Richard Creifelds Art

Classical portrait of a woman harvesting grapes. In this oil painting, I captured the serene essence of nature and the simple elegance of human connection with the earth. The centr...

A large (48 x 48 inch) painting of a scene in the art studio by American artist John Winslow (1938 - ).

An oil painting of the interior of The National Gallery museum in London. A multi-figure composition, of people inside a grand room filled with some of the world's most famous paintings, including John Constable's 1821 painting "The Hay Wain", and J.M.W. Turner's moody 1801 painting "Dutch Boats...

Dorothy Eaton Tully Lumber Mill, Orange, Massachusetts, 1935 Signed and dated lower right Oil on canvas 17 1/2 x 23 1/2 inches Dorothy Eaton was born in East Orange, New Jersey in 1893. She studied at Smith College...

Tetris by Ali Mourabet [2021] original and hand signed by the artist Acrylic on canvas Image size: H:80 cm x W:60 cm Complete Size of Unframed Work: H:80 cm x W:60 cm x D:2.5cm Sold...

Albert Pels (1910-1998) Painting of a group of figures, c. 20th century. 12 x 16 in. Framed dimensions: 19 1/2 x 23 1/4 in. Albert Pels was an art educator and painter of figures, genre scenes, urban and rural images, and illustration. He also did murals and worked in the mediums of oil, fresco, and watercolor. He was born on May 7, 1910, in Cincinnati, Ohio and died at the age of eighty-eight on January 25, 1998 in New York City. Albert Pels was the son of Samuel and Frieda Pels. He had two children, Joan Barbara and Richard J.A. with his first wife Gertrude Ethel Jaeckel. He later married Yolanda Zemfler, a painter of impressionist art. While in Ohio, Pels attended the Cincinnati Art Academy in 1931 where he won several scholarships. After moving to New York, he continued his education at the Art Students League, Beaux Arts and the American School. At the Art Students League, Pels studied under Thomas Hart Benton, Kenneth Hayes Miller, and Alexander Brook. Under the tutelage of these mentors, Pels evolved his technique and style. Pels was a member of the National Society of Mural Painters, the Salmagundi Club, and the Society of Independent Artists. He was on the board of directors of the Arts Students League in 1939, as well as, on the board the WPA Artists...

John Steuart Curry "Sketching Wisconsin," 1946 oil on canvas 31.13 x 28 inches, canvas 39.75 x 36.75 x 2.5 inches, frame Signed and dated lower right Overall excellent condition Presented in a 24-karat gold leaf hand-carved wood frame John Steuart Curry (1897-1946) was an American regionalist painter active during the Great Depression and into World War II. He was born in Kansas on his family’s farm but went on to study art in Chicago, Paris and New York as young man. In Paris, he was exposed to the work of masters such as Peter Paul Rubens, Eugène Delacroix and Jacques-Louis David. As he matured, his work showed the influence of these masters, especially in his compositional decisions. Like the two other Midwestern regionalist artists that are most often grouped with him, Grant Wood (American, 1891-1942) and Thomas Hart Benton (American, 1889-1975), Curry was interested in representational works containing distinctly American subject matter. This was contrary to the popular art at the time, which was moving closer and closer to abstraction and individual expression. Sketching Wisconsin is an oil painting completed in 1946, the last year of John Steuart Curry’s life, during which time he was the artist-in-residence at the University of Wisconsin in Madison. The painting is significant in Curry’s body of work both as a very revealing self-portrait, and as a landscape that clearly and sensitively depicts the scenery of southern Wisconsin near Madison. It is also a portrait of the artist’s second wife, Kathleen Gould Curry, and is unique in that it contains a ‘picture within a picture,’ a compositional element that many early painting masters used to draw the eye of the viewer. This particular artwork adds a new twist to this theme: Curry’s wife is creating essentially the same painting the viewer is looking at when viewing Sketching Wisconsin. The triangular composition of the figures in the foreground immediately brings focus to a younger Curry, whose head penetrates the horizon line and whose gaze looks out towards the viewer. The eye then moves down to Mrs. Curry, who, seated on a folding stool and with her hand raised to paint the canvas on the easel before her, anchors the triangular composition. The shape is repeated in the legs of the stool and the easel. Behind the two figures, stripes of furrowed fields fall away gently down the hillside to a farmstead and small lake below. Beyond the lake, patches of field and forest rise and fall into the distance, and eventually give way to blue hills. Here, Curry has subverted the traditional artist’s self-portrait by portraying himself as a farmer first and an artist second. He rejects what he sees as an elitist art world of the East Coast and Europe. In this self-portrait he depicts himself without any pretense or the instruments of his profession and with a red tractor standing in the field behind him as if he was taking a break from the field work. Here, Curry’s wife symbolizes John Steuart Curry’s identity as an artist. Compared with a self-portrait of the artist completed a decade earlier, this work shows a marked departure from how the artist previously presented and viewed himself. In the earlier portrait, Curry depicted himself in the studio with brushes in hand, and with some of his more recognizable and successful canvases behind him. But in Sketching Wisconsin, Curry has taken himself out of the studio and into the field, indicating a shift in the artist’s self-conception. Sketching Wisconsin’s rural subject also expresses Curry’s populist ideals, that art could be relevant to anyone. This followed the broad educational objectives of UW’s artist-in-residence program. Curry was appointed to his position at the University of Wisconsin in 1937 and was the first person to hold any such position in the country, the purpose of which was to serve as an educational resource to the people of the state. He embraced his role at the University with zeal and not only opened the doors of his campus studio in the School of Agriculture to the community, but also spent a great deal of time traveling around the state of Wisconsin to visit rural artists who could benefit from his expertise. It was during his ten years in the program that Curry was able to put into practice his belief that art should be meaningful to the rural populace. However, during this time he also struggled with public criticism, as the dominant forces of the art market were moving away from representation. Perhaps it was Curry’s desire for public acceptance during the latter part of his career that caused him to portray himself as an Everyman in Sketching Wisconsin. Beyond its importance as a portrait of the artist, Sketching Wisconsin is also a detailed and sensitive landscape that shows us Curry’s deep personal connection to his environment. The landscape here can be compared to Wisconsin Landscape of 1938-39 (the Metropolitan Museum of Art), which presents a similar tableau of rolling hills with a patchwork of fields. Like Wisconsin Landscape, this is an incredibly detailed and expressive depiction of a place close to the artist’s heart. This expressive landscape is certainly the result of many hours spent sketching people, animals, weather conditions and topography of Wisconsin as Curry traveled around the state. The backdrop of undulating hills and the sweeping horizon, and the emotions evoked by it, are emphatically recognizable as the ‘driftless’ area of south-central Wisconsin. But while the Metropolitan’s Wisconsin Landscape conveys a sense of uncertainty or foreboding with its dramatic spring cloudscape and alternating bands of light and dark, Sketching Wisconsin has a warm and reflective mood. The colors of the foliage indicate that it is late summer and Curry seems to look out at the viewer approvingly, as if satisfied with the fertile ground surrounding him. The landscape in Sketching Wisconsin is also revealing of what became one of Curry’s passions while artist-in-residence at UW’s School of Agriculture – soil conservation. When Curry was a child in Kansas, he saw his father almost lose his farm and its soil to the erosion of The Dust Bowl. Therefore, he was very enthusiastic about ideas from UW’s School of Agriculture on soil conservation methods being used on Wisconsin farms. In Sketching Wisconsin, we see evidence of crop rotation methods in the terraced stripes of fields leading down the hillside away from the Curry’s and in how they alternate between cultivated and fallow fields. Overall, Sketching Wisconsin has a warm, reflective, and comfortably pastoral atmosphere, and the perceived shift in Curry’s self-image that is evident in the portrait is a positive one. After his rise to favor in the art world in the 1930’s, and then rejection from it due to the strong beliefs presented in his art, Curry is satisfied and proud to be farmer in this self-portrait. Curry suffered from high blood...

