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Original Photograph 701 / 2087 -
Original Photograph 702 / 2087 -
Original Photograph 703 / 2087 -
☆☆ Artist unknown at this time. 704 / 2087 sold -
☆☆ Artist unknown at this time. 705 / 2087 sold -
☆☆ Artist unknown at this time. 706 / 2087 sold -
☆☆ Artist unknown at this time. 707 / 2087 sold -
☆☆ Artist unknown at this time. 708 / 2087 sold -
☆☆ Artist unknown at this time. 709 / 2087 sold -
☆☆ Artist unknown at this time. 710 / 2087 sold -
☆☆ Artist unknown at this time. 711 / 2087 sold -
☆☆ Artist unknown at this time. 712 / 2087 sold -
☆☆ Artist unknown at this time. 713 / 2087 sold -
Excerpt: An accomplished American etcher of the early twentieth century, Ralph M. Pearson was born on May 27, 1883 in Angus, Iowa. He studied at the Art Institute of Chicago, under Charles Francis Browne and John Vanderpoel. In 1911 he produced a series of etchings of workers in Chicago. He was one of the earliest printmakers in New Mexico, settling in Taos about 1915. During his distinguished career his etchings received awards from the Chicago Society of Etchers (1914); the Panama Pacific Exposition, San Francisco (1915); the American Bookplate Society (1917); and the California Print Maker's Society (1922). 714 / 2087 sold -
Excerpt: An accomplished American etcher of the early twentieth century, Ralph M. Pearson was born on May 27, 1883 in Angus, Iowa. He studied at the Art Institute of Chicago, under Charles Francis Browne and John Vanderpoel. In 1911 he produced a series of etchings of workers in Chicago. He was one of the earliest printmakers in New Mexico, settling in Taos about 1915. During his distinguished career his etchings received awards from the Chicago Society of Etchers (1914); the Panama Pacific Exposition, San Francisco (1915); the American Bookplate Society (1917); and the California Print Maker's Society (1922). 715 / 2087 sold -
Excerpt: An accomplished American etcher of the early twentieth century, Ralph M. Pearson was born on May 27, 1883 in Angus, Iowa. He studied at the Art Institute of Chicago, under Charles Francis Browne and John Vanderpoel. In 1911 he produced a series of etchings of workers in Chicago. He was one of the earliest printmakers in New Mexico, settling in Taos about 1915. During his distinguished career his etchings received awards from the Chicago Society of Etchers (1914); the Panama Pacific Exposition, San Francisco (1915); the American Bookplate Society (1917); and the California Print Maker's Society (1922). 716 / 2087 sold -
Excerpt: An accomplished American etcher of the early twentieth century, Ralph M. Pearson was born on May 27, 1883 in Angus, Iowa. He studied at the Art Institute of Chicago, under Charles Francis Browne and John Vanderpoel. In 1911 he produced a series of etchings of workers in Chicago. He was one of the earliest printmakers in New Mexico, settling in Taos about 1915. During his distinguished career his etchings received awards from the Chicago Society of Etchers (1914); the Panama Pacific Exposition, San Francisco (1915); the American Bookplate Society (1917); and the California Print Maker's Society (1922). 717 / 2087 sold -
Excerpt: An accomplished American etcher of the early twentieth century, Ralph M. Pearson was born on May 27, 1883 in Angus, Iowa. He studied at the Art Institute of Chicago, under Charles Francis Browne and John Vanderpoel. In 1911 he produced a series of etchings of workers in Chicago. He was one of the earliest printmakers in New Mexico, settling in Taos about 1915. During his distinguished career his etchings received awards from the Chicago Society of Etchers (1914); the Panama Pacific Exposition, San Francisco (1915); the American Bookplate Society (1917); and the California Print Maker's Society (1922). 718 / 2087 sold -
Excerpt: An accomplished American etcher of the early twentieth century, Ralph M. Pearson was born on May 27, 1883 in Angus, Iowa. He studied at the Art Institute of Chicago, under Charles Francis Browne and John Vanderpoel. In 1911 he produced a series of etchings of workers in Chicago. He was one of the earliest printmakers in New Mexico, settling in Taos about 1915. During his distinguished career his etchings received awards from the Chicago Society of Etchers (1914); the Panama Pacific Exposition, San Francisco (1915); the American Bookplate Society (1917); and the California Print Maker's Society (1922). 719 / 2087 sold -
Excerpt: An accomplished American etcher of the early twentieth century, Ralph M. Pearson was born on May 27, 1883 in Angus, Iowa. He studied at the Art Institute of Chicago, under Charles Francis Browne and John Vanderpoel. In 1911 he produced a series of etchings of workers in Chicago. He was one of the earliest printmakers in New Mexico, settling in Taos about 1915. During his distinguished career his etchings received awards from the Chicago Society of Etchers (1914); the Panama Pacific Exposition, San Francisco (1915); the American Bookplate Society (1917); and the California Print Maker's Society (1922). 720 / 2087 sold -
