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William Jacobs
William Jacobs "Small Harbor", original pastel on paper

1970

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  • William Jacobs "Urban Scene", original pastel on paper
    By William Jacobs
    Located in Glenview, IL
    "Urban Scene" by noted Chicago painter William Jacobs (1897 - 1973) is a pastel on paper created in 1970. The artwork is signed in pencil by the artist and...
    Category

    1970s American Modern Landscape Drawings and Watercolors

    Materials

    Pastel

  • William Jacobs "A Stroll in the Park", original pastel on paper
    By William Jacobs
    Located in Glenview, IL
    "A Stroll in the Park" by noted Chicago painter William Jacobs (1897 - 1973) is a pastel on paper created in 1970. The artwork is signed and dated i...
    Category

    1970s American Modern Landscape Drawings and Watercolors

    Materials

    Pastel

  • William Jacobs "Urban Scene II", original pastel on paper
    By William Jacobs
    Located in Glenview, IL
    "Urban Scene II" by noted Chicago painter William Jacobs (1897 - 1973) is a pastel on paper created in 1972. The artwork is signed and dated in pencil by t...
    Category

    1970s American Modern Landscape Drawings and Watercolors

    Materials

    Pastel

  • William Jacobs "Windsurfing at Sunset", original pastel on paper
    By William Jacobs
    Located in Glenview, IL
    "Windsurfing at Sunset" by noted Chicago painter William Jacobs (1897 - 1973) is a pastel on paper created in 1970. The artwork is signed and dated in pencil by the artist and was ne...
    Category

    1970s Modern Landscape Drawings and Watercolors

    Materials

    Pastel

  • Sugár Andor "Contorted Trees", original pastel on paper
    Located in Glenview, IL
    "Contorted Trees" by noted Hungarian painter Sugár Andor (1903 - 1944) is a pastel on paper created in 1923. The artwork represents a number of trees, bent by the wind in what appear...
    Category

    1920s Modern Landscape Drawings and Watercolors

    Materials

    Pastel

  • William Jacobs "Figures at a Table", original pastel on paper
    By William Jacobs
    Located in Glenview, IL
    "Figures at a Table" by noted Chicago painter William Jacobs (1897 - 1973) is a pastel on paper created in 1971. The artwork is signed and dated in pencil by the artist and was never...
    Category

    1970s American Modern Abstract Drawings and Watercolors

    Materials

    Pastel

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    Located in Miami, FL
    Yvonne Jacquette uses pastel on a heavy rag paper to depict an ariel city scene at night with pulsing lights. There is a heavy texture to the paper and the surface is rich and vibra...
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  • 'Garden of the Gods' - Colorado Springs, Colorado Landscape, Pastel Drawing
    By Sushe Felix
    Located in Denver, CO
    Pastel on paper drawing signed and dated by Sushe Felix (20th Century) in the lower right portraying an American Modernist view of Garden of the Gods...
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  • 1980s American Modern Pastel on Paper Depicting the Garden of the Gods
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    Pastel on paper drawing by Sushe Felix (20th Century) portraying an American Modernist view of Garden of the Gods Park in Colorado Springs. Presented in a custom frame with all archi...
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  • Beautiful large impressionist pastel by Francesco Spicuzza
    By Francesco Spicuzza
    Located in Larchmont, NY
    Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...
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  • Cityscape Reflections - Study No. 1
    By Gerald Geerlings
    Located in Storrs, CT
    Cityscape Reflections - Misty Morning. 1980. Lithograph with pastel coloring. Czestochowski 42. Edition 40. 14 x 10 3/16 (sheet 18 x 14). Tape stains in the margins, not affecting th...
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  • Skyscrapers.
    By Howard Norton Cook
    Located in Storrs, CT
    Skyscrapers. c. 1950. Pastel. 29 3/4 x 19 7/8 (framed 37 x 27). Provenance: The New Britain Museum of American Art, New Britain, Connecticut. Signed, lower right. Housed in a stunn...
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    1940s American Modern Landscape Drawings and Watercolors

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