Joan Palet Art

At Doug's Place by Lu Haskew Oil 12x10" image size Plein Air artists sit by a river discussing on break from the day of painting. ABOUT THE ARTIST: Lu considered it a must to work...

ABOUT THE ARTWORK The painting titled "To be at home and drink coffee" is an intimate portrayal of solace and self-reflection. The subject, a figure with an introspective gaze, is c...

French Impressionist Oil on Canvas after a painting by Paul Cézanne titled 'Le Jardinier Vallier' (R950, FWN547). The painting is titled and signed 'élève de beaux arts d' Aix' to th...

Impressionist/Post impressionist style painting 'Sunlit Path' by Scottish contemporary artist JD Henderson, gives us this country garden scene dated 1999 (verso), signed by the artis...

Impasto style oil paint brings the sunset to life with saturated colours and a featured pine tree overlooking a lake. Bold brush strokes and strong light bring this Group of Seven in...

ABOUT THE ARTWORK "Ecstasy of Saint Teresa" is an evocative piece that captures the transcendental moment of spiritual rapture. The central figure, poised in a state of divine surren...

ABOUT THE ARTWORK The painting "AVE MARIA" presents a figure of tranquil beauty, with eyes closed in a moment of inward reflection. The striking pink hair adds a modern flair to the ...

Oil on canvas by Henri-André Martin (1918-2004), France, ca.1960. Notre-Dame de Paris. With frame: 79.3x 60.3 cm - 31.2x23.7 inches. Without frame: 54x 73 cm - 21.3x28.7 inches. 20P format. Signed lower left "Henri A. Martin" (see photo). Born in Lyon in 1918, the child and the adolescent Henri-André Martin spent his youth in Saint-Étienne, his father, Edme Martin, first installed as a practicing doctor in Lyon, having been appointed doctor of the anti-tuberculosis dispensaries of the Loire. During his first years of studying medicine in Lyon, he nevertheless enrolled in the Beaux-Arts. Appointed hospital intern upon his return from captivity in 1942, he ended his medical career as director of the otolaryngology university clinic at Édouard-Herriot hospital. But painting was his passion. Painting was for Henri-André Martin the way of expressing his feelings. By nature very reserved and of an extreme modesty that many took for coldness, it was what allowed him to express his strong artistic sensitivity and, his pictorial periods are as many reflects of his anxieties, of his hopes, of his joys. At every period of his life, wherever he goes and whenever he has a moment, he paints gouaches, often of small size, but sometimes of larger size. He also paints beaches that have been compared to those of Boudin. Their invoice shows, however, that this figure is only appearance and that in fact, these beaches made of water, sky and sand, readily dispense with the motif, the work of the material seeming to have more importance. as the subject. Despite the fact that until the 1970s he painted "on the ground", his canvases remain far removed from the anecdote. Often harsh like the landscapes of Provence, the Parisian walls which express concern, or the railways, the switch tracks which suggest, in ocher and black, all the embarrassment of choice. We find the same nostalgic gravity in the canvases of the carcasses of boats which, as his friend Louis Pons later wrote, "seem to die of immobility" or in the canvases of Venice, or the landscapes of Eygalières. In the following years, his painting became simpler, more synthetic, such as these landscapes with tortured almond trees, black and gnarled olive trees, plane trees standing out against the ocher sky of the dawn of Provence, in winter. These are also the canvases of Hamburg in the dough becomes heavier, the colors darken, marking all the gravity of the port landscapes. Workshop work gradually takes precedence over motif painting. The pivotal period coincides with that of his work on the olive tree, during which he leads the realization of the "Trunks", a collection of six lithographic plates, of the book L'olivier comprising many lithographs and serigraphs, but also texts. poetic and numerous paintings. He then became passionate about everything related to the olive tree (literature, painting, traditions, history), but also to the tree itself, its thousand-year-old history, its poetry, its symbols, but also its culture, its size. oil production...

"Take me Home" by Lu Haskew Oil 19x16" framed, 12x8" image size Signed lower left A young child very apparently ready to go home from their intense yet cute look. The child is weari...

An impressive and masterful depiction of a young woman with a fan. An American artist who studied and traveled in Europe and painted this painting before his return. It has its original frame which is magnificent. The frame has been regilded in th past 10 years. Vinton was abroad in the 1880s. The sitter gazes coyly over her fan in a gesture that ladies and gentleman of fin-de-siècle Europe would have understood to mean “wait for me,” and perhaps indicating her interest in a potential suitor. Vinton embarked on several trips to Europe—to Spain in 1882 with William Merritt Chase and Robert Blum, and to several different countries in 1888 following his marriage—which provided inspiration for a renewed style and subject matter. While in Spain with Chase and Blum, the three artists visited Madrid and Toledo; there, Vinton studied the masterfully tenebrous portraits of Velázquez, an influence that can be seen in Portrait with Yellow Shawl...

EMILIO GRAU SALA Spanish, 1911 - 1975 BOULEVARD OF PARIS signed Grau Sala (lower right) oil on canvas 25-1/2 X 32 inches (65 X 81 cm.) framed: 36-1/4 X 42-1/2 inches (92 X 108 cm.) PROVENANCE Sale: Sotheby´s Olympia London, 20 October 2006 Emilio Grau Sala came from a family of artists. He was born in Barcelona in 1911 and his father, a good cartoonist, had been one of the promoters of the "Salon des Humanistes" and made his exhibitions normally in the Parés Hall. His first works were exhibited at the Salon des Independents, in the years 1930-33. Grau Sala was essentially a Mediterranean painter, son of post-impressionism and enriched with French painting of the last fifty years. In this work Grau Sala has a loose, subtle brushstroke, in which the color shapes the entire work. The bright and transparent whites that give life to young schoolgirls contrast with the brushstrokes of blacks from the nun who accompanies them. The explosion of greens is refreshing, it surrounds us and transports us to an idyllic place, even if it is a citizen boulevard, which becomes friendly and beautiful. His works can be found in the Museums of the Villa de Paris, L'Ile de France Museum, at the Château de Sceaux, Honfleur Museum, La Rochelle Museum, Barcelona Museum, Tossa de Mar...

CELSO LAGAR Spanish, 1891 - 1966 FORAINS SUR LA PLAGE signed "Lagar" (lower right) oil on canvas 11-1/2 x 16-1/8 inches (29 x 41 cm.) PROVENANCE Private French Collector Celso Laga...