Emile Lejeune

French Townscape Landscape Study

1940

Landscape study of a French town on a mountain top. The work is signed and stamped by the artist. The paper is not framed. Many others are available. Please inquire to buy the entir...

Modern watercolor seascape painting by renowned sporting artists John P. Cowan. The work was originally created by Cowan to be used by Schlumberger as part of their fishing schedule calendar. Signed in the front lower left corner. Currently hung in a gold frame with a cream matting. Provenance includes a framed letter...

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...

Watercolor painting of the Redwood forest located in California. Painting is mainly red and blue tones. The artist signed the painting in the bottom rig...

Drawing of the Capitol done in 1973. It is a special edition for Republican National Association. Edition 422 out of 1,500. Framed in a wood frame with a ...

Watercolor study of ducks who appear to be in a watery location. The work is signed by the artist in the bottom right corner. It is framed in a light wooden frame. Artist Biography:...

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 ...

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...

We are proud to present an exquisite drawing by the renowned artist Christian Berg (1893-1976), executed around the 1920s. This captivating artwork port...