Terms Of Use

Jpgs. of drawings and sketches are made by our gallery's staff. These are scanned and photographed and cleaned up in Photo Shop. Sometimes the drawings need even more attention and must be "redrawn".

  The jpgs. and patterns are the freeware property of the Pick and Print Gallery. If you download our clip art or craft projects we presume that you have taken the time and care to read these terms.

  The graphics/jpgs. are for private, non-profit use only. They are not to redistributed by any other means of collection both on the internet or off, without getting prior consent from the staff. If you have questions about the work, you may write the gallery at pickandprintgallery@yahoo.com

List of Bad Uses:

• Burning the work to a CD and giving it away as a free incentive.
• Stealing the jpgs. and misrepresenting "who" they belong to, or "who" originally produced them.
• Republishing the work for profit.
• Printing and reselling the patterns for profit or incentive for purchase of product not belonging to us.
• This kind of product is not a work of art or a craft. Products like stickers, CDs, coloring books, tee shirts, mugs, prints, worksheets for sale in the form of hard copy etc...

List of Good Uses:

• Crafts that you produce to either give as gifts or keep for yourself.
  
• Worksheets for schools and non-profit businesses that are informative and educational. These worksheets must not be reproduced for profit. Teachers may make their own worksheets for their own files and classrooms and use this clip art freely. You do not need to contact the staff and to ask about the number of worksheets that you can print. We are not picky about this. Please give credit to the blog address on the worksheets, http://arteducationdaily.blogspot.com
• Teachers that are using the jpgs. to teach computer art techniques are welcome to download these drawings. Just remember to educate your students about copyrights and inform them that these jpgs. are freeware not free. Freeware may be used under certain conditions only.
• Only educators may burn the images to power points or CD slide presentations. You may do this no matter "where" you work as a teacher. Please give the blog credit for the use of the material.
• Teachers may also print out and use jpgs. a sample work for students to draw from.
• Students, artists, and art lovers may print out or keep in a non-electronic file as long as they keep in mind that it has been copyrighted.
• If you alter it significantly. Like paint it, or put it into another artwork, this is just fine. Artists have been doing this for centuries. What we are primarily concerned about are those people who abuse the work in it's original context, not artists that take it and hand-color it and paint it and collage it etc. But those people who try to profit from it by flipping it and resizing the jpgs. and calling them free. This is not significant alteration. Well those of you who are artists know what we're talking about.
• Free banner clip art may be used by merchants as well as for those using it for personal blogs and non-for-profit web sites and they may superimpose the name of their shop or merchandise on this particular type of clip art. However, they should also give a link to our blog in exchange. 
• Parents or guardians who are conducting a "home school" may consider themselves to be teachers. Church educators, parish priests, preachers from any denomination (Protestant or Catholic) and VBS volunteers may also use the materials here and apply the rules to themselves as do the certified teachers.

