American Realist Landscape Paintings

Joe G. Russel (1926-2008) Kerrville Artist Image Size: 24 x 36 Frame Size: 31.5 x 43.5 Medium: Oil "Windmill in the Hills" Texas Hill Country Joe G. Russell (1926-2008) He was born i...

William Sharp (1900 - 1961) Factory on the River Oil on canvas 17 1/2 x 23 1/4 inches Initialed lower right: WS Provenance: Estate of the artist Private Collection, New York Swann Auction Galleries, American Art, June 13, 2019, Lot 178 William Sharp was born on June 13, 1900, in Lemberg, Austria, where he attended college and the Academy for Arts and Industry. He later studied in Kraków, Poland, and in Berlin and Munich, Germany. Sharp began his career as a designer of stained-glass windows and as a painter of murals. He served in the German army during World War I. After the war he became a newspaper artist in Berlin and a well-known etcher. Sharp drew political cartoons that were bitterly critical of the growing Nazi movement. As the influence of National Socialism intensified, he began to contribute drawings, under a pseudonym, to publications that were hostile to Hitler. After Hitler assumed power, Sharp was confronted with these drawings and told that he would be sent to a concentration camp. However, in 1934, he escaped to the United States. His first newspaper assignment in America was making courtroom sketches for The New York Mirror...

A Fine depiction of a rowboat with figures on the lake. For this wonderful depiction, Nemethy uses a Fine technique which depicts the figures in a miniature way. With joyful colors, this piece is bright and peaceful. This painting is signed by the artist lower right and it comes comes housed in a beautiful simple wood frame and ready to be displayed with hanging wire on verso. This painting measures 8 x 14 inches Framed measures 13 x 19 inches PROVENANCE: Lilac Gallery...

Willard Dixon, 'Morning Zion' was painted in 2023. The original painting is 60 X 47 inches. Framed in a contemporary minimal hardwood, 60.5 x 47.5 inches. Ready to hang and enjoy ove...

Blue sky painting with sunlight shining through turbulent clouds with a warm hue. Created with a calm and etherial palette of blue, white, and lavender. Painted on a 5 foot circular canvas...

The overall dimensions, including the blond wood float frame, are 21 3/8 x 17 5/16 inches. The painting is oil on canvaspanel. Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to life through landscape, still life, portraiture, and abstraction. Restlessly creative, he has explored these varied genres with equal concentration…..” Bob Stuth-Wade’s method of painting is uniquely his own, having taught himself technique; his only formal training was as a teenager with Dallas artist Perry...

This painting is acrylic on canvas. The overall dimensions including the frame are 62 1/2 x 56 1/2 inches. Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to life through landscape, still life, portraiture, and abstraction. Restlessly creative, he has explored these varied genres with equal concentration…..” Bob Stuth-Wade’s method of painting is uniquely his own, having taught himself technique; his only formal training was as a teenager with Dallas artist Perry...

