Evelyne Ballestra

Orchestra

2014

Her work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged. Her work create...

Her work with signs, symbols and esoteric spirituality reflects her passion for the ancient past. Her earlier works done in shallow relief, break down “form” into the most basic elem...

Iris conversation is a painting made by Evelyne Ballestra, a French contemporary artist. This piece is a part of a flower series, defined by their distinct bright colors, satiny, sil...

Carroussel is a painting made by Evelyne Ballestra, a French contemporary artist. This piece is a part of a flower series, defined by their distinct bright colors, satiny, silky, vib...

Tulips is a painting made by Evelyne Ballestra, a French contemporary artist. This piece is a part of a flower series, defined by their distinct bright colors, satiny, silky, vibrati...

Praslin is a colorful painting made by Evelyne Ballestra, a French contemporary artist, while she was in Seychelles for art residency. The artist uses bright colors in this expressio...

female bathers by visionary artist Stephen Basso

Artist: Charles Cobelle, French (1902 - 1994) Title: At the Circus I Medium: Oil on Canvas, signed l.r. Size: 24 x 20 in. (60.96 x 50.8 cm) Frame Size: 30 x 26 inches

Bright, colorful Fauvist figurative painting of a woman with vase of flowers in a vibrant interior space, by an unknown Bay Area artist (American, 20th...

Blending surrealistic elements with narrative, Mr. Basso is known for wildly imaginative and colorful work.

The Namur painter and engraver, Louis Decoeur (1884-1960) became a member of “L’Effort” around 1910. This artist’s association provided a free studio for painters in Brussels, on the...

Adriana Pincherle, (1905, Rome - 1996, Florence). A lady with a turban and green shadows in a landscape. Italian female painter, active in Rome and from 1943 in Florence. Painting signed and dated lower right: Adriana Pincherle. 1973. Oil painting on canvas. The simple composition, which represents a woman from behind, bears the influence of Matisse's avant-garde style, with bold and refined color combinations. The shape is created with color, creating an almost surreal and highly expressive effect. The painter once said: "My painting has always been figurative, not realistic. In this sense I felt very similar to the Informal movement, which, fundamentally, pushed my passion for color to the extreme." FREE SHIPPING in Italy and Europe Artist Biography: Pincherle Adriana Rome 25 December 1905 - Florence 8 January 1996 Adriana was born in Rome on 25 December 1905, into a family in which two cultures were intertwined: the Jewish one of her father, the engineer Carlo Pincherle, of Venetian origins and in love with painting, and the Catholic one of her mother, Isa di she. De Marsanich, a noble but decayed Hungarian. Adriana is the eldest child and two years older than her brother Alberto, known to the literary world under the pseudonym Alberto Moravia As Pincherle herself says about her, as a child she spent hours admiring her father who painted watercolours, and it was perhaps then that her interest in drawing and above all her particular sensitivity towards color was born. Thus, having completed her classical studies, she began to attend the "ladies" atelier of the engraver Alfredo Petrucci and the free nude courses at the Academy, where she met Mimmo Spadini and Scipione, and came into contact with Roman art. In 1931 she made her debut at the collective "First Roman exhibition of female art" at the "Galleria di Roma", while the following year, at the same gallery, she exhibited a solo show together with Corrado Cagli, already attracting the attention of critics, famous comment by Longhi, cited several times by Pincherle herself, who prefers the "sissy" between the two artists. As evidence of the results achieved by Adriana since her first works, we remember that among her works presented in 1932 there was also the famous "Standing Self-Portrait", now in the Uffizi Pincherle's growth passes through places and periods common to both the Roman School and the school of painters of the via Cavour group (Mafai, Raphaël, Scipione), with tangents and deviations, but his pictorial research arrives at original solutions independent of any label . Fundamental to the maturation of her art was her stay in Paris in 1933, in which Pincherle admired and studied closely the Fauves, Renoir and in particular Matisse. In the same year she exhibited for the first time in Florence at the Sala d'arte delle Nazioni with Milena Barilli...