B I O R A P H Y  /  A R T I C L E S


703 South Clinton St.
Iowa City, IA  52240
tel 319-330-9227 

Born:            September 16, 1960, Grinnell Iowa  


B.F.A             University of Iowa             1993


Cedar Rapids Museum of Art, IA

China Printmaking Museum, Guanlan, China

Endodontic Associates of Iowa City, IA

Foster Law, Iowa City, IA

Homes, Murphy & Associates, West Des Moines, IA

James P. Hayes Attorney, Iowa City, IA

Java House, Iowa City, IA

LS2 Group, Des Moines, IA

Mary Greenley Medical Center, Ames, IA

Morgan Stanley, West Des Moines, IA

Snite Museum of Art, University of Notre Dame, IN

West Valley Art Museum, Peoria, AZ


(Art Work Included in Publications)

2017      2017 Guanlan: International Print Biennial, A Collection of Prints, China Printmaking Museum.

2015      Mauricio & Tomas Lasansky: Father and Son, Snite Museum of Art.

2010      Tomas Lasansky: Icons and Muses, 4 Peaks Press. 

2006      Artbook: of the New West, Spring/Summer 2006.


2019      Faust Gallery, Santa Fe, NM

2018      Faust Gallery, Santa Fe, NM

2017      Lasansky Gallery & Studio, Iowa City, IA

2015      University of Notre Dame, “Father Son”, Snite Museum of Art, South Bend, IN

2015      Rare Gallery, Jackson Hole, WY

2011      Korologos Gallery, Basalt, CO

2010      Rare Gallery, Jackson Hole, WY

2008      Rare Gallery, Jackson Hole, WY

2007      Glen Town Center Showcase, Des Moines, IA

2007      Rare Gallery, Jackson Hole, WY

2007      Faust Gallery, Scottsdale, AZ

2006      Faust Gallery, Scottsdale, AZ

2005      Lasansky Gallery & Studio, Iowa City, IA  

2005      Faust Gallery, Scottsdale, AZ

2005    "Art For The Living Center, Jane T. Walsh Juried Art Show'', Burlington Art Guild,
  Burlington, IA 

2004      Lasansky Gallery & Studio, Iowa City, IA  

2000        “Spaces/Faces” Percival Galleries,  Des Moines, IA  

1999        “Two Man Show” Java House, Iowa City, IA 

1998    “Prints & Painting” Java House, Iowa City, IA  

1997        “Art Guild of Burlington, Third Annual Juried Show”,
  Burlington Art Guild, Burlington, IA 

1996        “Art Guild of Burlington, Annual Juried Show”, 
  Burlington Art Guild, Burlington, IA 

1996        “Twentieth Annual Rock Island Fine Arts Exhibition”,
  Augustana College Art Gallery, Rock Island, IL 

1996        “Eleventh Annual Iowa Exhibition”,
 Polk County Heritage Gallery, Des Moines, IA  

1995        “First Annual Competitive Exhibit”, 
  Burlington Art Guild, Burlington, IA 

1993        “University of Iowa Student Art Exhibition”, 
  Old Brick, University of Iowa, Iowa City, IA   

1992        “Members Annual Exhibition”,
  Johnson County Art Center, Iowa City, IA   

1990    “University of Iowa Student Art Exhibition”,
              Old Brick, University of Iowa, Iowa City, IA  


2018           One Person Show, Weinberger Gallery, Kansas City, MO 

2007            One Person Show, West Valley Art Museum, Surprise, AZ 

2006     ''Recent Works ", Lasansky Gallery & Studio, Iowa City, IA

1999    “Figurative Works” Percival Galleries, Des Moines, IA  

1997        “Recent Paintings”, The Cedar Rapids Museum of Art, Cedar Rapids, IA  

1996        “Recent Works”, Project Art Gallery Space,
  University of Iowa Hospitals and Clinics, Iowa City, IA 

1995      “Portraits”, Southeastern Community College Gallery Space, West Burlington, IA   

