Carlos Kis

Latin American , Brazilian Surrealist Painting Carlos Kis after Rene Magritte

1988

Hank Laventhol (1927–2001) was an American painter and master print maker. He worked in painting, graphics, sculpture and photography. Associated with ...

Lazzaro Donati (Italian, 1926-1977), "Signora dal Cappello," oil on panel, signed lower left, signed, titled and dated verso, overall (with frame): 22.5"h x 24.5"w Lazzaro Donati was born in Florence and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. His work i faucist recalling the works of the french Raoul Dufy, Dunoyer de Segonzac, Francois Gall and jean Jansem. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d’art and antique furnishings. Light poured in through the sloping glass wall on the north side. A dramatic stairway led to an overhanging balcony which served as a private gallery where the artist hung some of his favorite early works. To the left of the entrance was a smaller studio where Donati sculpted, with a window overlooking the famous old English cemetery where tourists laid flowers on the grave of Elizabeth Barrett Browning. In the main studio itself, where Donati received his clients in an atmosphere as polished as an office of a top executive, one hardly realized that it was here that the artist actually painted. His easel was covered with Persian blue velvet, the painting on the easel was already framed, his chair was upholstered in red velvet and on his palette the colors were arranged with the precision of a Byzantine mosaic. In a corner stand were his latest works, framed and ready to be sent off to his next exhibition in Europe or America. He spoke fluent French and English as well as some Spanish and German. “After all”, he said, “you've got to know how to sell a painting...

Lazzaro Donati (Italian, 1926-1977), Framed oil painting "La Ragazza Ungherese" The Hungarian Girl. Dated 1961. Framed: 36.25 x 28.5 inches. In good condition. Lazzaro Donati was born in Florence and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. His work i faucist recalling the works of the french Raoul Dufy, Dunoyer de Segonzac, Francois Gall and jean Jansem. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d’art and antique furnishings. Light poured in through the sloping glass wall on the north side. A dramatic stairway led to an overhanging balcony which served as a private gallery where the artist hung some of his favorite early works. To the left of the entrance was a smaller studio where Donati sculpted, with a window overlooking the famous old English cemetery where tourists laid flowers on the grave of Elizabeth Barrett Browning. In the main studio itself, where Donati received his clients in an atmosphere as polished as an office of a top executive, one hardly realized that it was here that the artist actually painted. His easel was covered with Persian blue velvet, the painting on the easel was already framed, his chair was upholstered in red velvet and on his palette the colors were arranged with the precision of a Byzantine mosaic. In a corner stand were his latest works, framed and ready to be sent off to his next exhibition in Europe or America. He spoke fluent French and English as well as some Spanish and German. “After all”, he said, “you've got to know how to sell...

Lazzaro Donati (Italian, 1926-1977) Oil on board. Colorful woman. Hand signed upper right. signed, titled on back of panel. Dimensions: (Frame) H 37" x W 29", (Panel) H 27.5" x W 20" Lazzaro Donati was born in Florence and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. His work i faucist recalling the works of the french Raoul Dufy, Dunoyer de Segonzac, Francois Gall and Jean Jansem. This particular work is reminiscent of the work of Manolo Valdes. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d’art and antique furnishings. Light poured in through the sloping glass wall on the north side. A dramatic stairway led to an overhanging balcony which served as a private gallery where the artist hung some of his favorite early works. To the left of the entrance was a smaller studio where Donati sculpted, with a window overlooking the famous old English cemetery where tourists laid flowers on the grave of Elizabeth Barrett Browning. In the main studio itself, where Donati received his clients in an atmosphere as polished as an office of a top executive, one hardly realized that it was here that the artist actually painted. His easel was covered with Persian blue velvet, the painting on the easel was already framed, his chair was upholstered in red velvet and on his palette the colors were arranged with the precision of a Byzantine mosaic. In a corner stand were his latest works, framed and ready to be sent off to his next exhibition in Europe or America. He spoke fluent French and English as well as some Spanish and German. “After all”, he said, “you've got to know how to sell...

