Bernard Arnest

1950s Framed Abstract Still Life Oil Painting, Blue Green Black Orange White

1959

The Big Fish Eats The Little Fish, vintage 1976 oil on canvas abstract oil painting by 20th century Denver artist, Edward Maracek (1919-1993). Semi-abstract painting in vibrant color...

Oil on canvas abstract painting with a bird motif signed by artist Edward (Eduardo) Arcenio Chavez (1917-1995) circa 1980. Painted in red, blue, purple, orange, and black. Presented in a vintage frame measuring 30 ½ x 28 ½ inches, image size is 29 ¼ x 27 inches. About the Artist: Born 1917 Died 1995 Born in Wagonmound, New Mexico, Eduardo Chavez...

Abstract oil on canvas painting signed by artist Edward (Eduardo) Arcenio Chavez (1917-1995) titled 'Primordial Landscape'. Presented in a vintage frame measuring 19 x 21 ¼ inches, image size is 18 x 20 inches. Provenance: Estate of Steven P. Norton & Martin R. Harnick Primordial Landscape is mentioned on P. 166 in “A Contested Art, Modernism and Mestizaje in New Mexico” About the Artist: Born 1917 Died 1995 Born in Wagonmound, New Mexico, Eduardo Chavez was an illustrator, muralist, genre and landscape painter, sculptor, and lithographer. He studied at the Colorado Springs Fine Arts Center with Boardman Robinson, Frank Mechau, Arnold Blanch, and Peppino Mangravite. Before serving in the army during WWII, Chavez painted many murals in the west. When he was demobilized from the army after WWII, he went to live in Woodstock, New York with his wife, artist Jenne Magafan. A new artistic climate developed in Woodstock after WWII. There was an influx of artists from the West and Midwest in Woodstock. Some of these artists were Bruce Currie, Fletcher Martin, Edward Millman, Mitchell Siporin...