This watercolor is part of our exhibition America Coast to Coast: Artists of the 1930s Circus Wagons, 1927, watercolor on paper, signed and dated lower left, 10 x19 ¾ inches (sight), provenance includes Stary-Sheets Art Gallery (Gualala, CA); J. Ralph & Louis Stone Foundation; presented in a newer metal frame behind glazing About the Painting Millard Sheets was only twenty years old and in his third year of studies at the Chouinard Art Institute when he painted Circus Wagons. Despite his youth, Sheets was already an accomplished artist who had publicly exhibited his work and won prestigious prizes. Within several years, he would have his first solo exhibition at one of Los Angeles’ premiere galleries and become a painting instructor at his alma mater. In Circus Wagons we already see Sheets deft handling of the watercolor medium and his interest in the California Scene. In this case, Sheets captures a back lot view of a traveling circus, a subject he sometimes returned to, including in a color screen print in the collection of the National Gallery. Sheets made a career by painting what he knew and observed firsthand. This approach allowed Sheets to capture with authenticity the details of each narrative. Even with a narrowly limited palette and an economy of brushstrokes, Sheets effectively depicts the southern California scene with its strong and mysterious shadows, as well as the workers and circus animals. Seen through the hindsight of his six-decade long career, Circus Wagons offers a fascinating insight into the early development of California Scene painting which would by the mid-1930s become the best recognized style on the West Coast. About the Artist Millard Sheets was the dean of California watercolorists. His list of accomplishments is so extensive that his entry in Who was Who in American Art is over forty lines. Born in Pomona, California, Sheets became a painter at an early age, winning a prize at the Los Angeles County Fair in 1918. By the mid to late-1920s, Sheets became a regular at art exhibitions in the western part of the United States, winning several additional prizes before he reached the age of twenty-five. Sheets studied at the prestigious Chouinard Art Institute from 1925 through 1929 with Frank Tolles Chamberlin and Clarence Hinkle and had his first solo show with Los Angeles’ Dalzell Hatfield Gallery in 1929. During the 1930s, Sheets was invited to exhibit at almost every major American Museum and in many ways, his work came to represent the California watercolor school...

Willard Dixon (American, born 1942) Near San Quentin, 1976 Oil on Canvas Signed lower left Dated lower right 41in H x 62in W In a natural float frame: 42....

Artist: Sandu Liberman, Romanian/Israeli (1923 - 1977) Title: Woman on a Park Bench Year: Circa 1970 Medium: Oil on Canvas, unsigned Size: 24 x 24 in. (60...

A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good intentions of critical theorists questioning the va...

A quaint depiction of Figures in the snow by the Cabin in the Country. Nemethy uses fine detailed techniques with wonderful impressions. We can feel the warmth of the piece with uniq...

Manuel Garza (b. 1940) Local Texas Landscape Artist Title: Untitled Landscape, Hillcountry Bluebonnets Medium: Oil on Panel Size: Canvas 16" x 20" Framed 20.5" x 24.5" Fram...

Battle Mountain, Nevada (2005), oil on canvas, 30x40 inches (framed size: 39 x 50 inches) Earl Jones (1937- ) is one of Utah’s best known landscape artists. As an undergraduate at the University of Utah, where he earned a BFA in 1959 and an MFA in 1962, Jones was preoccupied with the figure, studying under the tutelage of portrait painter Alvin Gittins. He then ventured from Utah to New York and the Art Students League where he took figure painting classes with Joseph Hirsch. Later Jones became heir to the landscape legacy of LeConte Stewart...

Willard Dixon, Sky Presence, painted in 2000 in oil on canvas. The etherial Bay Area cascading hillside painting displays a gentle warmth and tranqui...

UNION SQUARE Depression Era Oil Painting WPA Realism American Scene Realism NYC Jo Cain (1904 – 2003) "Union Square" 24 x 36 inches Oil on canvas, c.1940s S...

Robert Gamblin’s intent as an artist is to reach for transcendence through his color-centric oil paintings that capture the majesty of light as it graces the Earth. In this series, o...

Oil on panel by Jenness Cortez signed and dated lower left beautifully framed and matted measuring 16" x 21" including the frame. This painting features two jockeys and their race ho...

Boats at sunset depicted in this calm and peaceful oil painting — Tamales Bay Evening — from American Realist Willard Dixon. The canvas is 17 x 50 inches...

Represented by George Billis Gallery, NYC & LA --A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good in...

Bathers 1940s Mid 20th Century American Scene Social Realism WPA Modern Ashcan Marion Gilmore (1909-1984) Bathers 15 1/2 x 19 1/2 inches oil on canvas boar...

A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good intentions of critical theorists questioning the va...

Long Island City Contemporary artist Frederick Mershimer created this oil painting on a wooden panel in 2005. The painting (wood panel) is 10.25 x 21.25 inches (26 x 54 cm). This ...