Nancy Lamb (American, born 1956), sculptor and painter. Formally trained at Texas Christian University and the Fort Worth Museum of Science and History, whe...

Edith Isaac-Rose "Rib Cage" c.1960 Oil on canvas 28"x36" framed in natural wood gallery frame 29.5"x37.5" Painted on two canvases Unsigned, came from a portfo...

'Migrants' by Willard Dixon. These paintings are generally taken from small black and white newspaper photos from Willard Dixon’s daily reading of the news. He changes the images somewhat by cropping them, taking things out, adding color, etc. But the image is definitely something seen originally by someone else. “I must say”, says Dixon, “I have rather strong feelings about these images myself. I see them at least in part as an homage to the intrepid photographers on the front lines who are telling truth to the world about what’s actually going on out there.” Willard Dixon Born: Kansas City MO, 1942 Education: Art Students League, New York, NY Cornell University Brooklyn Museum School San Francisco Art Institute, M.F.A. 1969 Awards and Commissions N.E.A. Fellowship Grant- 1989 California Supreme Court Mural Commission- 1998 Las Vegas Federal Courthouse Commission, G.S.A.-1998 Teaching 1989-90: San Francisco State University 1975: San Francisco Art Institute Realism Seminar 1974-76: Academy of Art College, San Francisco, CA 1973-74, 1976: California College of Arts and Crafts, Oakland, CA 1971-72: California State University, Hayward, CA One Man Exhibitions 2020: Evening Light, Andra Norris Gallery, Burlingame, CA 2015: Willard Dixon Portraits College of Marin Fine Art Gallery, Kentfield 2014: SFMOMA Artists Gallery, San Francisco, CA. 2008: SFMOMA Artists Gallery, San Francisco, CA. 2005: Fischbach Gallery, NYC,NY 2005: Dolby Chadwick Gallery, San Francisco, CA 2004: Fischbach Gallery, NYC, NY. 2002: Earl McGrath Gallery, Los Angeles, CA 2002: Bolinas Museum, Bolinas, CA 2001: Hackett Freedman Gallery, San Francisco, CA 2000: Fischbach Gallery, NYC , NY 2000: Hearst Art Gallery, St. Mary’s College, Moraga, CA 1998: Hackett Freedman Gallery, SF, CA 1997: Tatistcheff/Rogers Gallery, Los Angeles, CA 1996, 1995: Contemporary Realist Gallery (now Hackett Freedman Gallery) 1994: Fischbach Gallery 1993: Contemporary Realist Gallery 1992: Fischbach Gallery 1991: Earl McGrath Gallery, 454 North, Los Angeles, CA 1990: Fischbach Gallery 1989: William Sawyer...

Halloween - an iconic American painting by James Torlakson who is known for his photorealist oil paintings, watercolors and aquatint intaglio etchings. Torlakson’s photorealism subj...

These paintings that the artist calls his "NEWS series" are generally taken from small black and white newspaper photos from Willard Dixon’s daily reading of the news. He changes the images somewhat by cropping them, taking things out, adding color, etc. But the image is definitely something seen originally by someone else. “I must say”, says Dixon, “I have rather strong feelings about these images myself. I see them at least in part as an homage to the intrepid photographers on the front lines who are telling truth to the world about what’s actually going on out there.” This is 'Untitled' a 24 x 4 inch oil on canvas portrait of a young black man...