felines and canines in life and art

"The Society Lion," by 
John Henry Dolph,
1835-1903

      Cats and dogs, as the companions of the daily life of the human race, have played no small part in art. There are mousers and dogs depicted in the genre paintings of all nations, ancient and modern. In the ancient art of Japan the quaint native cat frequently appeared as an ornamental accessory. There is a Japanese picture in the Boston Museum of Fine Arts, in which the interesting Japanese cat adorns the boudoir of a lady. Another Japanese painting in the same building, which belongs to the grand old school of Tosa, represents all the animals gathered about the death-bed of Lord Buddha to go mouse-hunting, and when she returned he was dead.
      Quite famous were the cats of ancient Egypt which were consecrated to the worship of Bubastis (Pasht), known as the mythical goddess of cats. This ancient adulation of cats was handed down to the followers of Mahomet, and to this day one of the features of the annual pilgrimage to Mecca is the father or mother of cats, and old man or woman mounted on a camel surrounded by baskets filled with cats. It is stated by some authorities that cats did not enter Europe until the Middle Ages, but this fact seems doubtful, in view of the large number of felines found at the time in the East. The Italian painters introduced cats into their compositions, and so did the Dutch, who were particularly happy in the delineation of composed and stolid tabbies. Sir Joshua Reynold's cats were remarkably knowing, and his kitten-faced girls still please posterity. Hogath's cats, with their long bodies and thin, pointed faces, have a character of their own.
      The leading cat-painter of America is Mr. J. H. Dolph, whom everyone knows, for his works appear constantly at exhibitions. He has worked and studied much abroad, at Paris, Antwerp, and Rome. Mr. Dolph excels in the delineation of feline and canine character. Observe the ingenuous admiration of the four feline young ladies for the stolid pug who allows himself to be the object of their hero-worship. Mark the look of dawning intelligence and observation on the faces of the three puppies in their basket home.
      Lambert, Henriette Ronner, and Mr. Dolph are the most successful cat-painters of the time. They all show fondness for the Angora type, with its delicate grace and exotic sentiment. The Dutch masters were fond of hunting-dogs of various breeds, and did justice to them in their works. Landseer set the fashion of his generation in England for pictured dogs. Other English painters of the domestic genre school have handled dogs ably. The study of the canine race in art is always valuable. As for Mr. Dolph, he has proved himself an able painter of dogs, and the paintings from which these reproductions were made speak for themselves as proofs of his ability. by Charlotte Adams, 1894 for the Quarterly Illustrator

• See More Photos of The Article Here
• Read More About John Henry Dolph
• NYPL Digital Gallery

a field for the connoisseur

by illustrator Edgard Farasyn

      The correspondent of the New York Tribune gave Holland its due when he said, "The exhibit of that country in the Art Building here is in the very forefront of contemporary painting. The three rooms full of oil-paintings, and the two alcoves hung with water-colors, are among the places at the Fair where there is most pleasure of an artistic sort to be encountered."
      Among the most prominent of Dutch modern painters are Josef Israels, Mesdag, Blommers, Mauve, Artz; among the famous Belgians, Jan Van Beers, Courtens, Jan Verkas, and Edgard Farasyn.
The artists of the Netherlands have inauguarated a new movement so full of color and tone that the tide of art students is turning form France and setting toward the Low Countries.
      But it is not alone in color that the Dutch and Belgian artists excel. The lines of character which interested Rembrandt are repeated in the faces of the people to-day, and their painters are noted for their sympathy and sentiment as well as for their forceful rendering of character. One of the noblest and most touching paintings at the Fair was Israels' "Alone in the World" -- a peasant seated, grief and wonder-stricken, beside his dead wife. Neuhuys, from his love of child-life, might be called the Edward Frere of Holland. Blommers has as much sympathy, though perhaps not so much sentiment, as Mauve, who was the Dutch Millet.
       Belgium is nearer to Paris, her artists are more influenced by the Parisian leaven, but Edgard Farasyn is both original and true to his nationality. His Antwerp types are very chracteristic, and form the illustrations for this article. His "Old Sailor" recalls the fact that many of his pictures have been suggested by scenes at the wharves of Antwerp. His World's Fair picture, "Emigrants Embarking at Antwerp," was a noble painting. The bustle, the confusion of departure, the shouting sailors, the dazed look in the faces of the emigrants, the pathos of grief in the parting of a husband and wife, are all depicted with a masterly hand. The young workman leaning on the trestle in another of our sketches might have been standing on the quay watching this embarkation, for his face is full of unutterable things, the desperation of life of toil predominating. They are all toilers; the milk-seller, with her bright brazen can, the stolid market-woman, and the patient donkeys.
      These last remind us of the same subject painted by Verhas, and entitled "The Martyrs of the Watering-Place."
      Farasyn resides in Antwerp, but he has been a wide traveler and has won honors in foreign lands, having been twice medalled in Australia and at the Exposition Universelle of 1889.Visitors to Antwerp may remember his "Fish Markets of Antwerp" in the museum of that city. In view of these suggestive facts have we not, in the modern art of the Netherlands, a field which Americans generally have not sufficiently studied and enjoyed? by Elizabeth Champney, Quarterly Illustrator