Excerpt: An accomplished American etcher of the early twentieth century, Ralph M. Pearson was born on May 27, 1883 in Angus, Iowa. He studied at the Art Institute of Chicago, under Charles Francis Browne and John Vanderpoel. In 1911 he produced a series of etchings of workers in Chicago. He was one of the earliest printmakers in New Mexico, settling in Taos about 1915. During his distinguished career his etchings received awards from the Chicago Society of Etchers (1914); the Panama Pacific Exposition, San Francisco (1915); the American Bookplate Society (1917); and the California Print Maker's Society (1922). 721 / 2087 sold -
Excerpt: Robert Hunter Middleton (May 6, 1898 – August 3, 1985) was an American book designer, painter, and type designer. Born in Glasgow, Scotland he came to Chicago in 1908 where he studied at the School of the Art Institute. He joined the design department of the Ludlow Typograph Company in 1923 and served as director of the department of typeface design from 1933–71. In 1944 he began operating a private press, The Cherryburn Press. He died in Chicago. 722 / 2087 -
Excerpt: Robert Hunter Middleton (May 6, 1898 – August 3, 1985) was an American book designer, painter, and type designer. Born in Glasgow, Scotland he came to Chicago in 1908 where he studied at the School of the Art Institute. He joined the design department of the Ludlow Typograph Company in 1923 and served as director of the department of typeface design from 1933–71. In 1944 he began operating a private press, The Cherryburn Press. He died in Chicago. 723 / 2087 -
Excerpt: Robert Hunter Middleton (May 6, 1898 – August 3, 1985) was an American book designer, painter, and type designer. Born in Glasgow, Scotland he came to Chicago in 1908 where he studied at the School of the Art Institute. He joined the design department of the Ludlow Typograph Company in 1923 and served as director of the department of typeface design from 1933–71. In 1944 he began operating a private press, The Cherryburn Press. He died in Chicago. 724 / 2087 -
Excerpt: Robert Hunter Middleton (May 6, 1898 – August 3, 1985) was an American book designer, painter, and type designer. Born in Glasgow, Scotland he came to Chicago in 1908 where he studied at the School of the Art Institute. He joined the design department of the Ludlow Typograph Company in 1923 and served as director of the department of typeface design from 1933–71. In 1944 he began operating a private press, The Cherryburn Press. He died in Chicago. 725 / 2087 -
Excerpt: Robert Hunter Middleton (May 6, 1898 – August 3, 1985) was an American book designer, painter, and type designer. Born in Glasgow, Scotland he came to Chicago in 1908 where he studied at the School of the Art Institute. He joined the design department of the Ludlow Typograph Company in 1923 and served as director of the department of typeface design from 1933–71. In 1944 he began operating a private press, The Cherryburn Press. He died in Chicago. 726 / 2087 -
Excerpt: Robert Hunter Middleton (May 6, 1898 – August 3, 1985) was an American book designer, painter, and type designer. Born in Glasgow, Scotland he came to Chicago in 1908 where he studied at the School of the Art Institute. He joined the design department of the Ludlow Typograph Company in 1923 and served as director of the department of typeface design from 1933–71. In 1944 he began operating a private press, The Cherryburn Press. He died in Chicago. 727 / 2087 -
Excerpt: Robert Hunter Middleton (May 6, 1898 – August 3, 1985) was an American book designer, painter, and type designer. Born in Glasgow, Scotland he came to Chicago in 1908 where he studied at the School of the Art Institute. He joined the design department of the Ludlow Typograph Company in 1923 and served as director of the department of typeface design from 1933–71. In 1944 he began operating a private press, The Cherryburn Press. He died in Chicago. 728 / 2087 -
Excerpt: Robert Hunter Middleton (May 6, 1898 – August 3, 1985) was an American book designer, painter, and type designer. Born in Glasgow, Scotland he came to Chicago in 1908 where he studied at the School of the Art Institute. He joined the design department of the Ludlow Typograph Company in 1923 and served as director of the department of typeface design from 1933–71. In 1944 he began operating a private press, The Cherryburn Press. He died in Chicago. 729 / 2087 -
#1 of 76 730 / 2087 sold -
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#1 of 76 734 / 2087 sold -
