Edgar Degas: The Sketches

Edgar Degas, a master of the line. The top-most image is my personal favourite sketch in the bunch. Within such few lines and simplified forms Degas is able to capture the physique as well as the attitude of this character. I say character because for the most part, the individuals Degas depicts seem to be void of individuality and fit within a certain class of people as a whole, whether a dancer or flaneur. The individuality of a figure is second to their energy.

Gehard Demetz: Blocks of wood

Gehard Demetz constructs figures from small blocks of wood combining finely polished areas of soft features against the rough areas of combined wood blocks and freshly chiseled sections. The figures, always children, are always in the process of some form of restraint upon themselves as an individual. They become "bodies" and not a singular person in any respect. However, they are presented to us with such skill, if you ponder into only they're faces it is easy to forget they are simple blocks of wood. 

http://www.geharddemetz.com/index.asp

Jeremy Mann: Modern Master

San Francisco artist Jeremy Mann stems from a very traditional approach to painting however diverges with his use of colour and mark making techniques. Both the subject matter and application of paint often suggests movements and creates interesting dynamics and emotions within each painting. He also ventures into landscape and cityscape paintings as well as still lifes. 

http://www.redrabbit7.com/ 

Émile Friant: 1863-1932

It's the direction of the male figures gaze and the opposing female figure's downward stare along with strong cast shadows that really catches my attention. 

Kim Cogan: Master of the brush

Kim Cogan's paintings capture a certain degree of energy within every brush stroke and colour. The skulls live on in his paintings with the potential to hear their screams. The waves wait in anticipation to collapse yet are stuck in a moment. The door, illuminated calls attention to the eye; what lays beyond it? Where does it lead? Who will emerge? A stage set for an act not yet told. 

William-Adolphe Bouguereau: 1825-1905

A traditionalist during the time of impressionism. Bouguereau experienced great success and was also looked down upon for his "stuck in the past" approach to painting. However, it is the heart ache in the eyes of Mother Mary as she holds the body of her deceased son Jesus that strikes a chord in me. Here, she judges us. Her eyes are tired and red from weeping, yet the stare at the viewer and confront us. The emotion and humanistic quality in this piece astounds me.  

Malcolm T Liepke: A World of the Vulnerable

Liepke paints a similar entity over and over; lips, cheeks, pink skins and round tipped noses tend to inhabit every character displayed. However, the figures emotions and expressions tell a narrative whether a world is inhabited or not. The figures are often vulnerable and find themselves in a state of contemplation. His thick paint and broad brush strokes bring the colours and figures to life.

István Sándorfi: Hyperrealist Surrealism 1948-2007

István Sándorfi's technical skills allow you to forget the artist's hand. To solely focus on the figures as living and breathing individuals stuck within a world of isolation as if locked away behind the bars of the canvas they have been projected on. 

Jeremy Lipking: A modern master

A modern master of the body. The softness of every brushstroke is simply marvelous to view. 

http://www.lipking.com/  

John Singer Sargent: American artist (1856-1925)

A master of brushstrokes and colour. Every paint stroke is placed with confidence and purpose. Every face and place he depicts, tells a story.