by illustrator Edgard Farasyn

by illustrator Edgard Farasyn

• See more illustrations from this article
• Paintings by Edgar Farasyn, 1858 - 1938
• Slide show of paintings by Edgar Farasyn

american art & foreign influence by w. lewis fraser

by Sterner

   It is as difficult to define our individual art creeds as it would be, without the aid of the theologians, to define a religious one. I suppose art, as in religion, one "ought to be able to give a reason for the hope that is within"; but art has not had its colleges, its assemblies of doctors to dogmatize, to settle just what one ought or ought not to believe in.  This is fortunate or unfortunate according to one's individual temperament.
     It is an axion that he who thinks deeply thinks well. Unfortunately, in matters of art, this does not always apply; for Art is a fickle goddess, who smiles upon whom she will--the "b a n a l" sometimes more sweetly than the serious; the untaught boy often times more willingly than the advanced student.
     Are there then, no canons in art in which we may trust? No exponents of its true principles to whom we may look? Plenty, if we accept the "fads," the fashions of the passing moment. I am sure the Byzantine painters had them, and I doubt not that the cognoscenti of their time bowed down before them and worshipped them. But away off in central Italy there lived a shepherd's boy, who drew pictures of his sheep on stones and fences, and with Giotto the canons of the Byzantines were forgotten, and later, with his new methods, there came new canons. So it has been since. The heretic of to-day becomes the canonized saint of to-morrow, to be set aside by new heretics and new saints.
     We are fortunate in our country in having in art no past, and therefore few traditions, or traditions so recent that they have not had time to crystalize. They are still in the waters of crystallization, and are therefore apt, by the addition of a strange substance , to crystallize into a new, a strange shape. Our Copleys, Stuarts, Allstons, Turnbulls, and what has been sneeringly characterized as "the Hudson River school," were all waters of crystallization. They had their half-formed canons based on English models; but the soil of new world introduced the new substance, for it is not favorable, by dint of its indigenous growth, to the propagation of old world plants in old world forms. And before these had time to properly root, the indegenous had, happily for us, choked them.
     It is the fashion to bewail the lack of Americanism in our art. I wonder what is meant by this. American art is intensely American. Our nation has grown by assimilating the best that the whole world afforded--the making of it our own, the pruning and trimming of it, and then incorporating it into our system--and our art has grown on these lines.
     It would be an insult to those who bewail the non-national character of our art, to suppose that because our artists have not yet painted Jersey barns with "Use Brown's Liniment," or "Smith Salvation Oil," on their roofs, they are not American. The truth is, that where the picturesque is to be found our painters have painted it. If this is not the case, then what of our Innesses, our Davises, our Tryons in landscape, our Homers, Kappes, and others in figure? Surely these are as individual as it is possible to be in this age of steam and electricity.
     Is it not barely possible that we are apt to take too seriously in our exhibitions, the tentative efforts of the student just from Paris, and, because they echo the master under whom he has studied, raise the cry, that American art is un-American?
     Our country is a large one, cosmopolitan in its population and customs. When Albert E. Sterner made the charming pictures which accompany the Balcony Stories, lately published in The Century, he drew types of Americans--the Americans of New Orleans. These are as untrue to New England as they would be to Timbuctoo; but yet New Orleans and New England are both American. In "Prue and I," types which would have been utterly false for New Orleans. But it may be said that in the handling of these drawings he is not American. This is equivalent to saying that Sterner has learned his trade--that he can handle his medium without the restraint of imperfect knowledge, without that imperfection which characterized much of the American art of thirty years ago.
     Sterner is a type, and an excellent one, of the American artist--not fashioned by France--but properly directed by French precept and example. He had secured a footing in our art ranks before he went abroad; and while his place in those ranks was but that of a private, we knew that he was certain of promotion. He came back wearing the epaulettes and with the brevet of the Salon. The artist had been awakened in him. He saw things wit wide-open eyes--eyes not dazzled by the glitter of the yellow and the blue of impressionism, yet profoundly impressed by the spirit of modernity. He was a stronger draughtsman, a better colorist, a more artistic artist, a conservative radical in art. His later visits to Paris have but strengthened these qualities.
     Artists do not, save with rare exceptions, arrive at the maturity of their powers at Sterner's age, thirty. He at present thinks better than he does; his works are sometimes faulty in drawing, occasionally show impatience of their subject, and now and then are worried and teased in execution; but, whatever their faults, the artist is apparent, and possessing this quality, they are always valuable.
     Sterner is a keen observer of character, as is well shown in the note-book sketches which accompany this article. What could be more admirable than the thumb-nail sketches which surround page 5, or the head of the French ouvrier on page 7. Unfortunately his quality in composition is suggested rather than shown in the unused sketch for ''Prue and I," one of the most charming illustrated books ever issued form the American press. He is an admirable painter, a soft, rich, and brilliant colorist. This quality of color finds its way into his black and white. But when he is thus characterized, it yet remains to be said, that his chief quality is his artisticness; a quality which cannot be defined or formulated, but without which not great art work was ever accomplished. By W. Lewis Fraser,1894, The Quarterly Illustrator