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It appears to be an Original Pastel by John Excerpt about John: ART REVIEW Review: Performance on Paper Dances Into the Denver Art Museum MICHAEL PAGLIA AUGUST 3, 2016 6:45AM This summer, the Denver Art Museum is presenting several exhibits devoted to dance; DAM curators are mounting shows within their specialties that somehow touch on that topic. Though it might seem like a stretch for Darrin Alfred, the curator of architecture, design and graphics, to come up with something relevant — the categories covered by his department are defined by their static quality, while dance is all about movement — he’s done just that with the clever Performance on Paper: The Posters of Phil Risbeck and John Sorbie. Dance is just one of several areas of the performing arts featured in these works; still, there are enough dance posters here to provide a connection to the overarching theme. But this show also has an interesting connection to another topic: Western art. Alfred has mounted it in a space in the Western American art galleries on level two of the Hamilton Building; he explains that he made this call because Risbeck and Sorbie are Western artists, as they were/are based in Fort Collins. (Sorbie, who died in 1995, founded the graphic-arts department at Colorado State University in 1958; Risbeck joined the faculty in the ’60s and still teaches there.) Working separately over the decades, the two created remarkable collections of posters announcing upcoming films, plays, concerts and, of course, dance performances on the campus. Though it’s hard to make specific stylistic observations about either designer, both use the juxtaposition of eye-catching representational imagery and blocks of text. 740 / 2087 -
It appears to be an Original Pastel by John Excerpt about John: ART REVIEW Review: Performance on Paper Dances Into the Denver Art Museum MICHAEL PAGLIA AUGUST 3, 2016 6:45AM This summer, the Denver Art Museum is presenting several exhibits devoted to dance; DAM curators are mounting shows within their specialties that somehow touch on that topic. Though it might seem like a stretch for Darrin Alfred, the curator of architecture, design and graphics, to come up with something relevant — the categories covered by his department are defined by their static quality, while dance is all about movement — he’s done just that with the clever Performance on Paper: The Posters of Phil Risbeck and John Sorbie. Dance is just one of several areas of the performing arts featured in these works; still, there are enough dance posters here to provide a connection to the overarching theme. But this show also has an interesting connection to another topic: Western art. Alfred has mounted it in a space in the Western American art galleries on level two of the Hamilton Building; he explains that he made this call because Risbeck and Sorbie are Western artists, as they were/are based in Fort Collins. (Sorbie, who died in 1995, founded the graphic-arts department at Colorado State University in 1958; Risbeck joined the faculty in the ’60s and still teaches there.) Working separately over the decades, the two created remarkable collections of posters announcing upcoming films, plays, concerts and, of course, dance performances on the campus. Though it’s hard to make specific stylistic observations about either designer, both use the juxtaposition of eye-catching representational imagery and blocks of text. 741 / 2087 -
It appears to be an Original Pastel by John Excerpt about John: ART REVIEW Review: Performance on Paper Dances Into the Denver Art Museum MICHAEL PAGLIA AUGUST 3, 2016 6:45AM This summer, the Denver Art Museum is presenting several exhibits devoted to dance; DAM curators are mounting shows within their specialties that somehow touch on that topic. Though it might seem like a stretch for Darrin Alfred, the curator of architecture, design and graphics, to come up with something relevant — the categories covered by his department are defined by their static quality, while dance is all about movement — he’s done just that with the clever Performance on Paper: The Posters of Phil Risbeck and John Sorbie. Dance is just one of several areas of the performing arts featured in these works; still, there are enough dance posters here to provide a connection to the overarching theme. But this show also has an interesting connection to another topic: Western art. Alfred has mounted it in a space in the Western American art galleries on level two of the Hamilton Building; he explains that he made this call because Risbeck and Sorbie are Western artists, as they were/are based in Fort Collins. (Sorbie, who died in 1995, founded the graphic-arts department at Colorado State University in 1958; Risbeck joined the faculty in the ’60s and still teaches there.) Working separately over the decades, the two created remarkable collections of posters announcing upcoming films, plays, concerts and, of course, dance performances on the campus. Though it’s hard to make specific stylistic observations about either designer, both use the juxtaposition of eye-catching representational imagery and blocks of text. 742 / 2087 -
