Dennis Lyall

Desert Storm Triumph Parade

2002

Medium: Oil on Paper Laid on Panel Signature: Signed Lower Right Initialed lower right: M.P. Signed on the reverse: Maxfield Parish Initialed and numbered by the artist's son on the reverse: M.P. Jr. / No. 68. When Maxfield Parrish painted the comical A Dark Futurist in 1923 for Life magazine, he had already established himself as America's leading book and magazine illustrator. His early artwork for children's classics like L. Frank Baum's Mother Goose in Prose (1897), Kenneth Grahame's Dream Days (1900), and Eugene Field's Poems of Childhood (1904) popularized his signature atmospheric settings, cobalt blue-and-gold palette, and dreamy figures inhabiting magical worlds. Likewise, his covers for Century, Collier's, Harper's Bazaar, Ladies' Home Journal, Life, and Scribner's Magazine were highly desirous and instantly recognizable, often more stylized than his book imagery; no other journal illustrator could match Parrish's winning combination of precise draftsmanship, strong graphic design, and amusing characters. According to David Apatoff, Art Critic, The Saturday Evening Post, "Parrish abandoned his customary heavy details and rainbow colors to present a bolder, more high-contrast design silhouetted against a stark white background - a treatment more suitable for a modern magazine cover vying for attention on a crowded newsstand. A Dark Futurist is silhouetted against a white field with no background or details to prop it up. The composition is carefully centered with only differences in the hands and the artist's necktie to break the symmetry. These are crucial to the success of the design. Just as important as Parrish's clean, high-contrast style in these pictures is the refreshing humor and sophistication in content, which is usually absent from Parrish's fairytale paintings. A Dark Futurist shows us a different kind of modernism. Parrish steps out of his timeless fairy tales to tweak one of the most incendiary artistic movements of his day. Futurism, with its militant manifesto and its outspoken artists, was all the rage in Europe. Parrish pokes them, showing a "dark" and anxious futurist with pursed lips and thick glasses, poised to paint but not exactly sure of, or optimistic about, what the 'future' will hold. This suggests that Parrish was alert to, and had opinions about, current events of the day - something one might never guess from his usual subject matter." In his early Collier's illustrations, Parrish also developed memorable themes that he would return to in his 1920s magazine work. One of his most popular characters was the "seer," or man with keen visual powers, most often depicted as an artist, but also appearing as a tourist, scientist, and philosopher. Parrish's seer was recognizable by particular physical attributes: round glasses, indicating his visual and analytical acuity, and an overcoat and/or hat signifying his role as observer of the outside world. A Man of Letters, sold last year at Heritage Auctions, was one of the first Life covers Parrish rolled out for Gibson, and he repeated the character of the artist-seer, emphasizing the comic spin, for two later editions: A Dark Futurist (Life, March 1, 1923) captures a Parrish-like artist in foggy round glasses and a long green coat...

Date: 1944 Medium: Oil and Graphite on Paperboard Sight Size 14.00" x 11.00", Framed 22.00" x 19.00" Study for cover of The Saturday Evening Post, May 27, 1944 Norman Rockwell disc...

Medium: Oil and Pencil on Paperboard Signature: Signed 'Kurt Ard' Lower Left This work was published as the cover of the September 26, 1959 edition of The Sa...

Medium: Oil on Paper Laid Down to Board Signature: Signed Lower Left This is an illustration for the book by Samual McChord Crothers, The Children of Dickens, originally published in 1925. Bob Cratchit first appeared in Charles Dickens' A Christmas Carol as the victimized clerk of cold-hearted Ebenezer Scrooge. Timothy Cratchit, also known as Tiny Tim...

Medium: Oil, Ink and Gold Leaf on Paper Dimensions: 15.00" x 12.00" Signature: Signed Lower Center The present work was published as the cover of the December 2nd, 1899 issue of Lif...

Date: 1938 Medium: Oil on Paperboard Sight Size 20.25" x 13.875", Framed to 27.50" x 21.00" Signature: Signed Lower Right with Initials: N/R 'Philip found himself involved in a humi...

Guy Pene du Bois' "Two Figures in Courtroom" is a WPA era American scene oil painting created in a realistic style. Modernism at its best The work is framed by Heydenryk. Pène du Bois descended from French immigrants who settled in Louisiana in 1738 and was raised in a Creole household. He was born in 1884 in Brooklyn, NY and first studied with William Merritt Chase at the New York School of Art and later continued his training with Robert Henri. Pène du Bois was greatly impressed with Henri's credo that "real life" was subject matter for art and throughout his life a realist philosophy informed his art as well as his parallel career, art criticism. In 1905, Pène du Bois made his first visit to Paris where he painted scenes of fashionable people in cafes rendered in the dark tonalities and impasto associated with the Ashcan School. By 1920, he had achieved his mature style, which was characterized by stylized, rounded, almost sculptural figures painted with invisible brushstrokes. The subjects of his paintings were often members of society whom he gently satirized. In 1924, Pène du Bois and his wife, Floy, left for France where they would remain until 1930. Returning to America showcases pictures the artist produced after this very productive period abroad. After five years of living in France, Pène du Bois was able to observe American life with fresh eyes. His work becomes more psychologically intense and less satirical. In Girl at Table a slender, blond is shown gazing at a small statue that she holds at arm's distance. The meaning is elusive, but a powerful sense of longing is evoked. Similarly, paintings such as Dramatic Moment and Jane are taut with unresolved dialogue. Both pictures depict mysterious interiors in which a lone woman anxiously awaits the denouement of a suspenseful scene. Other pictures, for example, Chess Tables, Washington Square and Bar, New Orleans, recall Pene du Bois's Ashcan origins in their depiction of urban entertainment. During this period, landscape becomes an important subject for Pène du Bois. Girl Sketching...

Oil and paper collage on canvas Richard Boigeol is a French artist born in 1959 who lives & works in Marseille, France. Richard Boigeol is an artist at heart, music plays a central ...

oil, acrylic and collage on canvas Gdynia is Polish city at the Baltic Sea A Polish artist, Lukasz Fruczek was born in 1975. He studied at the Fine Arts School in Gdansk, with a s...

Acrylics on cardboard, 2013. Joanna Woyda (b. 1981) Studied painting at the Academy of Fine Arts in Warsaw (2000-2005). She received her honorary degree in 2005. She was also a sch...

Acrylics on cardboard, 2013. Joanna Woyda (b. 1981) Studied painting at the Academy of Fine Arts in Warsaw (2000-2005). She received her honorary degree in 2005. She was also a sch...

Two figures in a brightly colored interior with abstracted elements by San Francisco artist Michael William Eggleston (American, 20th Century). From a collection of his works. Signe...