by Sterner

Note.-- Albert E. Sterner, whose work is reviewed so gracefully in the foregoing paper, is a Londoner born, with a Parisian temperament and an American earnestness of character. He first saw the sun on March 8, 1863, and came to America when he was eighteen years of age. He lived in New York for a while, studying the line of picture-making mostly by himself-until one fine day he pulled up his tent stakes and sailed for Paris. There he studied under Lefebvre and Boulanger. Since this time he has forged to the top of his studious vocation. Mr. Sterner is a member of the New York Water Color Society, and has frequently exhibited at the Academy and the American Fine Arts Society. His picture of "The Bachelor" received honorable mention at the Salon in 1891. Mr. Sterner's draughtsmanship is distinguished by a nervousness of handling and an economic directness of touch. He goes to his subject clear-headed and free-handed, and tells his story simply. He is a vigorous objector to the catch-penny frills of ''popular"picture-making, and even in his earlier days tried to be conscientious in his simplest work.

• American painter, etcher and lithographer
• Albert Edward Sterner, 1863 - 1946
• Sterner in the encyclopedia

a cattle painter from france by henry eckford

      Character in beasts and birds--the bovine in cattle, the swinish in pigs, the self-complacency betrayed by geese in their waddle--is one of the traits of Japanese art. It is largely due to the glad, unfettered study of external nature by artists of Japan that men of the West have taught themselves to see character in animals. At the same time, the great movement of philosophy on the track of evolution has made the public more tolerant and observant of our humble fellow-creatures in fur. feather, and scales. Artists have helped in this work by showing that beast, bird, and fish are beautiful and worthy of deep study for their colors and forms.
    Among the French artists at the World's Fair new to Americans was the maker of "The Road to Vaudancourt," a cattle-piece with the herd coming forward by the dusty road. Realism is at its best in the varied groups of kind by M. Aymar Pezant. Cows prone and standing, cows in movement and sluggishly chewing the cud, fetlock-deep in water. The lively gait of steer and heifer, the slow, sagacious look of udder-bearing kind, the menace in the uplifting muzzle and wide-spread ears of bull-or ox--all these traits he knows how to give in summary scratches of the crayon and to paint in oils. M. Pezant is a worthy successor of Troyon and Van Marcke. By Henry Eckford, Quarterly Illustrator

• Alexander Pezant at Ask ART 
• See more of Pezant's drawings 

sailor life from catalan by c. s. montgomery

      In Onofre Gari Torrent we have another exponent of the pathos of the sea, the hard lives of those who live upon it, and the heroic ending of those lives. The artist, though he was born in Charleston, S. C., is the son of a Spanish sailor, and his choice of subject shows influence of heredity. After study at the Academy of Barcelona, and in Paris and Madrid, he has settled on the coast of Catalonia, and there he finds material that is new, at least to Americans. In his sporting children, his toiling men and women, and his sailor returning the kit of a lost shipmate to his family, he shows types that in sturdiness and settled gravity are like those which the French and Dutch painters have introduced to us; but the costumes, surroundings, and ethnologic cast give to them a character of their own. He is original in composition, and his figures have both movement and fixity. The "Drawing of the Net" is especially able in pose, the men and women of heavy frame tugging at the ropes with ox-like persistency and resignation. There is, in the pictures of this painter, an absence of the pessimism that makes a bitter strain in the work of so many of the painters and writers of Europe who have taken the ocean for their theme. His grave, but never despairing. A current of warmer blood seems to pulse through his veins than the blood of Breton and his followers. Mr. Torrent was one of the exhibitors at the World's Fair, and he holds the United States in affectionate remembrance. By C. S. Montgomery, Quarterly Illustrator