It appears to be an Original Pastel by John Excerpt about John: ART REVIEW Review: Performance on Paper Dances Into the Denver Art Museum MICHAEL PAGLIA AUGUST 3, 2016 6:45AM This summer, the Denver Art Museum is presenting several exhibits devoted to dance; DAM curators are mounting shows within their specialties that somehow touch on that topic. Though it might seem like a stretch for Darrin Alfred, the curator of architecture, design and graphics, to come up with something relevant — the categories covered by his department are defined by their static quality, while dance is all about movement — he’s done just that with the clever Performance on Paper: The Posters of Phil Risbeck and John Sorbie. Dance is just one of several areas of the performing arts featured in these works; still, there are enough dance posters here to provide a connection to the overarching theme. But this show also has an interesting connection to another topic: Western art. Alfred has mounted it in a space in the Western American art galleries on level two of the Hamilton Building; he explains that he made this call because Risbeck and Sorbie are Western artists, as they were/are based in Fort Collins. (Sorbie, who died in 1995, founded the graphic-arts department at Colorado State University in 1958; Risbeck joined the faculty in the ’60s and still teaches there.) Working separately over the decades, the two created remarkable collections of posters announcing upcoming films, plays, concerts and, of course, dance performances on the campus. Though it’s hard to make specific stylistic observations about either designer, both use the juxtaposition of eye-catching representational imagery and blocks of text. 743 / 2087 -
It appears to be an Original Pastel by John Excerpt about John: ART REVIEW Review: Performance on Paper Dances Into the Denver Art Museum MICHAEL PAGLIA AUGUST 3, 2016 6:45AM This summer, the Denver Art Museum is presenting several exhibits devoted to dance; DAM curators are mounting shows within their specialties that somehow touch on that topic. Though it might seem like a stretch for Darrin Alfred, the curator of architecture, design and graphics, to come up with something relevant — the categories covered by his department are defined by their static quality, while dance is all about movement — he’s done just that with the clever Performance on Paper: The Posters of Phil Risbeck and John Sorbie. Dance is just one of several areas of the performing arts featured in these works; still, there are enough dance posters here to provide a connection to the overarching theme. But this show also has an interesting connection to another topic: Western art. Alfred has mounted it in a space in the Western American art galleries on level two of the Hamilton Building; he explains that he made this call because Risbeck and Sorbie are Western artists, as they were/are based in Fort Collins. (Sorbie, who died in 1995, founded the graphic-arts department at Colorado State University in 1958; Risbeck joined the faculty in the ’60s and still teaches there.) Working separately over the decades, the two created remarkable collections of posters announcing upcoming films, plays, concerts and, of course, dance performances on the campus. Though it’s hard to make specific stylistic observations about either designer, both use the juxtaposition of eye-catching representational imagery and blocks of text. 744 / 2087 -
It appears to be an Original Pastel by John Excerpt about John: ART REVIEW Review: Performance on Paper Dances Into the Denver Art Museum MICHAEL PAGLIA AUGUST 3, 2016 6:45AM This summer, the Denver Art Museum is presenting several exhibits devoted to dance; DAM curators are mounting shows within their specialties that somehow touch on that topic. Though it might seem like a stretch for Darrin Alfred, the curator of architecture, design and graphics, to come up with something relevant — the categories covered by his department are defined by their static quality, while dance is all about movement — he’s done just that with the clever Performance on Paper: The Posters of Phil Risbeck and John Sorbie. Dance is just one of several areas of the performing arts featured in these works; still, there are enough dance posters here to provide a connection to the overarching theme. But this show also has an interesting connection to another topic: Western art. Alfred has mounted it in a space in the Western American art galleries on level two of the Hamilton Building; he explains that he made this call because Risbeck and Sorbie are Western artists, as they were/are based in Fort Collins. (Sorbie, who died in 1995, founded the graphic-arts department at Colorado State University in 1958; Risbeck joined the faculty in the ’60s and still teaches there.) Working separately over the decades, the two created remarkable collections of posters announcing upcoming films, plays, concerts and, of course, dance performances on the campus. Though it’s hard to make specific stylistic observations about either designer, both use the juxtaposition of eye-catching representational imagery and blocks of text. 745 / 2087 -
