Emile Lejeune

French Naturalistic Landscape Study in Pencil

A French landscape of a town study. The work is stamped by the artist. Many others are available. Please inquire to buy the entire collection. Artist Biography: Emile Lejeune...

Neutral tone naturalistic city scene by an unknown artist. The work features a central figure on horseback riding down a village backstreet. The "hostal" street sign overhead indicat...

Purple tonal naturalistic watercolor landscape by Texas artist Harry Worthman. This watercolor is an early watercolor made by the artist. It is signed, titled, and dated by the artis...

Naturalistic watercolor painting of a mountainous landscape with a river and figures riding a horse down the river. The work is signed and dated by the artist. The work is not framed...

Naturalistic European harbor scene with boats and figures preparing the boats of sailing. The work is signed and dated by the artist in the bottom corner. The paper comes with a blac...

Naturalistic architectural painting of a house in Galveston's porch. The work is done in a realistic style. It is signed by the artist in the botto...

Artist Commentary: This image is drawn from my imagination and imagery that I am inspired by. Keywords: Landscape Artist Biography: Judith grew up 15 miles north of Milwaukee in t...

Artist Commentary: Delicate Texas wildflower. Keywords: Landscape and Nature Artist Biography: Judith grew up 15 miles north of Milwaukee in the town of Mequon, Wisconsin, an old ...

Artist Commentary: This image is drawn from my imagination and imagery that I am inspired by. Keywords: Landscape Artist Biography: Judith grew up 15 miles north of Milwaukee in t...

“Sheffield Island Light off Norwalk, Conn.“ This pencil drawing is on a 5.50 x 9 inch sheet of laid paper. It is initialed and dated (June 30, 1887) in ...

Fanny Wimot Currey (Irish, 1848 - 1917) Via Crucis Via Lucis • Pencil on paper ca. 31 x 25 cm • Signed & dated lower right 1883 • The sheet measures ca. 31.2 x 23.2 cm • The image ...

Franz Xaver Graessel (1861 Oberasbach/Baden - 1948 Emmering). In the forest of Durlach. 1881. Pencil drawing, heightened with white, on grey-green paper. 33 x 41.7 cm. Signed, dated and inscribed by the artist himself: 'Franz Graessel. Durlach, 12 April 1881". About the artwork The drawing depicts a view of the woods which, as if sharpening the visual focus, remains diffuse at the edges and does not allow the viewer to locate himself in the picture. As a result, the landscape appears to be an apparition, but at the same time it is given real substance by the solidity of the massive arched bridge made of quarry stone. As the main motif of the painting, the bridge, which blends in with nature like an archaic relic, also acts as a visual guide, drawing attention to the white, raised waters of the stream and the surrounding vegetation. The diffusion of perception that takes place there, however, draws the eye back to the bridge and thus to the overall view. This movement initiating a constant alternation of diffusion and concretion, which is the specific tension of the painting that brings the landscape to life. The materialisation and dematerialisation, however, does not take place solely through the eye's wandering through the picture; it is simultaneously linked to the viewer's approach to and distance from the picture, which loses its richness of detail precisely in the close-up, only to reconfigure itself with increasing distance. In this work, which dates from Graessel's studies in Karlsruhe, the artist reflects on the emergence of pictorial objectivity. Here, however, nature is more than a mere motif. The real connection between culture and nature is symbolically expressed by the choice of green paper. The drawing is an impressive testimony to Graessel's mastery of the sprezzatura with which he skilfully applies the most abstract of strokes, which visibly merge towards the centre of the picture. The signature and the exact date prove that Graessel gave this work more than the character of a mere sketch. About the artist Franz Graessel grew up in an environment that was to nourish his later key motifs: his parents' house was a mill. After attending the Karlsruhe Academy of Art from 1878 to 1884, where he studied under Carl Hoff, Graessel continued his training at the Munich Academy from 1886 to 1890 as a pupil of Wilhelm von Lindenschmidt. Trained primarily in genre and portrait painting, he initially portrayed the life of Black Forest farmers. From 1894 he turned increasingly to animal painting, concentrating on the depiction of ducks and geese, which earned him the nickname 'Enten-Graessel'. Graessel's work thus parallels that of Alexander Koester...