This plein air painting was done on site at St. Mary's Church in Schulenburg, Texas. The church is known for the interior paintings and the steeple. St. Mary Catholic Church is nestled in the community of High Hill, Texas, just 3 miles north of I-10 in Schulenburg. The area, rich in a German-Czech heritage, was established more than 150 years ago. The first St. Mary church was built in 1869. A larger...

'Urban Retreat', 2021 is 50 x 50 inches. By focusing on a single subject, the artist immerses herself in the nuanced lines, shapes, and tones that the oil paint offers. Contemporary ...

Robert Gamblin’s intent as an artist is to reach for transcendence through his color-centric oil paintings that capture the majesty of light as it graces the Earth. In this series, o...

Magnolia After the Rain is 24 x 36 oil on canvas . Gallery Wrapped Susan is a native Houstonian. She is passionate about oil painting, specializing in large scale florals. She was inspired to start painting florals when she began photographing flowers on her daily walks. Susan is an early childhood educator and teaches at a private school in Houston. She is a member of the Lassaulx studio in Houston, Texas. Susan graduated from HCC with honors with a degree in Fine Arts. She studied at the Glassell School of the Museum of Fine Arts, Houston. Susan Meeks...

This artwork titled "Day's End" 1988 is an oil painting on canvas by American artist Donald A. Peters, 1921-2002. It is signed and dated at the lower right corner by the artist. The canvas size is 16 x 20 inches, framed size is 22 x 26 inches. Framed in original wooden grey/brown frame, with grey fabric liner. It is in excellent condition. About the artist: Since his birth in Indianapolis, Indiana on May 19, 1921, Don Peters has continually expressed his multifaceted talents. While serving in the US Marine Corps. at the age of 19, Don received his first international recognition from combat sketches made between 1942 and 1945. Exhibited in the National Galleries of London and throughout the US. These sketches earned Don a scholarship from the National Newspaperman's Association, metaphysics, spiritual space, romantic realism and miniaturism. His preference for the rapidly drying medium of acrylic allows Don to achieve drama in his color placement. He began his career in Hollywood in 1953, where he worked with Walt Disney, M.G.M., Paramount, Twentieth Century Fox, Warner Brow., Columbia and Filmation. In 1964, Don won the Venice Film Festival award for his screenplay, "The Soldier." Also, in 1966, Don received the Academy Award Nomination for the original screenplay and story "Naked Prey". 1971 Don was a background Artists on the film Journey Back to OZ aka Return to OZ. Animated Musical Fantasy. Don Peters' Mean Machine design Peters later helped design the 1968-69 Hanna-Barbera cartoon series Wacky Races for Iwao Takamoto and Jerry Eisenberg, as Eisenberg recalled: "Iwao designed Penelope Pitstop and her car... And then there was some guy named Don Peters, who Iwao knew from his days at Disney, he was a designer. And he got Don to do some freelance help, and he designed that car that Dick Dastardly had, it looked like a Captain Nemo-type car, you know, like a submarine. Peters then worked on animated series Hot...

