Georgie Briand Art

Academic life drawing of male nude with charcoal and graphite by Mark Beard, "MB 023" graphite, Conte crayon and charcoal on Arches paper 30.5 x 17.5 inches unframed Signed, lower le...

Academic life drawing of male nude with charcoal and graphite by Mark Beard, "MB 018" graphite, Conte crayon and charcoal on Arches paper 30 x 19 inches unframed Signed, lower right ...

Academic life drawing of two nude males with charcoal and graphite by Mark Beard, "MB 827" graphite, Conte crayon and charcoal on Arches paper 29.75 x 21.75 inches unframed Signed, l...

Figurative, academic style life drawing of male nude with charcoal and graphite by Mark Beard, "MB 824" graphite, Conte crayon and charcoal on Arches paper 30.5 x 21 inches unframed ...

MB 702 (Contemporary Life Drawing of Male Nude by Mark Beard) graphite, Conte crayon and charcoal on Arches paper 30 x 19 inches unframed Con...

Academic life drawing of male nude with charcoal and graphite by Mark Beard, "MB 085A" graphite, Conte crayon and charcoal on Arches paper 30 x 18.5 inches unframed Signed, lower rig...

Rick Sindt's knowledge of the male physique is evident in this exquisite drawing of a nude male. The subject sits on the ground with his body twisted away from the viewer. We see the defined musculature of his posterior. The artwork is framed in white wood with a black mat. Rick Sindt The Body is a History graphite on archival paper 12h x 9w in 30.48h x 22.86w cm RIS026 Shifting the historic male gaze into a male-on-male gaze, this body of work anchors its exploration of queer culture in relationships and introspection. Beginning with a survey of several photo archives, I overwhelmingly encountered pictures that fit into two distinct categories: spectacular demonstrations or public displays of sexuality. All of these images were overtly political. Then, I began to find a subset of more intimate images. Typically, these were images submitted by loved ones or donated to foundations after someone’s death. These images depicted common, tender scenes. Working my way through these images, I reflected on D. A. Miller’s assertion that gay identity, to which we have entrusted our politics and ethics, stands in an essentially reductive relation to the queer desires on which it is based. And David Halperin’s argument that, “identity has become the preferred category for thinking about homosexuality. Moreover, it has been promoted at the direct expense of pleasure or feelings or subjectivity.” This left me asking the questions: how is queer culture transmitted if not genealogically? Is there a universal queer experience? What is queer sensibility and subjectivity and can it be visually represented? Rick Sindt b. 1990, Hastings, MN, EDUCATION 2013 North Park University, Chicago, IL - BFA Magna Cum Laude SOLO EXHIBITIONS 2016 Two Countries, Rogue Philanthropy, Chicago, IL 2013 Tides, Erosion or Catch, Pull, Recover; The-One-Right-Now, North Park University; Chicago, IL GROUP EXHIBITIONS 2016 Are We Not of Interest to Each Other, Uptown Arts Center, Chicago, IL Reinventing Ourselves From Another Point-of-View, Contemporary Gallery at Zhou B. Arts Center, Chicago, IL Collective: Process, Beans and Bagels, Chicago, IL 2015 Collective: for(a)ging, Hammond Art Center; Hammond, IN How We Make It, The Arts of Life, Chicago, IL Collective: One, Albany Park...

Academic style life drawing of female nude with charcoal and graphite by Mark Beard, "MB 017" graphite, Conte crayon and charcoal on Arches paper 30 x 22 inches unframed Signed, lowe...

Academic life drawing of male nude with charcoal and graphite by Mark Beard graphite, Conte crayon and charcoal on Arches paper 30 x 19.5 inches unframed Signed, lower left Strong f...

European School, late 18th century. Red chalk with primo pensiero in graphite on cream laid paper, 8 1/2 x 11 1/2 inches (215 x 293 mm). Scattered light handling wear and multiple s...

Signed lower left, 'Marguerite Bordet' (French, 1909-2014) and painted circa 1965. From an early age, Marguerite Bordet avidly pursued both drawing and painting. In the late 1930's and early '40s, she attended the Académie de la Grande Chaumière in Paris where she studied with the sculptor, Antoniucci Volti (Italian, 1915-1989). After several years, and feeling increasingly disconnected with the academic atmosphere of the Salon, she left to develop her independent artistic style. Bordet's first public exhibition took place at the Galerie Claude (1947) and, for the next forty years, she continued to exhibit widely with success, both throughout France and internationally, including in Cairo (1955), Geneva (1960) and the United States (1966). A 1962 exhibition of her work showed a thematic rejection of the Academy's influence and the artist's shift to a more personal and spiritually driven style. Bordet continued to take frequent study trips to Italy, especially to Florence, where she was inspired by the Renaissance Masters. She also visited England (1975-76) where the works of J.M.W.Turner and John Martin at the Tate Museum had a pronounced impact on her development. In an interview with Hervé Serane, Marguerite Bordet described her artistic process in these words: "I start my painting with spots. Sometimes I cover it completely and everything is dark. But then it's stronger than me, I can't bear that there isn't an opening. Immediately, I place a Light. I need the shadow to bring out the Light. So I start with the shadow to create this Light. I cannot define why I need this Light so much. It's stronger than me. It's something that dominates me without my being able to explain it intellectually. It is for me an absolute necessity to seek the Light in the darkness.. You have to open like you open a window. You have to reveal. I remove the stains that obscure my painting to find the luminous background of the canvas.... I only paint with transparent colors and I apply several layers of glaze to preserve this light." Partial Exhibition Record: 1947 Paris, Galerie Claude 1951 Paris, Galerie Breteau - Cairo, Galerie Adam - Alexandria, l'Atelier 1954 Paris, Galerie Simone Bdinier 1955 Cairo, l'Atelier 1959 Paris, Galerie A. Weil 1960 Geneva, Galerie Motte 1962 Paris, Marignan Gallery 1964 Paris, Ror Volmar Gallery 1966 San Rafael (U.SA) International Museum 1966 Cagnes-sur-Mer, Castle Gallery...

Blossoming in Spring is an original contemporary pop art style tree painting by Nicky Chubb artist. The bight pink tones paired with the opulent gold background makes for a large lig...