Lazzaro Donati (Italian, 1926-1977) Oil on board. Colorful woman. La Regina (the Queen) Hand signed upper right. signed, titled on back of panel. Dimensions: (Frame) H 37" x W 29", (Panel) H 27.5" x W 20" Lazzaro Donati was born in Florence and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. His work is recalling the works of the french Raoul Dufy, Dunoyer de Segonzac, Francois Gall and Jean Jansem. This particular work is reminiscent of the work of Manolo Valdes. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d’art and antique furnishings. Light poured in through the sloping glass wall on the north side. A dramatic stairway led to an overhanging balcony which served as a private gallery where the artist hung some of his favorite early works. To the left of the entrance was a smaller studio where Donati sculpted, with a window overlooking the famous old English cemetery where tourists laid flowers on the grave of Elizabeth Barrett Browning. In the main studio itself, where Donati received his clients in an atmosphere as polished as an office of a top executive, one hardly realized that it was here that the artist actually painted. His easel was covered with Persian blue velvet, the painting on the easel was already framed, his chair was upholstered in red velvet and on his palette the colors were arranged with the precision of a Byzantine mosaic. In a corner stand were his latest works, framed and ready to be sent off to his next exhibition in Europe or America. He spoke fluent French and English as well as some Spanish and German. “After all”, he said, “you've got to know how to sell...

Lazzaro Donati (Italian, 1926-1977) Oil on board. Colorful woman. La Signora, Vestita Di Giallo, 1969 Hand signed upper right. signed, titled on back of panel. Dimensions: (Frame) H 38" x W 30", (Panel) H 28" x W 20" Lazzaro Donati was born in Florence and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. His work is recalling the works of the french Raoul Dufy, Dunoyer de Segonzac, Francois Gall and Jean Jansem. This particular work is reminiscent of the work of Manolo Valdes. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d’art and antique furnishings...

Julio Labra's "Ember" is an original, handmade oil painting that depicts a feminine figure in red with her many arms and hands of orange reaching into the nighttime sky like a flame ...

Bulb of Africa was not just a hairstyle; it was a celebration of African heritage and a testament to the resilience of its people. Passed down through generations, it represented strength, beauty, and the rich tapestry of African traditions. The Bulb showcased the natural texture and volume of African hair, transforming it into an intricate masterpiece of braids, twists, and coils. The Bulb of Africa became a symbol of empowerment, reminding people of their strength, resilience, and the beauty of their shared heritage. It served as a reminder that hair was more than a physical attribute; it was a connection to something greater—a connection to their ancestors, their community, and celebrating the beauty within themselves. Beyond their physical beauty, African women possess an immeasurable inner strength that resonates through "Bulb of Africa." Odunayo masterfully captures this strength, highlighting the resilience and determination that have defined African women throughout history. The women depicted in the artwork emanate confidence, wisdom, and a sense of purpose. Their gaze speaks volumes, embodying the stories of countless African women who have overcome adversity, shattered barriers, and carved out their own paths to success. In "Bulb of Africa," Iyiola Odunayo...

Inspired by the mythological Greco-Roman origins, these works of art are dreamlike superimposed views of expressive and sometimes sensual figures. Like the immortal mythological heroes, my subjects remind us of the human ability to remain beautiful and noble despite de passing of time and damage it brings. This double portrait is a combination of a deconstructed, sectioned ancient marble head...

Inspired by the St Sebastian religious paintings, this double portrait is a dreamlike superimposed view of an expressive and sensual figure. St Sebastian, acrylic on canvas, 20in, r...

Surrealist portrait of a man with multiple shades of black, grey, and white. The painting is signed and dated in the bottom right corner. The painting is framed in a black frame with...

Bulb of Africa was not just a hairstyle; it was a celebration of African heritage and a testament to the resilience of its people. Passed down through generations, it represented strength, beauty, and the rich tapestry of African traditions. The Bulb showcased the natural texture and volume of African hair, transforming it into an intricate masterpiece of braids, twists, and coils. The Bulb of Africa became a symbol of empowerment, reminding people of their strength, resilience, and the beauty of their shared heritage. It served as a reminder that hair was more than a physical attribute; it was a connection to something greater—a connection to their ancestors, their community, and celebrating the beauty within themselves. Beyond their physical beauty, African women possess an immeasurable inner strength that resonates through "Bulb of Africa." Odunayo masterfully captures this strength, highlighting the resilience and determination that have defined African women throughout history. The women depicted in the artwork emanate confidence, wisdom, and a sense of purpose. Their gaze speaks volumes, embodying the stories of countless African women who have overcome adversity, shattered barriers, and carved out their own paths to success. In "Bulb of Africa," Iyiola Odunayo...