George Picken Playground, Carl Schurz Park, 1938 Signed and dated lower left Oil on canvas 28 x 36 inches Provenance: Estate of the artist A native New Yorker, George Picken was born in 1898. His father, an artist and photographer, emigrated from Scotland; his mother came from Wales. They joined other European immigrants settling in New York City’s Hell’s Kitchen. Picken enlisted in the army during World War I and saw action at Verdun. After the war, he stayed in France and like many Americans returning from the vibrant Paris art scene, was inspired by the radical movement known as Impressionism. Upon his return Picken decided to follow in his father’s footsteps and become an artist. George began his studies in 1919 at the Art Students League during Robert Henri, Max Weber, and John Sloan’s tenure. There he took classes in studio art, illustration, and etching through 1923 studying extensively with George Bridgman. The writings of French philosopher Henri Bergson were widely circulated among the artistic community and looking at Picken’s early paintings one cannot help but wonder if as a young artist he was influenced by Bergson’s ideas. Bergson said, "[There are] two profoundly different ways of knowing a thing. The first implies that we move round the object; the second that we enter into it. The first depends on the point of view at which we are placed and on the symbols by which we express ourselves. The second neither depends on a point of view nor relies on any symbol. The first kind of knowledge may be said to stop at the relative; the second, in those cases where it is possible, to attain the absolute.” Picken’s recognition came early with showings of his work while he was a student. His drawings were published in the New Masses, a significant left-wing publication. The New York Public Library honored him with one-man shows in 1924 and 1928 and his work was included in group exhibitions at the Louis Comfort Tiffany Foundation, the Whitney Studio Club, Montross Gallery, and the Art Students League. During this time Picken married Viola Carton, one of Reginald Marsh’s models, and they lived in Westchester. Later they moved to Yorkville in Manhattan between 82nd street and East End Avenue where they began their family. Picken’s grandson Niles Jaeger recalled that, “Grandpa’s home and studio were in a five-story walk-up apartment, heated only by a coal stove. But there were wonderful views of the East River and the Queensborough Bridge...

This American realist western landscape, "Above Big Pine", depicts a scene from the majestic Sierra Nevadas in an area above Big Pine in Inyo County from celebrated artist Willard Di...

This luminous New Hampshire White Mountain oil painting of Mount Chocorua at twilight was painted by contemporary American artist William R. Davis (195...

Provenance Acquired by the gallery directly from the artist Painted en plein air in the San Gabriel Mountains near the artist's home in the early summer of 2013. Description As part...

Represented by George Billis Gallery, NYC & LA -- Alex Roulette’s paintings depict false realities. The artist constructs landscapes from numerous source photographs, which he uses a...

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...

Coastal Farm Landscape. Oil on canvas painting, created in 1972 by James Torlakson who is known for his photorealist oil paintings, watercolors and aquatint intaglio etchings. Torla...

"Grand Canyon Series" is an oil on panel painting by Sheldon Orrin Parsons, painted in 1943. The work is signed in the lower left, “Sheldon Parsons 16”...

keywords; brown, earth tones, surrealism, car portrait, car accident, oil painting, representation painting, strangeness, contemporary surrealistic, unsettling, contemporary realist painting, dreams, symbolic composition, tonalist, grey, monochrome, nostalgic, vintage, early century, illustration, car, automobile, old car wreck...

Ernest Fiene (1894 - 1965) Low Tide at Noon, Wellfleet, Massachusetts Oil on canvas 26 x 36 inches Signed lower right Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in Paris from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. He was the subject of the first monograph for the Younger Artists Series in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene's paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene's paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene's paintings. Also in 1928 Fiene became affiliated with Edith Halpert's Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled "Changing Old New York," in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene's oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art's exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene's Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art's exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene's landscape paintings attracted numerous commissions as part of the American Scene movement. From 1935-36 Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings from this trip were featured in an exhibition held at the First National Bank in Pittsburgh in October of 1937 by the Pittsburgh Commission for Industrial Expansion. Fiene said of these works that he formed rhythm, opportunity for space and color, and integrity in the Pennsylvania mill and furnace paintings. Fiene received the silver medal for one of the Pittsburgh paintings...

Signed lower right American, b. 1958 Designated a living master by the Art Renewal Center and widely regarded as a leader of the American landscape school, Joseph McGurl is one of ...

Fletcher Martin Lunch Break, circa 1940 Signed lower right Oil on canvas 31 1/2 x 37 3/8 inches When Fletcher Martin died in 1979, the New York Times entitled his obituary “Artist o...

Wendy’s Garden with Trellis Ink, Watercolor and Oil on Yupo Paper 26″ x 40″ 2021 Texas artist Julie England Look for free shipping at checkout Annually the perennial cr...

"Books and Butterflies #6" is a contemporary American realist painting. The still life shows a tower of eighteen books, a collection of art, history, and famous literary texts. The t...

