Charles Ragland Bunnell

Charles Ragland Bunnell 1939 WPA Man His Search for God Modernist Painting

1939

Painted in 1941, Quitting Time is a compelling example of Charles Ragland Bunnell's mature modernist vision and his pioneering contribution to American abstraction. Created during a ...

An exceptional 1940 Surrealist oil painting by renowned American Modernist Charles Ragland Bunnell, featuring a mysterious male figure with a symbolic eye and glowing orb in a dreaml...

A striking mid-century modern abstract figurative oil on canvas painting by British artist George Cecil Carter, dating to the 1950s. The composition blends figure and abstraction, cr...

A compelling 1940s WPA-era modernist watercolor by Charles Ragland Bunnell depicting a figurative village landscape set against mountainous terrain, where clustered houses, small hum...

Symbolic figurative of woman having visions with religious themes and icons (cross, bride, salamander, crown, meeting Christ) while reading by Marguerite Louis Blasingame (American; 1906-1947), circa 1940-45. Marguerite and her husband Frank Blasingame...

Fresh to the market, this painting was purchased directly from Erle Loran (1905-1999) in his Berkeley Hills home in the mid-1990s. Loran's surrealist work from the mid-1940s is highl...

John Devoluy (1903-1982) Characters, 1950 c. Oil on canvas 28 3/4 x 24 inches l 73 x 61 cm With frame: 30 3/4 x 26 inches l 78 x 66 cm John Devoluy was born in 1903 and became a cen...

A classical anatomical figure in an artist's studio, surrounded by brushes and a palette, with muted tones creating a contemplative and intimate atmosphere. Contemporary figurative painting by Mark Beard [Bruce Sargeant (1898-1938)] Artist’s Studio n.d. Signed in red, u.r. Oil on canvas 36 x 18 inches $4,000 + $300 framing The pure and brilliant world of Bruce Sargeant’s art seems terribly removed from our own, unhampered by the prevalent inconsistencies of today’s world. Peopled with comely thoroughbreds, his paintings project a world vision unchanged from the models cherished by idealist writers like E. M. Forster and Rupert Brooke in that golden decade that led up to the Great War. Neither buff nor narcissistic, his fair-haired young athletes pose, somewhat uncomfortably, before the painter’s gaze, not wanting the attention yet feeling their duty to submit. Though tantalized by the New World dabbings of Robert Henri and John Sloan, Sargeant found his true inspiration in the art and ethos of fifth-century Athens, where the achievement of the kaloi kagathoi, young men who were “beautiful to look at and worthy of admiration,” were the perfect models for artistic rendering and public adulation. At base, Sargeant’s models, like the sculptures of Lysippus and Praxiteles, are idealized heroes whose achievements on the playing field earn them their renown. However, unlike his precursors, the painter requires no civic responsibility from his ephebes, only physical stamina, gymnastic prowess, and good looks. His work bespeaks a class that existed briefly, but was prolonged and attenuated in the languorous novels of writers such as Denton Welch...