• View more from this article by Onofre Gari Torrent 
• Onofre Gari Torrent exhibited at the World's Columbian Exposition in 1893

an american wilkie by clarence cook

by Howard Helmick

      It is, from one point of view, an amusing fact, that in forming our judgment as to the merits of a picture, we need take no account of what artists say about it. Broadly speaking, we may divide the artist-body into two camps, always, however amiably, at war with one another: the men of anecdote and subject, and the men of art-for-art's-sake: who view with silent disapprobation, or with clearly expressed contempt, and attempt on the artist's part to excite an interest in his picture beyond what is due to his way of painting. It may be said, without exaggeration, that, for these men, not a few of them really worthy of distinction for the skill they have attained--not only a goodly number of artists of our own day, but a goodly number of artists of old times who are reckoned famous by a no doubt ignorant world, do not exist at all as artists. They painted subjects, anecdotes: they were themselves interested in the the story they had to tell, and they hoped to interest others in it: this is enough to condemn them with the artists for art's sake.
     For these men an artist like Howard Helmick, whose repertory consists entirely of pictures painted to please his fellow-men by showing them scenes from the drama of actual life, would have no interest whatever. They would class him with our own Mount, with Wilkie, with Defregger, with Smedley-all clever men, no doubt, but outside the sacred pale. We wish, for our part, that the public here at home had had better opportunities for judging Mr. Helmick's merit for themselves. He has too long been one of the army of the expatriated-charmed-and who shall blame him!--by the ease and comfort of life abroad, and finding there all the success he needed and all the appreciation he could desire; and he has not sought the suffrages of his countrymen by the ordinary methods of the exhibition-gallery of the dealers' sales-rooms. His student-days were passed in Paris, where he and Henry Bacon were pupils of Cabanel; and when the Franco-Prussian war fluttered the studios of Paris and sent the artists adrift, he with others went to England, and after some stay in London wandered over to Ireland, where he found, in that land of changing lights and shadows in human life, as in nature, so many picturesque subjects, that before long he had all he could do to supply the demand for his pictures. It was a field till then almost undiscovered--another American, Mrs. Anna Lea Merritt, had found and brought away some nuggets from the mine; but other fields of work had more attraction for her, and Mr. Helmick was left in almost undisturbed possession of the quarry he had opened. To enjoy his pictures it does not need that we should have read Miss Edgeworth, or Charles Lever, or Samuel Lover, or the latest delightful comer in the field of Irish tragedy and comedy, Jane Barlow--they tell their own story. Even the smaller of the specimens we give, "On his own Ground," with the characteristic head "A Blind Man," are evidently true to Irish life; but it is in his larger pictures of family groups and scenes that he shows the most original vein. Artless nature, free and happy with the happiness that only poverty can know, laughs in our "Irish Apollo piping to the Graces;" and a collection of his Irish scenes would show us the same penetrating observation and directness of statement. Helmick is one of the few artists we know who could be trusted to illustrate such books of Irish life as those we have mentioned: his pictures would be as unforced and as free from artificiality as the books themselves.
     And yet, why should an artist of such cleverness neglect his own country-life for that of another people? Why, in fact, should the greater part of our artists be doing one of two things: either painting foreign scenes and manners, or else painting home-scenery and home-scenes in such a fashion that they would never be suspected for our own? by Clarence Cook, The Quarterly Illustrator

• Slide presentation of 9 paintings by Howard Helmick
• A Visiting Party, 1893 at the Smithsonian American Art Museum  
• At Auction on MutualArt.com