1994        ”Prints and Paintings”, Great Midwestern Ice Cream Company, Iowa City, IA 

1993        “B.F.A. Show”, The Checkered Space Gallery, University of Iowa, Iowa City, IA


THE ARTBOOK OF THE NEW WEST                                                              Spring/Summer 2006


 Charlie Emmert
Captivating Portraiture
By Rory Lasansky


Charlie Emmert’s intrinsic creativity and natural ability to link color with emotion perfectly complements her dexterity and enthusiasm for the paint and brush. The Iowa born artist has demonstrated, with the unveiling of her recent work, that she can fuse thought and feeling in the studio to produce paintings of stunning originality.

         “Albert Einstein Number 3,” is a captivating and somewhat abstract portrayal of the brilliant thinker. It is the most recent in a series of portraits aspiring to capture the essence of Einstein’s character, his unique appearance, and explosive intellect. The painting clearly communicates Emmert’s belief that all of her work should possess “content, meaning and expressive form.” She acknowledges Einstein’s scientific achievement with a solid red disk in the bottom left hand corner of the canvas. The disk represents a solar eclipse, the natural phenomenon that provided proof for Einstein’s groundbreaking theories. The orientation of the disk in the space separating the edge of the canvas and the cropped red bars addresses the subject’s exceptional ability to think outside the box.  

 Emmert’s skill as a colorist has always been the focal component of her expressionistic portraiture. “Color,” says Emmert, “corresponds to the complexity of life.” In “Einstein Number 3” we see the artist looking at earlier works in the series to choose a predominantly blue and white palette. The colors suggest guilt and remorse, feelings that plagued Einstein after working with the U. S. to fabricate the Atomic Bomb. With touches of somewhat arbitrary color to the face and hair, Emmert was able to create a balanced and aesthetically pleasing image, which commemorates the most brilliant icon of the 20th century.

Emmert’s enthralling portraiture, always appealing to the eye, is generally bold and colorful. They are visually attractive but also are compelling psychological portraits, intimating the inner life of the subject. The preliminary sketch on a fresh canvas, done entirely with the brush, lays the foundation for numerous layers of paint. The layered pigment, often applied with the palette knife, creates texture, contrast and depth. This can be seen in Emmert’s distinctive rendering of the artist Frida Kahlo. In this painting Emmert constructs a fictive space, which separates her subject from the aura-like background. “Frida’s image is carefully placed within the painted frame for intimate viewing.” Points out art historian David Heffner, Ph. D. “Clearly there is an intimate connection between the artist and her subject.”

        Charlie Emmert’s recent works showcase her ability to layer and manipulate paint. She communicates with vibrant color in place of words what she considers to be the true essence of her subject. Her innovative approach to portraiture publicizes her potential to be a significant artist in the future, and reveals her eagerness to be working in the studio.

        Charlie has had numerous one-person shows and has participated in various group shows. Her work is in private and public collections. The Faust Gallery in Scottsdale, Arizona carries her work, and the West Valley Art Museum will feature her work in a one-person show in March of 2007.  


Charlie Emmert’s work is available through the Faust Gallery  7103 E. Main St. Scottsdale, AZ. Tel. (480) 946-6345



 Charlie Emmert
Creating Visual Paths to the Viewer’s Inner Perception

By Oriana Parker


      The paintings of Charlie Emmert challenge the viewer to look again and again. At first glance, you see the finished image.  However, with continued viewings, the outer layer becomes transparent and allows you to see into the next layer.  (Just as getting to know someone better reveals different aspects of their personality.)

         Her technique of painting in layers allows Charlie to explore the essence of the person being captured on canvas. This “more than first meets the eye” quality is uniquely rewarding. You may be intrigued by how many resounding chords these painted images strike.  Surprised by how many thoughts, even emotions they inspire.

         People are amazed by the depth of the feelings and range of experiences awakened by these works of art. “I want the viewer to engage in their own intellectual and emotional ‘dialogue’ with my paintings.  I do not want to tell them what to think, what to feel,” Charlie stresses. “Once I have finished with a piece, I no longer regard it as mine.  The heart and soul of it really belong to the viewer,” she adds.