It appears to be an Original Pastel by John Excerpt about John: ART REVIEW Review: Performance on Paper Dances Into the Denver Art Museum MICHAEL PAGLIA AUGUST 3, 2016 6:45AM This summer, the Denver Art Museum is presenting several exhibits devoted to dance; DAM curators are mounting shows within their specialties that somehow touch on that topic. Though it might seem like a stretch for Darrin Alfred, the curator of architecture, design and graphics, to come up with something relevant — the categories covered by his department are defined by their static quality, while dance is all about movement — he’s done just that with the clever Performance on Paper: The Posters of Phil Risbeck and John Sorbie. Dance is just one of several areas of the performing arts featured in these works; still, there are enough dance posters here to provide a connection to the overarching theme. But this show also has an interesting connection to another topic: Western art. Alfred has mounted it in a space in the Western American art galleries on level two of the Hamilton Building; he explains that he made this call because Risbeck and Sorbie are Western artists, as they were/are based in Fort Collins. (Sorbie, who died in 1995, founded the graphic-arts department at Colorado State University in 1958; Risbeck joined the faculty in the ’60s and still teaches there.) Working separately over the decades, the two created remarkable collections of posters announcing upcoming films, plays, concerts and, of course, dance performances on the campus. Though it’s hard to make specific stylistic observations about either designer, both use the juxtaposition of eye-catching representational imagery and blocks of text. 746 / 2087 -
Artist unknown to us at this time. 747 / 2087 sold -
Artist unknown to us at this time. 748 / 2087 sold -
Artist unknown to us at this time. 749 / 2087 sold -
Artist unknown to us at this time. 750 / 2087 sold -
Artist unknown to us at this time. 751 / 2087 sold -
Artist unknown to us at this time. 752 / 2087 sold -
Artist unknown to us at this time. 753 / 2087 sold -
Artist unknown to us at this time. 754 / 2087 sold -
Artist unknown to us at this time. 755 / 2087 sold -
Oil on Linen☆ EXCERPT: Carl paints plein air in oils and acrylics and he is the original "Guerrilla Painter." ☆ Excerpt From Loveland Reporter: Judson is author of a series of notebooks for plein air painters. It is a diary of his experiences and why he selected certain subjects. He does provide the reader with hints on composition and color. Long-time artist Carl Judson has a unique and refreshing look at art. He says, “We are all artists. We all have the ability to use visual language and can aspire to be an artist without a formal education. Making marks on surfaces is within our DNA. There are ways to unlock this within us and in the process, enjoy ourselves.†Judson expounded on his ideas at a Dec. 17 talk at Artworks. He says that there are fruitful ways of painting by asking what stories we have to tell. His advice is to never take workshops, avoid books on how to paint and concentrate on why to paint. He continued, “We all have different ways of looking at the world … Make painting meaningful for you and not to someone else.†Judson does not sell his work, although at one time he was successful in San Francisco galleries. He finds no fault for those that make their living as artists, but it is simply not the reason he paints. ☆ About his company: Judsons Art Outfitters has been supplying Plein Air artists with the tools they need to get out and paint since 1987. *Hey, that's thirty years!* We understand the joys and frustrations of plein air and try our best to provide the right tools and the help you need to fulfill your artistic vision. We’d like to see plein air painting restored to its traditional place as a worthwhile endeavor for anyone, regardless of artistic "talent†or ambition. An outdoor sport, if you will …something a little bit challenging that will take you away from the mundane and into the moment. 756 / 2087 sold -
