Paint Air Painting

Mono Lake Plein-Air Pastel by Listed Plein-Air Painter Arny Karl Nicely Framed

Mono Lake Plein-Air Pastel by Listed Plein-Air Painter Arny Karl Nicely Framed
Mono Lake Plein-Air Pastel by Listed Plein-Air Painter Arny Karl Nicely Framed
Mono Lake Plein-Air Pastel by Listed Plein-Air Painter Arny Karl Nicely Framed
Mono Lake Plein-Air Pastel by Listed Plein-Air Painter Arny Karl Nicely Framed

Mono Lake Plein-Air Pastel by Listed Plein-Air Painter Arny Karl Nicely Framed

Please View the Rest of our Arny Karl Collection. (To be Posted Here Over Next Few Days).

(birth name: Arnold Helmut Karl) (July 31, 1940 - February 15, 2000) was one of the key artists in the early stages of the. Which started in the 1980s and continues to this day.

Along with Tim Solliday b. 1952 and Peter Seitz Adams b. 1950, Karl helped revitalize the use of. As the French described regarding the practice of working directly from nature. Karl was a student of. His work has been included in a number of museum exhibitions, is represented in a number of prominent public and private collections and has been the subject of a number of curatorial essays. His father was a minister and a writer, but it was his mother who encouraged Karl's artistic development through her own interest in design and the arts.

The Karl family moved frequently, first to. Then to Rome and finally to. Where Karl grew up and, as a student, was fascinated and awed by the art of the.

Karl enjoyed the Italian countryside and was always drawn to nature as a subject. In 1961, he emigrated to the United States and settled in. Just east of Los Angeles, where his sister was living after her. Initially, like many new immigrants, Karl worked at a variety of different jobs but because of his artistic talent, Karl enrolled at.

To study commercial sign and. Which he felt would enable him to pursue a practical career that would still involve art. To earn a living, Karl found employment in the outdoor advertising industry. In the 1960s, Los Angeles, with its tremendous.

Industry and large, colorful billboards towered over the streets and freeways. In that era most of the boards were still hand painted and were essentially large. That were painted in vast studios, or on site, by artists on. Initially, Karl was hired as a'helper' or apprentice at Foster & Kleiser, a large Los Angeles outdoor advertising firm that is now part of. He mixed paints and assisted the more experienced artists, while he learned the technique of completing vast paintings under a strict deadline. Karl quickly climbed up the union ladder and was soon painting his own large billboards for Foster & Kleiser and then for Pacific Outdoor Advertising. Like many commercial artists, he found the lack of creativity in.

Frustrating and wanted a career as a fine artist, but realized he would need further training. Fortuitously, Bernardo "Barney" Sepulveda, a senior co-worker at Foster & Kleiser, introduced Karl to the iconoclastic figurative painter and Early California pastelist Theodore Lukits. Known as a staunch traditionalist, Lukits' own work and teaching career helped preserve the ideals and methods of the late-19th-century French ateliers and academies.

Karl immediately recognized and respected Lukits' knowledge and mastery of pastel and oil landscapes, formal portraits, still lifes, and anatomical drawing and knew he had found a teacher and mentor. Arny Karl was married to the teacher Lee Kietz on June 7, 1969. Mountains that Karl often painted.

The Karls had no children and were divorced April 15, 1982. Later, Karl had a long relationship with a woman that he referred to as his wife, Katherine "Kay" Karl, who survived him, but there does not seem to be a record of a formal marriage and there were no children from their relationship.

He had a strong, masculine appearance and he was eccentric and colorful in appearance and actions. Karl usually wore paint-splattered clothing and has been described as "looking like he just emerged from the studio", which most often was the case. He could be secretive about his art work, seldom sharing his paintings with anyone except his closest artist friends, who he felt would understand them.

In his later years, he was wary of outsiders and reclusive enough that few visitors ever were allowed access to his home. In spite of a generally retiring nature, he developed close friendships with a number of his co-workers in the billboard industry and several of his fellow art students. In his later years, Karl worked in a drafty studio with a complement of cats that was adjacent to his ramshackle home. He was reluctant to see doctors and this quirk contributed to his health issues.

He died in a hospital in Ontario, in San Bernardino County, California, after a lengthy illness. After an introduction from the billboard painter Bernardo "Barney" Sepulveda, Arny Karl entered the.

At that time painters like. This type of instruction is now known as the. The Beaux-Arts method had evolved over hundreds of years from the Renaissance through the 19th century and was brought to perhaps its highest level of refinement by Parisian masters like. Lukits, who had been teaching since 1924, was a respected California portrait, landscape and still life painter whose work was popular with the film community. He was an award-winning graduate of the.