        Some compare these works to those of Cezanne, Soutine, and Kokoscha as well as Rouault.   Certainly Charlie’s dramatic use of color and bold execution are reminiscent of these masters.   Yet her paintings are unique and totally distinctive.

         Until recently, those living in the Midwest have somewhat monopolized firsthand viewing of Charlie’s works.  Thanks to the Faust Gallery as well as the West Valley Art Museum (who will stage of solo exhibition of her paintings next spring), this situation has changed.  Much to the delight of art lovers living in or visiting the Southwest. 

          Especially those individuals who enjoy paintings that inspire the exploration of inner perception.


Charlie Emmert

By David Heffner, Ph.D.



      Rarely have I seen an artist more drawn to portraiture than Charlie Emmert.  Whether historical figures, family members or friends, her portraits are not renderings of a specific point in time.  Her portraits are generalized and evolutionary, monumental and iconic.  She evokes the essence of the sitter as she develops a deeper relationship or understanding of the person through her carefully meditative approach to creating and painting.


     Never satisfied with drawing as rendering, Charlie was naturally drawn to the freedom of painting.  In her early paintings of the mid-1990s Charlie drew inspiration from the likes of Kokoschka, Modigliani, Roualt and Soutine.  Her response to these artists makes sense; a painter in love with painterly paintings.  Charlie's response to painting is synonymous with her life; in painting as in life she organizes and makes structure out of life’s uncertainties.  Within this self-imposed structural framework, Charlie freely sketches with paint building up layer upon layer thickening and enriching the surface as she builds up emotional depth as well. You see this in Charlie's earlier work as well as her latest pieces; a strong sense of character and space matched with vibrant colors.  Each painting is an evocation of the soul.  She molds shapes in fictive space by pushing pigment around, thus her paintings are sculptural.  The paintings are thick.  They evolve in a slow but not necessarily methodical way. 


     In Charlie's latest pieces she does not rely upon past artists for inspiration; rather her paintings are self-referential and evoke internally.  She lets the paintings happen.  With maturity, Charlie seems at peace with composition.  Her approach seamlessly matches her subject.  You see this in her portrait of Edgar Allen Poe.  His stories are bold, colorful, and eery.  An avid reader of Poe, Charlie has captured these precise characteristics in her rendering of the famous author.  Often full frontal and closely cropped, her paintings do not scream novelty but rather whisper subtlety.  This subtlety is seen in the image of Frida Kahlo.  Here we have a gentle, feminine and almost familial portrait of this well known artist.  Clearly there is an intimate connection between Charlie and her sense of Frida.  This is suggested in the careful rendering of the crimson frame that surrounds this delicate and beautiful figure.  Frida's image is carefully placed within the painted frame for intimate viewing.


     I see in Charlie's work the evolution of an artist and a person.  Her paintings have changed yet intrinsically remain the same.  They are warm, intimate, and life-affirming.  Seeing her work develop over time, I can only look forward to seeing future paintings of Charlie Emmert.


     Charlie Emmert has had numerous one person shows and has participated in various group shows.  Her work is in private and public collections.  The Faust Gallery in Scottsdale, Arizona carries her work as does the Lasansky Gallery & Studio in Iowa City, Iowa. The West Valley Art Museum will feature her work in a one person show in March of 2007.



Iowa City Press-Citizen

Iowa City artist in Cedar Rapids exhibit


Paintings by Iowa City artist, Charlie Emmert will be featured in an exhibition opening July 12 at the Cedar Rapids Museum of Art.

Emmert paints portraits, using oil on paper.  The technique Gives her work rich texture and a different surface quality than oil on canvas.  The combination of paint, personality and the artist’s perceptive eye produce evocative, often haunting essays in the portraiture.

The public is invited to a reception for the artist from 5 to 7 p.m. on July 17.  Charlie Emmert: Recent Paintings will remain on view in the museum’s Iowa Gallery through Aug. 24.