Oil on Linen☆ EXCERPT: Carl paints plein air in oils and acrylics and he is the original "Guerrilla Painter." ☆ Excerpt From Loveland Reporter: Judson is author of a series of notebooks for plein air painters. It is a diary of his experiences and why he selected certain subjects. He does provide the reader with hints on composition and color. Long-time artist Carl Judson has a unique and refreshing look at art. He says, “We are all artists. We all have the ability to use visual language and can aspire to be an artist without a formal education. Making marks on surfaces is within our DNA. There are ways to unlock this within us and in the process, enjoy ourselves.†Judson expounded on his ideas at a Dec. 17 talk at Artworks. He says that there are fruitful ways of painting by asking what stories we have to tell. His advice is to never take workshops, avoid books on how to paint and concentrate on why to paint. He continued, “We all have different ways of looking at the world … Make painting meaningful for you and not to someone else.†Judson does not sell his work, although at one time he was successful in San Francisco galleries. He finds no fault for those that make their living as artists, but it is simply not the reason he paints. ☆ About his company: Judsons Art Outfitters has been supplying Plein Air artists with the tools they need to get out and paint since 1987. *Hey, that's thirty years!* We understand the joys and frustrations of plein air and try our best to provide the right tools and the help you need to fulfill your artistic vision. We’d like to see plein air painting restored to its traditional place as a worthwhile endeavor for anyone, regardless of artistic "talent†or ambition. An outdoor sport, if you will …something a little bit challenging that will take you away from the mundane and into the moment. 757 / 2087 sold -
Oil on Linen☆ EXCERPT: Carl paints plein air in oils and acrylics and he is the original "Guerrilla Painter." ☆ Excerpt From Loveland Reporter: Judson is author of a series of notebooks for plein air painters. It is a diary of his experiences and why he selected certain subjects. He does provide the reader with hints on composition and color. Long-time artist Carl Judson has a unique and refreshing look at art. He says, “We are all artists. We all have the ability to use visual language and can aspire to be an artist without a formal education. Making marks on surfaces is within our DNA. There are ways to unlock this within us and in the process, enjoy ourselves.†Judson expounded on his ideas at a Dec. 17 talk at Artworks. He says that there are fruitful ways of painting by asking what stories we have to tell. His advice is to never take workshops, avoid books on how to paint and concentrate on why to paint. He continued, “We all have different ways of looking at the world … Make painting meaningful for you and not to someone else.†Judson does not sell his work, although at one time he was successful in San Francisco galleries. He finds no fault for those that make their living as artists, but it is simply not the reason he paints. ☆ About his company: Judsons Art Outfitters has been supplying Plein Air artists with the tools they need to get out and paint since 1987. *Hey, that's thirty years!* We understand the joys and frustrations of plein air and try our best to provide the right tools and the help you need to fulfill your artistic vision. We’d like to see plein air painting restored to its traditional place as a worthwhile endeavor for anyone, regardless of artistic "talent†or ambition. An outdoor sport, if you will …something a little bit challenging that will take you away from the mundane and into the moment. 758 / 2087 sold -
Oil on Linen☆ EXCERPT: Carl paints plein air in oils and acrylics and he is the original "Guerrilla Painter." ☆ Excerpt From Loveland Reporter: Judson is author of a series of notebooks for plein air painters. It is a diary of his experiences and why he selected certain subjects. He does provide the reader with hints on composition and color. Long-time artist Carl Judson has a unique and refreshing look at art. He says, “We are all artists. We all have the ability to use visual language and can aspire to be an artist without a formal education. Making marks on surfaces is within our DNA. There are ways to unlock this within us and in the process, enjoy ourselves.†Judson expounded on his ideas at a Dec. 17 talk at Artworks. He says that there are fruitful ways of painting by asking what stories we have to tell. His advice is to never take workshops, avoid books on how to paint and concentrate on why to paint. He continued, “We all have different ways of looking at the world … Make painting meaningful for you and not to someone else.†Judson does not sell his work, although at one time he was successful in San Francisco galleries. He finds no fault for those that make their living as artists, but it is simply not the reason he paints. ☆ About his company: Judsons Art Outfitters has been supplying Plein Air artists with the tools they need to get out and paint since 1987. *Hey, that's thirty years!* We understand the joys and frustrations of plein air and try our best to provide the right tools and the help you need to fulfill your artistic vision. We’d like to see plein air painting restored to its traditional place as a worthwhile endeavor for anyone, regardless of artistic "talent†or ambition. An outdoor sport, if you will …something a little bit challenging that will take you away from the mundane and into the moment. 759 / 2087 sold -
