Sueo Serisawa Drawings and Watercolor Paintings

Beautiful floral still life by American artist Jane Piper (1916-1991) . Pastel, oil crayon and pencil on tracing paper. Image measuring 13 x 15.5 inches in ...

"Behind my canvases, collages, and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. My work is an inquiry into the ...

Peter Potworowski 1898-1962 Cornish Beach, 1953/1954, circa watercolour 17 x 22.5 cm 6 3/4 x 8 7/8 in unsigned Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figurative...

Surrealist proto-Afropunk drawing by African-American artist, Roland Ayers (1932-2014). Hesitation Blues, 1968. Ink on paper, sheet measures 13 x 23 inches; 14 x 18 inches in archival pH-neutral matting. Signed and dated lower right. Excellent condition with no damage or restoration. Provenance: Sheila Ayers-Whitelaw Exhibition History: Roland Ayers: Calligraphy of Dreams, Woodmere Art Museum, 07/10/2021 - 10/24/2021 Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...

Untitled IV, Pencil on Paper Drawing by Jon Probert B. 1966, 2023 Additional information: Medium: Pencil on paper Dimensions: 40 x 40 cm 15 3/4 x 15 3/4 in Signed and dated Having ...

Roland Ayers (1932-2014). Our Home, 1971. Ink on paper. 4.5 × 6 7/8 inches. Signed and dated. Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of ...

Jane Skingley b. 1963 Hokusai Covers II, 2025 mixed media on old book cover 26 x 17 cm 10 1/4 x 6 3/4 in signed verso Jane Skingley paints seascapes and landscapes in oils. Her firs...

Roland Ayers (1932-2014). Interior, 1973. Ink on paper, 7.5 inches diameter. Signed and dated. Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of ...

Roland Ayers (1932-2014). Time Shelters Memories: Doors, 1975 Ink on paper, 23 × 29 inches. Measuring 29 × 35 inches in acid free matting. Signed and dated. Exhibited: Woodmere ...

Jane Skingley b. 1963 Hokusai Ocean Blue III, 2024 mixed media on vintage book pages laid onto canvas 50 x 50 cm 19 3/4 x 19 3/4 in signed and titled verso Jane Skingley paints seas...

Roland Ayers (1932-2014). Untited (From Aerial Circus Series), 1972. Ink on paper, 4.5 inches diameter. Signed and dated. Artist and art educator, Roland Ayers was born on July ...

Roland Ayers (1932-2014). Landscape, 1968. Ink on illustration board, 19 × 23 inches. Signed and dated Artist and art educator, Roland Ayers was born on July 2, 1932, the only ...