Where he had studied with a host of Parisian- and European-trained painters including. Lukits passed on the accumulated knowledge he learned in his years at the Washington University School of Fine Arts, Chicago Academy of Fine Arts and the Art Institute of Chicago to his students, who began by "drawing from the antique" which meant doing charcoal or graphite portraits of marbles and plaster casts of ancient Roman and Greek statuary. These studies taught the students to understand "values" which are the tonal gradations of light and shadow, applicable to working under artificial lighting conditions in the studio or out of doors under the natural light of the sun or moon.

Advancement in a traditional atelier is based on mastery rather than an artificial quarter or semester system, so Karl moved from working from plaster casts to simple still life set-ups only after his instructor was satisfied with his work. Eventually he began to work in color, painting still life set-ups under the colored lights that Lukits used to simulate conditions an artist would find out of doors.

As the years passed under Lukits' guidance, Karl also began attending Lukits' anatomy and life drawing classes. Karl studied with Lukits for an entire decade while he supported himself in the field of commercial art and he concluded his studies in 1978.

From the time he was young, Arny Karl had always loved the outdoors and when he entered the atelier of Theodore Lukits, it was the elderly painter's large collection of Plein-Air Pastels that made the deepest impression on him. While Lukits was no longer working out of doors, he explained the techniques he used in his works of the 1920s to Karl and simulated conditions of natural light in his studio for his students. By the late 1960s, Karl was working out of doors, painted in the foothills of the San Gabriel and San Bernardino Mountains. He brought his works back to the Lukits atelier for the older artist to critique and his steadily work advanced and improved. By the mid-1970s, Peter Seitz Adams b.

1952, two younger painters who were interested in working out of doors, had entered the Lukits atelier. Karl, who had already been working out of doors for a number of years, served as their early mentor, helping them learn the techniques of working directly from nature. Together the three painters worked painting the stands of Eucalyptus along the Southern California Coast, working in places like St.

Malo Beach, where the Adams family had their beach house, the. Karl, Solliday and Adams also made longer sketching trips to the High Sierras. These three painters worked almost exclusively in pastel and dedicated themselves to championing that medium as a method ideally suited to capturing the rapidly changing natural conditions that an artist encountered out of doors. Karl also painted in Europe the entire year of 1971, working in the.

He usually worked in small sizes when he painted from nature, from 6" x 8" to 12" x 16" and then worked up larger paintings in pastel or oil in his studio. Karl held his Plein-Air pastel works closely, seldom exhibiting them or showing them to anyone except his fellow artists, a practice he learned from his teacher and mentor, Theodore Lukits. He saw the pastel work as his reference material for larger, more ambitious works and they served as a form of visual memory, so he seldom wanted to let go of them. About the time Karl finished his academic studies with Theodore Lukits he began to exhibit his work professionally. 1924, a relationship that began because of the dealer's long friendship with Thedore Lukits. Less mature works were done in oil, "worked up" from his pastel studies. They were brightly colored paintings depicting vivid sunrises and sunsets, broadly painted with little detail. According to Morseburg, because of the intense colors, the paintings did not sell well and after working with Karl for a number of months, the business relationship faded. Karl also began to work with Doug Jones, another veteran dealer who had the Jones Gallery in. Both Morseburg and Jones have cited Karl's eccentricity and unreliability as an impediment to the development of his artistic career in the 1980s. Karl began working with Trailside Galeries in.

A large western gallery, in the mid-1980s, but because of his infrequent visits to Arizona, they were never able to sell his work steadily. Morseburg began to market and advertise the works of a number of "Contemporary Plein-Air Painters" with Karl's works advertised and shown along with those of Peter Seitz Adams, Tim Solliday and the aging landscape painter Richard Rackus b. Morseburg Galleries also hosted a number of large pastel exhibitions with Karl's work featured prominently.

It was from these pastel exhibitions that the collector Sean Sullivan began his collection of pastels of the western American landscape that would later form the core collection for the Southern Alleghenies Museum of Art. Patricia Terwilliger of Jones & Terwilliger, was responsible for the sale of Karl's largest work, a 36" x 45" painting of the Carmel Coast to a Pacific Grove collector. With Morseburg's help, Karl began to exhibit his work with the revived and strengthened California Art Club and his Plein-Air pastels were included in the annual Gold Medal Exhibition as well as the museum shows Treasures of the Sierra Madre and the ecologically-themed exhibition California Wetlands both originating at the. Natural History Museum of Los Angeles County.

Late Career and Posthumous Recognition. By the late 1990s, Karl began to experience health problems and was diagnosed with an advanced case of. He had problems with his eyesight, including severe cataracts that interfered with his ability to paint and his artistic production ceased for months at a time.