"Dawn of the Tigris" is an oil on canvas abstract painting by Gwendolyn Dufill Meux (1893-1973). Image measures 48 x 36 inches, presented in a custom frame measuring 49 ½ x 37 ½ inches. Provenance: Estate of the Artist, Gwendolyn Meux Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born 1893 Died 1973 The daughter of Arthur Mews, Deputy Secretary of Newfoundland from 1898 to 1935, and Mabel Mews, she attended the Mount Ladies’ College, now Mount Allison University in Sackville, New Brunswick, on a four-year Canadian government scholarship. While an instructor at the college from 1920 to 1922 she showed in the Spring Exhibition of the Art Association of Montreal in 1920 and the following year in its Thirty-Eighth Annual Exhibition. In the United States, she studied with Charles Hawthorne in Provincetown, Massachusetts, and with Kimon Nicholaides (author of The Natural Way to Draw) at the Art Students League in New York. In 1922-1925 Meux was an assistant professor of fine arts at the University of Oklahoma at Norman during which time she studied with Santa Fe artists Józef Bakoś and Frank Applegate in the summer of 1923. The following year she attended the University Camp summer painting workshop in Boulder, Colorado, where she met A. Gayle Waldrop, then an assistant professor of journalism at the University of Colorado (CU). In 1925 they were married in an outdoor wedding at the University Camp to which guests received invitations on aspen bark which she had beautifully lettered. Thereafter the university hired her as an art instructor, and she spent the balance of her life in Boulder. Meux quickly became involved in the Boulder art scene. She was a charter member and later one-time president of the Boulder Artists Guild. Established in 1926 by the Art Association of Boulder, the CU Art Department and local artists, the Guild was limited to active artists. It included most of the city’s professional artists before disbanding half a century later. The Art Association of Boulder was founded in 1923 by Jean Sherwood who relocated from Chicago to teach at the Boulder Chautauqua and helped convince Dean Fred B.R. Hellems at CU to set up the first art gallery on campus in the 1920s. The Association, lasting until 1939 and reconstituted in 1958, was open to individuals interested in promoting the arts through lecture programs, art classes, and exhibits. In 1931 Meux joined fellow CU Fine Arts faculty members Muriel Sibell Wolle, Frances Hoar (Trucksess), Frederick Clement Trucksess and Virginia True in The Prospectors, a Regionalist art collaborative stressing a strong sense of place and community. They formed the group in connection with a traveling exhibition of their work assembled for display at the University of Oklahoma at Norman, University of Kansas and the John Herron Institute (now the Indianapolis Museum of Art). Regional modernists influenced by the Western landscape, The Prospectors’ manifesto "claimed inspiration from the natural beauty of the mountains and plains of Boulder, as well as the ghosts of Indians, mountain men, and pioneers." Attempting to gain critical recognition for themselves and for Boulder, The Prospectors aggressively promoted their work through 1942, exhibiting at universities, museums, and galleries in twenty-four states and participating in various shows throughout the country such as the Prairie Watercolor Painters annuals in Kansas. In addition to The Prospectors, Meux was a long-time member of the Fortnightly Club of Boulder. The oldest women’s literary club in Colorado, the group was organized in 1884 by Mary Rippon, a "founding mother" of CU and its first female professor. Meeting to share information on a variety of topics, the Fortnightly Club limits its membership to thirty-five and is a mixture of "town and gown" – community members and women associated with CU. Meux was also active for many years in the University Faculty Women’s Club, serving as its president in 1941. She likewise belonged to the then-local chapter of the Artists Equity Association in Boulder. Its president in 1969, she became an honorary member in 1973. Inspired by the Colorado landscape, she worked in a variety of media: oil painting, watercolor, ink, crayon, lithography, and dry brush. An oil from the 1940s, White Church, Ward, depicts the central hillside portion of the former mining settlement founded eighty years earlier during the nineteenth-century Colorado Gold Rush. However, by the time she painted Ward the town was largely deserted with only 10-20 year-round residents. She constructed the scene with the modernists’ technique of juxtaposed angles, distorted shapes, and position. Of the structures highlighted with bright colors. For some resident Colorado artists of Meux’s generation, the state’s old mining towns offered an alternative to the overworked cowboy-and-Indian subject matter of the previous generation. Easily accessible and visible vestiges of Western mining history, those semi-ghost towns also provided a welcome break from the nineteenth-century panoramic landscape tradition. In a watercolor from the 1940s entitled Clean Up, Meux used a similarly strong palette to depict a genre scene. Probably based on her participation in a winter outing, it shows a group of hikers or skiers entering a mountain cabin to shake off the snow from their clothes. The subject stylistically belongs to American Regionalism that became ascendant during the Depression era in the 1930s and early 1940s, focusing on subjects close to home. Her Colorado work exemplifies the opinion of American modernist artist Albert Bloch, the only American artist to be affiliated with Der Blaue Reiter (The Blue Rider), a group of early twentieth-century European modernists. "Her work," he wrote, "is marked by a vigorous and direct manner, the color is joyous and vibrant…[possessing] a keen sense of humor, and sometimes a biting irony." She also did portraits of some of her colleagues, including Muriel Sibell Wolle. She enjoyed hiking, climbing, cross-country skiing and camping as an active member of the Front Rangers, the Boulder chapter of the Colorado Mountain Club. She wrote and illustrated articles for its publication, Trail and Timberline, and for the Christian Science Monitor. Around 1940 she did an artistic rendering of the recreational opportunities in Boulder area of Colorado entitled, Mountain Playground of the University of Colorado: A Fantastical Map...

Abstract oil and pastel on canvas titled 'Rainbow River' painted in 1979 by artist Margo Hoff (1910-2008). Vertical large scale work with rainbow colored stripes across the canvas. W...

White and multicolor abstract oil on canvas painting by Clarence Van Duzer (1920-2009). Signed by the artist in the lower left corner. Presented in a custom frame measuring 26 ¼ x 30...

Johannes Boekhoudt is a Dutch artist born on October 20, 1966. In 1973, Boekhoudt immigrated with his parents to Costa Rica, eventually working as a commercial and air ambulance pilo...

Medium Sized Floral Abstract Geometric Oil Painting on Canvas. BIO: Carrie Johnson was born in Kansas City, Missouri, and grew up in the Chicago subur...

