Dina Gardner Drawings and Watercolor Paintings

French Impressionist watercolour on paper view of children in an idyllic country scene by Henri Clamen. Signed bottom right. Acquired from the atelier of the artist with other signed works. Pencil annotation top right and to the back of the paper. A charming view of two children waiting in the shade of a beautiful summers day by the side of a country lane. An archway through to a farmyard and a farmhouse beyond. Dappled light through the overhead leaves and branches. In the lane to the left a hay wain...

Michaela Jean is an accomplished painter, devoted gardener, and mother from Southern California (USA). Her lifelong passion for art and nature began in childhood, inspired by her gra...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

Brightly colored Fauvist coastal landscape of a vivid purple cypress tree at the edge of the water, under a bright yellow sky and orange sun by Karen Druker (American, 1945). Signed ...

Victor Gabriel Gilbert. French ( b.1847 - d.1933 ). L’ Eglise De La Sainte-Trinite, Place De La Trinite, Paris. Gouache & Watercolor On Paper. Signed Lower Right. Image size 15 inch...

Island Of Majorca Cathedral of Santa Maria of Palma by Antonio M. Silva Watercolor of the Basilica de Palma on Majorca by Antonio M. Silva (Portugal, 20th C.) Wide view of the villag...

Sandy Litchfield’s “Lingerlin” (mixed media on paper, 30 x 22 in.) reflects her signature practice of transforming landscapes into lyrical, layered compositions. Drawing inspiration ...

John Hare Gloucester Harbor at Sunset, Massachusetts Signed lower right Watercolor on paper 16 x 12 inches John Cuthbert Hare, 1908-1978, was a watercolorist who painted boats, seascapes and harbor scenes. He was primarily associated New England, especially Cape Cod, Massachusetts where he spent his summers from 1938 to 1965. However, he was in Florida where he was a member of the St. Augustine Art Association, and other locations on the East Coast. It is likely Hare was born in New York City. He first studied commercial art in Brooklyn at the Pratt Institute and also studied at the Art Students League in Manhattan. He worked for Hearst newspapers corporation, and in 1933 married. In the next few years, he and his wife traveled extensively, camping and painting and exhibiting his work in galleries. In 1935, they visited St. Augustine and an exhibition of his watercolors was held there in the old bank...

A Colorful, Panoramic Mid-Century Modern View of the famed fishing village (and renowned surfing locale) of Nazaré, Portugal by Rudolph Pen. Painted in the 1960s, this vivid waterco...

Brightly colored landscape of a cabin in the woods by Karen Druker (American, 1945). Signed "Druker" in the lower right corner. Presented in a cream mat. No frame. Image size: 30"H x...

Forest Light, 2016 (Contemporary Impressionist Landscape in Watercolor ) by Susan Hope Fogel Abstracted landscape watercolor drawi...

Sandy Litchfield’s "Latent" reflects her signature approach of transforming landscapes into lyrical, abstracted visions. Drawing from memory, walking, and direct observation, Litchfi...