David Middaugh Our Lady of the Flowers Lady Oreol 1979 Signed Drawing

David Middaugh
Our Lady of the Flowers Lady Oreol, 1979
Prismacolor pencil on Strathmore Paper
Paper: 14 1/2 x 3 1/8  inches
Frame: 18 1/2 x 7 inches
Signed in pencil verso
Floated vintage welded aluminum frame with white island mat created by APF Framers.

Provenance
Barbara Gladstone Gallery, New York

The exploration of psyche and fantasy is the focus of David Middaugh’s extremely intricate, meticulous unique drawings on paper.  Since 1975, David Middaugh has exclusively created colored pencil drawings in which recognizable images are progressively transformed. 

Throughout his works, vivid colors are carefully juxtaposed, enlivening a winding movement of forms. Distortion of recognizable images, reinterpretations of visual cliches, such as ads

Read More >

David Middaugh
Our Lady of the Flowers Lady Oreol, 1979
Prismacolor pencil on Strathmore Paper
Paper: 14 1/2 x 3 1/8  inches
Frame: 18 1/2 x 7 inches
Signed in pencil verso
Floated vintage welded aluminum frame with white island mat created by APF Framers.

Provenance
Barbara Gladstone Gallery, New York

The exploration of psyche and fantasy is the focus of David Middaugh’s extremely intricate, meticulous unique drawings on paper.  Since 1975, David Middaugh has exclusively created colored pencil drawings in which recognizable images are progressively transformed. 

Throughout his works, vivid colors are carefully juxtaposed, enlivening a winding movement of forms. Distortion of recognizable images, reinterpretations of visual cliches, such as ads and cartoons and explicit sexuality are characteristics Middaugh's shares with "Chicago style" art. 

David Middaugh studied art in Chicago from 1972 - 1977; Middaugh's interests are sim­ilar to those of the "Hairy Who" artist group. Like Jim Nutt, David Middaugh has developed an idiosyncratic narrative structure and maximized the expressive potential of form and color. 

In a manner similar to Barbara Rossi, David Middaugh chooses to meticulously render his forms and group asymmetrical forms accord­ing to an underlying symmetry. Although influences are evident, Middaugh's amalgamation of the autobiographical, comic, mundane, and fantastic reflects a distinctly individual sensibility.