Coral Reef Painting Life Mag Published 1953. Mid Century Modern American Scene Antonio Petruccelli (1907 – 1994) The World We Live In Coral Reef ...

A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good intentions of critical theorists questioning the va...

Signature "Hogan" 24" x 36" Oil on Canvas Framed Size: 31.5" x 43.25" This landscape painting depicts a nostalgic Great Depression era farm scene of a barn and silos on a prairie.

Represented by George Billis Gallery, NYC & LA --Much of Bennett Vadnais’ subject matter comes from his surroundings in Manhattan and Brooklyn. With a strong background in plein air ...

The primary subjects of my paintings are 21st century man's working monuments, which represent our culture's dedication to production and consumption. The essence of our way of life ...

The career of William Stanley Haseltine spans the entire second half of the nineteenth century. During these years he witnessed the growth and decline of American landscape painting, the new concept of plein-air painting practiced by the Barbizon artists, and the revolutionary techniques of the French Impressionists, all of which had profound effects on the development of painting in the western world. Haseltine remained open to these new developments, selecting aspects of each and assimilating them into his work. What remained constant was his love of nature and his skill at rendering exactly what he saw. His views, at once precise and poetic, are, in effect, portraits of the many places he visited and the landscapes he loved. Haseltine was born in Philadelphia, the son of a prosperous businessman. In 1850, at the age of fifteen, he began his art studies with Paul Weber, a German artist who had settled in Philadelphia two years earlier. From Weber, Haseltine learned about Romanticism and the meticulous draftsmanship that characterized the German School. At the same time, Haseltine enrolled at the University of Pennsylvania, and took sketching trips around the Pennsylvania countryside, exploring areas along the Delaware and Susquehanna rivers. Following his sophomore year, Haseltine transferred to Harvard University. After graduating from Harvard in 1854, Haseltine returned to Philadelphia and resumed his studies with Weber. Although Weber encouraged Haseltine to continue his training in Europe, the elder Haseltine was reluctant to encourage his son to pursue a career as an artist. During the next year, Haseltine took various sketching trips along the Hudson River and produced a number of pictures, some of which were exhibited at the Pennsylvania Academy of the Fine Arts in the spring of 1855. Ultimately, having convinced his father that he should be allowed to study in Europe, Haseltine accompanied Weber to Düsseldorf. The Düsseldorf Academy was, during the 1850s, at the peak of its popularity among American artists. The Academy’s strict course of study emphasized the importance of accurate draftsmanship and a strong sense of professionalism. Landscape painting was the dominant department at the Düsseldorf Academy during this period, and the most famous landscape painter there was Andreas Achenbach, under whom Haseltine studied. Achenbach’s realistic style stressed close observation of form and detail, and reinforced much of what Haseltine had already learned. His Düsseldorf training remained an important influence on him for the rest of his life. At Düsseldorf, Haseltine became friendly with other American artists studying there, especially Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. They were constant companions, and in the spring and summer months took sketching trips together. In the summer of 1856 the group took a tour of the Rhine, Ahr, and Nahe valleys, continuing through the Swiss alps and over the Saint Gotthard Pass into northern Italy. The following summer Haseltine, Whittredge, and the painter John Irving returned to Switzerland and Italy, and this time continued on to Rome. Rome was a fertile ground for artists at mid-century. When Haseltine arrived in the fall of 1857, the American sculptors Harriet Hosmer, Chauncey B. Ives, Joseph Mozier, William Henry Rinehart...

Signed lower left 'Moessel' for Julius Moessel (American, 1872-1960) and dated 1943; additionally titled verso, 'In the Artist's Garden'. A substantial, mid-century horticultural oi...

The S.S. San Jose shown making way in medium water. This early refrigerated freighter, built in 1904, was designed to transport bananas between the Caribbean and the American mainlan...

Frank Corso Biography American, b. 1952 Frank Corso was born in Syracuse, New York. Taking a keen interest in art at a very early age, he was inspired to draw and paint the landscap...