Oil on Linen☆ EXCERPT: Carl paints plein air in oils and acrylics and he is the original "Guerrilla Painter." ☆ Excerpt From Loveland Reporter: Judson is author of a series of notebooks for plein air painters. It is a diary of his experiences and why he selected certain subjects. He does provide the reader with hints on composition and color. Long-time artist Carl Judson has a unique and refreshing look at art. He says, “We are all artists. We all have the ability to use visual language and can aspire to be an artist without a formal education. Making marks on surfaces is within our DNA. There are ways to unlock this within us and in the process, enjoy ourselves.†Judson expounded on his ideas at a Dec. 17 talk at Artworks. He says that there are fruitful ways of painting by asking what stories we have to tell. His advice is to never take workshops, avoid books on how to paint and concentrate on why to paint. He continued, “We all have different ways of looking at the world … Make painting meaningful for you and not to someone else.†Judson does not sell his work, although at one time he was successful in San Francisco galleries. He finds no fault for those that make their living as artists, but it is simply not the reason he paints. ☆ About his company: Judsons Art Outfitters has been supplying Plein Air artists with the tools they need to get out and paint since 1987. *Hey, that's thirty years!* We understand the joys and frustrations of plein air and try our best to provide the right tools and the help you need to fulfill your artistic vision. We’d like to see plein air painting restored to its traditional place as a worthwhile endeavor for anyone, regardless of artistic "talent†or ambition. An outdoor sport, if you will …something a little bit challenging that will take you away from the mundane and into the moment. 760 / 2087 sold -
Oil on Linen☆ EXCERPT: Carl paints plein air in oils and acrylics and he is the original "Guerrilla Painter." ☆ Excerpt From Loveland Reporter: Judson is author of a series of notebooks for plein air painters. It is a diary of his experiences and why he selected certain subjects. He does provide the reader with hints on composition and color. Long-time artist Carl Judson has a unique and refreshing look at art. He says, “We are all artists. We all have the ability to use visual language and can aspire to be an artist without a formal education. Making marks on surfaces is within our DNA. There are ways to unlock this within us and in the process, enjoy ourselves.†Judson expounded on his ideas at a Dec. 17 talk at Artworks. He says that there are fruitful ways of painting by asking what stories we have to tell. His advice is to never take workshops, avoid books on how to paint and concentrate on why to paint. He continued, “We all have different ways of looking at the world … Make painting meaningful for you and not to someone else.†Judson does not sell his work, although at one time he was successful in San Francisco galleries. He finds no fault for those that make their living as artists, but it is simply not the reason he paints. ☆ About his company: Judsons Art Outfitters has been supplying Plein Air artists with the tools they need to get out and paint since 1987. *Hey, that's thirty years!* We understand the joys and frustrations of plein air and try our best to provide the right tools and the help you need to fulfill your artistic vision. We’d like to see plein air painting restored to its traditional place as a worthwhile endeavor for anyone, regardless of artistic "talent†or ambition. An outdoor sport, if you will …something a little bit challenging that will take you away from the mundane and into the moment. 761 / 2087 sold -
Oil on Linen☆ EXCERPT: Carl paints plein air in oils and acrylics and he is the original "Guerrilla Painter." ☆ Excerpt From Loveland Reporter: Judson is author of a series of notebooks for plein air painters. It is a diary of his experiences and why he selected certain subjects. He does provide the reader with hints on composition and color. Long-time artist Carl Judson has a unique and refreshing look at art. He says, “We are all artists. We all have the ability to use visual language and can aspire to be an artist without a formal education. Making marks on surfaces is within our DNA. There are ways to unlock this within us and in the process, enjoy ourselves.†Judson expounded on his ideas at a Dec. 17 talk at Artworks. He says that there are fruitful ways of painting by asking what stories we have to tell. His advice is to never take workshops, avoid books on how to paint and concentrate on why to paint. He continued, “We all have different ways of looking at the world … Make painting meaningful for you and not to someone else.