After learning how to treat his diabetes and having eye surgery, Karl rallied for a time and was able to paint once again. However, by 1999, Karl's health began to decline once again and he died in February 2000 from complications from congestive heart failure. Since his death, Karl's work was the subject of one solo posthumous exhibition titled The Color of Mood, the Pastels of Arny Karl at the Morseburg Galleries in 2005. Karl's works have also been included in a number of exhibitions in public venues.

A number of Arny Karl's pastels have been donated to the Southern Alleghenies Museum of Art which is located on the grounds of. Through the auspices of the Sean and Margaret Sullivan fund, the latest of which was donated in 2008.

Sean Sullivan was one of the founders of the Southern Alleghenies Museum of Art (SAMA) and a passionate collector of Plein-Air pastels by Californian and Western American painters, both historic painters like Theodore Lukits and contemporary artists such as. Three of Karl's works were exhibited in SAMA's 1999 exhibition titled. Additional gifts to the Southern Alleghenies Museum's pastel collection are planned. One of Karl's largest works "Windswept Sierras", has been promised to the California Art Club for its permanent collection. Arny Karl's professional career was relatively short, no more than twenty years. In that time Jeffrey Morseburg, his dealer and fellow student of Theodore Lukits, estimates that he painted about 400-500 plein-air Pastels and about 100-150 oil paintings, so his artistic. He was famously eccentric and difficult, so relationships with dealers were seldom steady. According to Morseburg's essays, Karl's earliest pastel works from the late 1960s and early 1970s were "blocky" with bold strokes of color. As his pastel works matured, the strokes of pastels became almost imperceptible, as he began to "paint" with his fingers. Karl's pastel works of the mid-1990s consisted primarily of foothill scenes, often of California Oaks or Eucalyptus. Some of his later pastel works could be quite detailed, in spite of the artist's eye problems. Sierra Autumn, Big Sur Overlook and Mono Lake, all of which were shown in public exhibitions, are all examples of these detailed pastels. Karl's early works in oil were thinly painted, with little impasto and boldly colored, evidently too boldly for many collector's tastes. His later oils could be more thinly painted or thickly brushed examples of California Impressionism. Most of these works relied on imprecise brushwork and were painted in a cool palette. Scenes of the Central California Coast and the High Sierras predominated in the works of Karl's last decade.

Art authorities such as Michael Tomor, former Chief Curator of the Southern Alleghenies Museum of Art or art curator Jeffrey Morseburg, describe Karl as a "romantic" or "lyrical" painter because of his "moody" subjects and curvilinear compositions. In his 1999 exhibition catalog Tomor stated that Jeffrey Morseburg, Lukits' biographer, believes Karl to be inspired by Lukits' pastels as well as the works of. His Blue Moment and Pink Moments, plein-air pastels of the Sierra Mountains, convey the sublime and awe inspiring aspects of nature. While Karl's artistic oeuvre was small, because of his influence on a number of younger painters, strident advocacy of plein-air painting and the pastel medium and presence in several important public and private collections his influence is still being felt.

Arny Karl was one of a small number of painters who kept alive the long tradition of the romantic landscape. In an age when the shocking and the ugly are championed by critics and when the absolutely banal is considered collectible, Karl's pastel and oil landscapes are prized by those who appreciate the idealized landscape. Karl is best known for his poetic transcriptions of the California and Southwestern landscape. He painted in the Sierra Nevada, along the California coast, in Arizona, and throughout the foothills of the San Gabriel and San Bernardino Mountains. While Karl enjoyed painting under the bright sunlight conditions favored by impressionist painters, it was the stunning colors found at sunset or the quiet hours of the late afternoon and evening that clearly animated him. Arny Karl's childhood in Italy inculcated an interest in the fine arts and a deep love of the natural world. He was born in the Dolomite Mountain town of Balzano in 1940. Karl's Austrian father was a minister and writer. It was his Italian mother, through her interest in design and the arts, who encouraged him in his own artistic development. Throughout his youth, the Karl family moved frequently, first to the large industrial city of Milan, then to Rome and finally to Florence, where most of the artist's school years were spent.

An indifferent student, Karl remembers being awed by the art of the Renaissance that surrounded him, but he was almost instinctively drawn to nature as a subject. Seeking new horizons, he immigrated to the United States in 1961. He settled in San Gabriel, east of Los Angeles, where his sister had moved. Initially, he earned his way by working at a variety of jobs, as many new immigrants do.

Seeking a practical career that still involved painting, he took a course in commercial sign painting at Pasadena City College. Because of the necessity of earning a living and a lack of confidence in his own developing art work, Karl sought a career in the outdoor advertising business. In those days of the 1960's, Los Angeles was the center of the outdoor advertising industry and large, colorful billboards towered over freeways and thoroughfares. Hired as a "helper" at Foster & Kleiser, Karl worked his way up the union ladder, until he was able to paint his own billboards. Frustrated by the lack of creativity inherent in commercial work, he dreamt of becoming a fine artist, but realized that he needed further training. Fortuitously, Barney Sepulveda, one of the more senior men at Foster & Kleiser, introduced him to the iconoclastic painter and Early California master Theodore N. Lukits was a staunch traditionalist and through his work and teaching he helped preserve the ideals and methods of the late 19th-Century French ateliers and academies. Beginning the study of art before the age of ten, Lukits had been trained by a host of gifted painters including the tonalist Edmund H.

