug. 16, 1839. Schafer may have studied art in Düsseldorf since his paintings resemble those of other Düsseldorf-trained artists; however, he is believed to have been self-taught. He came to the U.S. in 1876 and arrived in San Francisco in 1880. After establishing a studio, he began exhibiting regularly with the local art association and the Mechanics' Institute Fairs. A peripatetic painter, he made regular sketching trips throughout the Northwest including Montana, Wyoming, Colorado, Idaho, Oregon, Washington, British Columbia, and Alaska. During his last years he painted theatrical scenery in San Francisco and Oakland theaters. Schafer had a home in Oakland from 1880 until his death on July 18, 1927. His landscapes, which often include Indians, were mostly done before 1890 and number about 500. Due to alcoholism, his works are often uneven in quality. Exh: Mechanics' Inst. (SF), 1879-84; Calif. State Fair, 1880, 1894. In: Oakland Museum; Seattle Museum; Monterey Peninsula Museum; Shasta State Historical Monument; Bancroft Library (UC Berkeley); CHS; Crocker Museum; Hoover Inst. (Palo Alto); Museum of Church History & Art (Salt Lake City); Society of Calif. Pioneers; Sonoma Co. Museum (Santa Rosa); Yosemite Museum; Alameda Public Library; Craigdarroch Castle (Victoria, B.C.) Source: Edan Hughes, "Artists in California, 1786-1940"
Harriet Whitney Frishmuth was born on September 17, 1880 in Philadelphia, Pennsylvania. A student of such renowned artists as Auguste Rodin and Gutzon Borglum, Frishmuth's reputation and career grew steadily throughout the first several decades of the twentieth century, with exhibitions at the National Academy of Design, the Academy of Fine Arts in Philadelphia, the Salon in Paris, the Golden Gate International Exposition (1939-1940) and the National Association of Women Painters and Sculptors. Her favorite models were dancers, especially Desha Delteil - immortalized in Frishmuth's most famous work, The Vine - a model particularly popular with artists for her ability to hold difficult poses for long periods of time. The final exhibits of Frishmuth's work took place in New York City in 1929, but she remained active in the art world for many years following. Frishmuth passed away in 1980 at the age of 99. A proponent of the Beaux Arts style - Frishmuth was exceptionally critical of modern art, often calling it "spiritless" - her works can now be seen in some of the world's leading museums and collections, including the Metropolitan Museum of Art in New York City, the Dallas Museum of Art, and Ohio University's Kennedy Museum of Art.
N. (Newell) C. (Convers) Wyeth (October 22, 1882-October 19, 1945), is one of the most celebrated illustrators in the history of art. He grew up on a farm in New England, and studied at the Massachusetts Normal Arts School where he attended classes taught by illustrators Eric Pape and Charles W. Reed. During 1902-04 he studied with the great illustrator Howard Pyle in Wilmington, Delaware. Wyeth accepted a commission from Scribner's and the Saturday Evening Post to paint western scenes, and traveled in the west to gain first hand knowledge of subjects. He worked as a ranch hand in Colorado and rode mail routes in New Mexico and Arizona. In 1906, Wyeth and Carolyn Brenneman Bockius were married in the Wilmington Unitarian church, and they made their home in nearby Chadds Ford, Pennsylvania. The focus of his painting soon shifted to the land and people of the region in which he lived. In 1911, Wyeth won a commission from Charles Scribner's Sons to illustrate a new edition of R. L. Stevenson's Treasure Island, a work that made him famous. He provided illustrations for dozens of other classic books, including Kidnapped (1913), The Black Arrow (1916), The Legends of Robin Hood (1917), The Last of the Mohicans (1919), and The Yearling (1939).
Heriberto Juárez was born in San Juan Teotihuacan, State of Mexico, and it was precisely there, land of pyramid builders and legendary sculptors, where he took his first lessons on artistic pottery, sculpture and drawing which helped him acquire the knowledge and skills he materializes in his work perform on chromium plated iron and tin, onyx, marble, bronze... The quality, strength, expressive ability and good taste found in his work have taken him through important galleries and museums around the world and have made him worthy of recognition as one of the prominent artists who have collaborated most different cultural fields in Mexico. In addition to the fertile production of sculptural pieces Juárez Castañeda's work includes drawing, construction of monuments and to a lease degree but with the same qualities, panting. In these regards, Berta Taracen, whose opinion is acknowledged in the artistic space says: "His historical-humanistic tendency, in agreement with the society it serves, does not resign to topical and futuristic categories, but enhances the message and content of perfect technics, considering that technology, in the widest sense of the word, is the central problem of this age and praxis of the actions of modern man; having as a result a Juárez who is characteristically a Mexican artist, who makes of his technics and craftsmanship part of the historical and spiritual order without rendering them obsolete". A highlighted part of his work and probably the most widespread is constituted by his pieces, in different materials, on bullfight subjects; magical and sometimes cryptical world which he deeply knows, due to his experience as a bullfighter while he was a young man. Along his already broad trajectory, Heriberto Juárez has been chosen to represent Mexican Art in shows, exhibitions and events of the highest world level. He has been granted scholarships to enrich his already vast knowledge of technics and artistic avant gard concepts. He has been selected to construct important monuments in the national and international ambits as well...
Inquire for Price
Born near Falling Waters, West Virginia on a plantation a year after the Civil War, and raised in Baltimore, William Leigh became one of the foremost painters of the American West with a career of seventy-five years. Some people referred to him as the "Sagebrush Rembrandt". Trips to the Southwest began in 1906 when he made an agreement with William Simpson, Santa Fe Railway advertising manager, to paint the Grand Canyon in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to many more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, but it was not until the 1940s that he received much recognition. He painted in the Southwest nearly every summer between 1912 and 1926 and focused on the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and did sketches, many which he later converted into large canvases such as "Lower Falls of the Yellowstone"(1915) and "Grand Canyon of the Yellowstone" (1911). His style was realistic, and his palette invariably had the Southwestern hues of soft pinks, reds, yellows and purples. In fact, his critics who knew little of the Southwest accused him of fabricating the colors. Many of his works are at the Gilcrease Museum in Tulsa, Oklahoma. In March, 1999, the Historical Center of Cody, Wyoming held an exhibition of his field sketches and finished works depicting his experiences near Cody, Wyoming in the early part of the century, between 1910 and 1921. These years, many which he spent painting in the Carter Mountain vicinity, were considered crucial to his artistic development because he was exposed to western landscape. His companion during these travels was Cody taxidermist Will Richard who stirred his interest in wildlife.