Zoe Hawk

Terra

2023

Zoe Hawk Artist Statement My work deals with the complex experience of girlhood, exploring adolescent anxiety, feminine identity, and belonging. These themes are tackled within scen...

ALEXANDRA LEVASSEUR Fusion c. 2020 Mixed media on panel 20 x 16 inches

Eugène-François Deshayes (1808–1875) was a French artist known for his landscape and marine paintings. He was born in Paris and initially trained as a lawyer, but his passion for art...

Ann Dettmer Snow on the Mall Oil on panel 12 x 16 inches, 17.5 x 21.5 (framed) Signed lower left

Ann Dettmer White on White Oil on panel 18 x 12 inches, 22.5 x 16.5 (framed) Signed lower left

One of the most prolific and acclaimed illustrators of the 20th century, Mark English produced work for such publications as McCalls, Time, Sports Illustrated, and Redbook before co-...

"Civil Rights." Evergood's early commentary on racial issues in the 1950s depicts four black men gagged, roped and hanging from a tree. In the background, imprisoned blacks look on through a barbed-wire fence. Whites watch in horror but do nothing to help. Meanwhile, a two-legged and three-headed serpent who symbolizes evil - wraps himself around the tree that physically and symbolically separates the races. This is an important work in the history of American art. It may be one of the very earliest examples of a major American painter doing a major work that challenges racial segregation and injustice at a time when no one else would. The title of the work is inspired by a Historic Supreme Court decision on racial segregation. The Little Rock...

"The Great Man Comes to Take His Oath" Life Magazine Spread, July 4th, 1960, This epic narrative depicts the celebration of George Washington's inauguration, en route to Federal Hall...

"Civil Rights." Evergood's early commentary on racial issues in the 1950s depicts four black men gagged, roped and hanging from a tree. In the background, imprisoned blacks look on through a barbed-wire fence. Whites watch in horror but do nothing to help. Meanwhile, a two-legged and three-headed serpent wraps himself around the tree that physically and symbolically separates the races. This is an important work in the history of American art. It may be one of the very earliest examples of a major American painter doing a major work that challenges racial segregation and injustice at a time when no one else would. The title of the work is inspired by a Historic Supreme Court decision on racial segregation. The Little Rock...

Oil on canvas Dr. Rowland S. Russell PhD. writes about his experience directly witnessing Greg's practice as a “plein air” artist: Whether he’s portraying quiet scenes from Brooklyn...

Joshua Shaw was a farmer’s son, born in Billingborough, Lincolnshire, and orphaned at the age of seven. After a boyhood of privation, he tried a number of occupations, until he finally apprenticed to a sign painter and found his métier. Shaw went to Manchester to study art, and by 1802 was in Bath, painting landscapes. In that year he began to exhibit his work at the Royal Academy in London. Essentially self-taught, Shaw achieved an impressive level of competence and versatility, producing portraits, floral compositions, still lifes, landscapes, and, cattle pieces. Shaw continued to send works for exhibition at the Royal Academy, the British Institution, and the Suffolk Street Gallery, all in London, until 1841. (Although Shaw is regularly mentioned and frequently illustrated in a host of general books on American art history, as well as included in numerous historical survey exhibitions, the only monographic study of this artist is Miriam Carroll Woods, “Joshua Shaw [1776–1860]: A Study of the Artist and his Paintings” [M.A. thesis, University of California at Los Angeles, 1971]. Apart from short biographical sketches in various dictionaries and museum collection catalogues, the two most interesting references, both contemporary, are John Sartain’s personal recollections in The Reminiscences of a Very Old Man, 1808–1897 [1899; reprint 1969] and an article in Scientific American from August 7, 1869, “Joshua Shaw, Artist and Inventor.” The article quotes extensively from an autobiographical document in the possession of Shaw’s grandson that Shaw prepared for William Dunlap...

Oil on artist's board, late 20th century, signed P. Zimmerman Reminiscent of the Mid Century Social Realist and WPA works of Ben Shahn this captures an architectural street scape...