†Judson does not sell his work, although at one time he was successful in San Francisco galleries. He finds no fault for those that make their living as artists, but it is simply not the reason he paints. ☆ About his company: Judsons Art Outfitters has been supplying Plein Air artists with the tools they need to get out and paint since 1987. *Hey, that's thirty years!* We understand the joys and frustrations of plein air and try our best to provide the right tools and the help you need to fulfill your artistic vision. We’d like to see plein air painting restored to its traditional place as a worthwhile endeavor for anyone, regardless of artistic "talent†or ambition. An outdoor sport, if you will …something a little bit challenging that will take you away from the mundane and into the moment. 762 / 2087 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 763 / 2087 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 764 / 2087 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 765 / 2087 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 766 / 2087 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 767 / 2087 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 768 / 2087 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 769 / 2087 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 770 / 2087 sold -
Tin work, known in Mexico as hojalata, goes back to the 16th century. Tin art is produced when pieces of n are cut, shaped, and embossed with a pa ern. Bright lacquer paint was applied to the Tin: Often unusual or non-â€realis c colors were chosen. Elaborate picture frames are common. 777 / 2087 sold -
Tin work, known in Mexico as hojalata, goes back to the 16th century. Tin art is produced when pieces of n are cut, shaped, and embossed with a pa ern. Bright lacquer paint was applied to the Tin: Often unusual or non-â€realis c colors were chosen. Elaborate picture frames are common. 778 / 2087 sold -
Tin work, known in Mexico as hojalata, goes back to the 16th century. Tin art is produced when pieces of n are cut, shaped, and embossed with a pa ern. Bright lacquer paint was applied to the Tin: Often unusual or non-â€realis c colors were chosen. Elaborate picture frames are common. 779 / 2087 sold -
Tin work, known in Mexico as hojalata, goes back to the 16th century. Tin art is produced when pieces of n are cut, shaped, and embossed with a pa ern. Bright lacquer paint was applied to the Tin: Often unusual or non-â€realis c colors were chosen. Elaborate picture frames are common. 780 / 2087 sold -
Tin work, known in Mexico as hojalata, goes back to the 16th century. Tin art is produced when pieces of n are cut, shaped, and embossed with a pa ern. Bright lacquer paint was applied to the Tin: Often unusual or non-â€realis c colors were chosen. Elaborate picture frames are common. 781 / 2087 sold -
Tin work, known in Mexico as hojalata, goes back to the 16th century. Tin art is produced when pieces of n are cut, shaped, and embossed with a pa ern. Bright lacquer paint was applied to the Tin: Often unusual or non-â€realis c colors were chosen. Elaborate picture frames are common. 782 / 2087 sold -
Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 783 / 2087 sold -
Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 784 / 2087 sold -
Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 785 / 2087 sold -
Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 786 / 2087 sold -
Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 787 / 2087 sold -
Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 788 / 2087 sold -
Excerpt: Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 789 / 2087 sold -
Excerpt: Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 790 / 2087 sold -
Excerpt: Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 791 / 2087 sold -
Excerpt: Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 792 / 2087 sold -
Excerpt: Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 793 / 2087 sold -
Excerpt: Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 794 / 2087 sold -
Excerpt: Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 795 / 2087 sold -
Excerpt: Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 796 / 2087 sold -
Excerpt: Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 797 / 2087 sold -
Excerpt: Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 798 / 2087 sold -
Excerpt: Talavera is a style of pottery within a larger category of ceramics called Majolica, referring to any earthenware involving handmade pottery, ceramics and art. Originally developed in ancient Egypt and Mesopotamia, this form of clay work was later adopted and perfected by the Chinese. 799 / 2087 sold -
Unsigned. 800 / 2087 sold
Photos 701 - 800 of 2087
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