Lukits passed on the same artistically and intellectually rigorous instruction that his own teachers had learned from painters like Bouguereau, GĂ©rome and Bonnat, in an unbroken line that stretched back hundreds of years. When Karl visited Lukits' Los Angeles studio, he saw the proof of Lukits' knowledge in his pastel and oil landscapes, formal portraits, still-lifes and anatomical drawings. Karl found that the type of instruction that Lukits offered was perfectly suited to his goal of becoming a professional artist.

The disciplined curriculum in Lukits' atelier stood in vivid contrast to both the orientation of commercial art classes and to the more laissez-faire atmosphere common to "fine arts" programs at colleges and universities. After meeting Lukits, Karl knew he had found his artistic mentor.

In 1960, Karl began his artistic studies in earnest with the time-honored practice of drawing from the antique. This involved drawing from plaster casts of classical sculptural works. Through cast study the student learned to master the skill of drawing shapes accurately, the laws of perspective and how to gauge the effect of light on objects. By working in graphite and then in black and white oil paint, or grisaille, he learned how to delineate the subtle gradations of light or values prior to tackling the more complicated task of working in color. The years of cast study were the foundation of all that Karl would learn afterward, the foundation upon which his art would be constructed. Karl found that Lukits' methods of instruction were completely different from those of art schools in that advancement from one phase of study to another was not based on an arbitrary time period but instead on the mastery of a scale of artistic principles. After mastering the drawing and painting of plaster casts, he graduated to simple still-life set-ups, and then to gradually more complicated color problems that Lukits would set up in the studio. Eventually, Karl began the study of human anatomy, life drawing and composition. While he worked under Lukits in the studio, Karl spent his weekends out-of-doors painting from nature.

Inspired by the series of plein-air pastels that Lukits had painted in the 1920's, he chose that medium for his own work on location. Pastel has the advantages of being lightweight and quick to set up, making it especially suited for hiking and painting in the field. Like Degas and the American Impressionists before him, Karl was drawn to the pastel medium's almost palpable sense of motion and its union of drawing and painting.

Karl brought his plein-air pastels to Lukits to critique and gradually his efforts improved as he was able to apply the lessons that he learned in the classroom to his work out-of-doors. During vacations, Arny took extensive trips through the American West, painting as far north as the Canadian Rockies.

During the 1970's, Karl began sketching with Peter Adams and Tim Solliday, fellow students of Theodore Lukits and today well-known plein-air painters. Karl's tenure with Lukits stretched to ten intense years. During this time, he did commercial work during the day, studied with Lukits in the evening, and painted on location on the weekends. Unfortunately, because of the complications of diabetes, Karl died before his time in 2000. Through his sensitive and deeply felt paintings and pastels, Karl's gentle spirit lives on.

This item is in the category "Art\Paintings". The seller is "midcenturyart2" and is located in this country: US. This item can be shipped to North, South, or Latin America, all countries in Europe, all countries in continental Asia, Australia, South Africa, New Zealand, Egypt, Reunion.

  • Size: Medium (up to 36in.)
  • Region of Origin: US
  • Handmade: Yes
  • Artist: Arny Karl
  • Production Technique: Pastel on Paper
  • Framing: Framed
  • Country/Region of Manufacture: United States
  • Custom Bundle: No
  • Style: California Impressionism
  • Item Height: 9 in
  • Item Width: 14 in
  • Material: Pastels, Paper
  • Time Period Produced: 1970-1979
  • Personalize: No
  • Type: Painting
  • Title: \
  • Features: Framed
  • Subject: Plein-Air, Mono Lake, California, Landscape
  • Certificate of Authenticity (COA): Yes
  • Culture: Pastelist Californus
  • Item Length: 14 in
  • Signed: Yes
  • Signed By: Arny Karl
  • Year of Production: 1970s
  • COA Issued By: Dealer, Upon Request
  • Original/Licensed Reproduction: Original
  • Painting Surface: Pastel
  • Width (Inches): 13 1/2\
  • Unit of Sale: Single-Piece Work
  • Size Type/Largest Dimension: 9\
  • Listed By: Dealer or Reseller
  • Height (Inches): 9\
  • Date of Creation: 1970-1989
  • Signed?


    Mono Lake Plein-Air Pastel by Listed Plein-Air Painter Arny Karl Nicely Framed