Divide by artist Doug Freed is a deep blue contemporary abstract landscape oil on canvas painting that measures 72 x 96 and is priced at $18,000. Doug Freed attempts to capture the mystical light found in natural atmospheric effects: the haze in the distance on humid summer days, the overcast gloom of winter skies, and the softness of landscape bathed in fog, and the quieting mood of approaching darkness. In his luminescent multi-paneled oil paintings Freed tries to find the gray area between traditional landscape painting and its abstraction into color fields. Artist Statement For nearly twenty years, I made non-objective grid structured paintings. I started to see references to landscape in these works. I've literalized those references by painting oil landscape vistas of horizons, clouds and bodies of water. These paintings consist of two or more vertical panels. Usually one panel is landscape imagery. The adjacent panels are often atmospheric voids with vestiges of recognizable landscapes. I try to capture the mystical light found in natural atmospheric effects: the haze in the distance on humid summer days, the overcast gloom of winter skies, and the softness of landscape bathed in fog, and the quieting mood of approaching darkness. My intent is to create paintings imbued with a meditative, spiritual presence suggesting issues about time and ecology. I do this by softly modulating color, tone and value. The color varies from quiet, monochromatic works to fully orchestrated chromatic ones. By blending from one hue to another I create color which makes its self gradually felt, weeping forth. In this manner, I create illusions of mysterious emanations of light, places where ones eyes and spirit are invited to linger. I try to imbue my work with a monumental presence, epic in both size and scope. I do this by orchestrating the separate elements of color, texture and structure into a harmonious whole. I seek a somewhat reductive image rich in value and contrast. The surface of the work is devoid of textural incidence. I don’t want anything to distract from the illusion of depth so I deny any marks which would hold the viewer on the surface of the painting. In my luminescent multi- paneled oil paintings I try to find the grey area between traditional landscape painting and its abstraction into color fields. The compositions are about ambiguities of form and void, foreground and background and surface and deep space. My roots lie in tonalism, color field painting and minimalism. However, my work contains an ever-present awareness of the dramatic use of light of the post-renaissance chiaroscurists. It combines a classical awareness of structure with a romantic use of color always in combination with a unique sense of ambiguity. My work continues in its evolution of style the search for an abstract means of probing the ambiguities of physical and spiritual experience of light, and its power to foster a more intense life of the spirit through profound emotional experience of form, color and composition. SELECTED PUBLIC COLLECTIONS K.U. Medical Center, Wichita, KS Museum of Art & Archeology University of Missouri, Columbia, Missouri Hoecht Marion Roussel (Commission), Kansas City, Missouri FBL Financial Group, Des Moines, IA Kemper Museum of Contemporary Art, Kansas City, Missouri Wichita Center for the Arts, Wichita, Kansas Daum Museum of Contemporary Art, Sedalia, Missouri The Newark Museum, Newark, New Jersey St. Louis Art Museum, St. Louis, Missouri Springfield Art Museum, Springfield, Missouri Mildred Lane Kemper Art Museum, Steinberg Collection, Washington University, St. Louis, Missouri Arkansas Art Center, Little Rock, Arkansas College of Architecture and Design, Kansas State University, Manhattan, Kansas Fort Hays, Kansas State University, Hays, Kansas Memorial Union Collection, University of Missouri, Columbia, Missouri Norman R. Eppink Art Gallery, Emporia State University,, Emporia, Kansas Hutchinson Community College, Hutchinson, Kansas Johnson County Community College, Overland Park, Kansas Lincoln College, Lincoln, Illinois State Fair Community College, Sedalia, Missouri Hallmark Cards Inc., Kansas City, Missouri Sprint Corporation, Kansas City, Missouri MacGraw Hill Publishing Co., New York City, New York Pioneer Hybrid, Des Moines, Iowa Pella Corporation, Pella, Iowa Fort Smith Public Library (Commission), Fort Smith, Arkansas Deloitte & Touche (Commission), St. Louis, Missouri Publishing Enterprises, Inc. (Commission), Sedalia, Missouri Parks & Recreation Department, Columbia, Missouri United Telephone Systems, Inc., Kansas City, Missouri American Family Doctors, National Headquarters, Kansas City, Missouri DST Corporation, Kansas City, Missouri Crown Center, Hallmark Art Collection, Kansas City, Missouri Hewlett Packard Corporation, St. Louis, Missouri Emerson Electric (Commission), St. Louis, Missouri Mark Twain Bank, Creve Coeur, Missouri Boone County Bank, Columbia, Missouri Landmark Bank, Madill, Oklahoma Septagon Industries (Commission), Sedalia, Missouri KEO Building Corporation (Commission), Sedalia, Missouri D & W Leasing, Sedalia, Missouri 1st National Bank, Rockford, Illinois Mark Twain Bank Shares, Ladue, Missouri Bank of Olathe, Olathe, Kansas Blue Cross/Blue Shield of Missouri, St. Louis, Missouri Cessna Aircraft...

Over the past four decades, Ramos Rivera has developed a unique visual language that manifests throughout his paintings, monotypes and collages. His playful and powerful abstract com...

Are those actual sunglasses in that painting? You might be asking. Good question! Keep em comin. But Nope! They are in fact painted. "Sunglasses in a Veil (After Sargent...

Perry Burns Huddle, 2013 Oil on canvas 90 x 84 in. $16,500 Artist's Statement: "My paintings are an attempt to synthesize and enlighten pursuits of eastern and western art and...