Paint Figurative Paintings

Oil painting of a study of "Blue Boy" standing with his hat in his left hand by Mary Welch (American, 1875-1967). Circa 1918. Signed "M. Welch" lower left and gifted circa "1955" on verso. Image: 6"L x 9"H. Mary Welch, born 10 years after the end of the Civil War, was a woman ahead of her time. She signed her paintings M. Welch, hoping that potential buyers wouldn't discover she was a woman. More often than not, when they learned her sex, art dealers lost interest. The Hutchinson artist never married, never had children. But when she died in 1967, she left an impressive body of paintings, many of them familiar Kansas landscapes...

Oleg Ardimasov was born on July 24, 1936 in the village of Lermontovka, in the Khabarovsk region of Russia. As a young artist, Oleg studied visual arts under Anfisa Burkova. After n...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Omoyeni Arogunmati...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Omoyeni Arogunmati...

A fine winter cityscape with a fun scene of people skating in Boston by American artist (1864-1929). Born in Portsmouth, New Hampshire, Goodwin lived and worked most of his life in M...

Christening signed by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back watercolour painting on artist paper, unframed measures: 10.5 high by 7.5 inches ...

The Seine River winds through Paris as though commissioned to secure the centuries of secrets that it has beheld these many years. Barges near the internationally famed Louvre Museum...

Exploring the purity of the feminine form and the excitement of High-End Fashion, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composi...

PS 213 Le Bain de Soleil Mondrian Poetic scene of a woman sleeping in summer time Technique: oil, acrylic, and ink on old book pages on wooden frame 55x55cm ■■ 21,6x21,6 inch 》》R E...

In Geri's own words: "My love for art began in my early teens when I signed up for art class in high school and soon discovered that I had a passion for drawing and oil. Growing up i...

This painting is featured in a hand-carved wood frame imported from Spain. Justo Revilla, born in Madrid, Spain in 1940 began his artistic career at the age of thirteen where he also...

Justo Revilla, born in Madrid, Spain in 1940 began his artistic career at the age of thirteen where he also attended the Arts and Crafts school. While working in a poster studio he p...

A fun genre painting with students in a classroom being students by American artist George Henry Story (1835-1923). Story was born in New Haven, CT, and after studying a year in Euro...

Step into the enchanting realm captured in "Mystic Pond" by Juan del Pozo, a mesmerizing masterpiece that transports viewers into a world of serenity and mystique. This framed and si...

This painting is featured in a hand-carved wood frame imported from Spain. Justo Revilla, born in Madrid, Spain in 1940 began his artistic career at the age of thirteen where he a...

Summer in La Baule VII Summer Scene: Woman with Keith Haring's pattern swim dress. Little Red Riding Hood with the wolf Technique: oil, acrylic, and ink on old book pages on woode...

Peggy McGivern's "Fire on the Mountain" is an original, handmade oil painting. Peggy McGivern currently lives in Taos, New Mexico and comes from three ...

Josine Vignon (French 1922-2022) ...

In Geri's own words: "My love for art began in my early teens when I signed up for art class in high school and soon discovered that I had a passion for drawing and oil. Growing up i...

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

Romantic painting depicting a peaceful get-together in a park by Rudolf Alfred Höger The elegantly dressed people are indulging in a delicious "al fresco" picnic on green hill on a ...

Joan Palet (1911 - 1996) - Female figure - Oil on canvas Oil measures 81x65 cm. Frameless. Joan Palet was born in Barcelona on March 28, 1911 in a family of sculptors and wood carve...

Portrait of a Distinguished Gentleman by John Arthur Machray Hay (Scottish, 1887-1960) signed and dated 1910 oil on canvas, unframed canvas: 30 x 24 inches provenance: private co...

"Waterlilies Pond" by Juan Del Pozo is an enchanting original landscape painting that transports viewers to a serene natural setting. Crafted with oil on canvas in the style of impre...

"London Bridges" by Juan Del Pozo is a captivating original cityscape painting that captures the timeless beauty and bustling energy of London's iconic landmarks. Created with oil on...

Joaquín Asensio Mariné (1890-1961) - Beach - Oil on canvas Oil measures 65x81 cm. Frame measures 81x96 cm. Asensio Mariné (Barcelona, 1890-1961) was a painter who specialized in lan...

Konstantin Razumov (Born 1974) Russian Semi-Nude Lady Standing in the Courtyard of the Harem Oil on canvas: 16 x 11 inches. Frame: 23 x 18 inches. Konstantin Razumov's work has ...

This artwork titled "Lobster Fishermen" c.1945, is an oil painting on canvas by renown American impressionist artist Claude Curry Bohm, 1894-1971. It is signed at the lower left corner by the artist. The canvas size is 20 x 24 inches, framed size is 26.25 x 30.25 inches. Framed in a new wooden gold leaf plein air style frame. It is in excellent condition, it has been recently revarnish and new keys have been added to the canvas stretcher. Please note the the dark line on the top and left side of the painting are only the shadow, it is not a part of this artwork. About the artist: Claude Curry Bohm, a photographer, painter, and printmaker whose artistic career spanned five decades, was an integral part of the Chicago art scene in the 1920s and a very prominent part of the second generation of the Brown County...

Josine Vignon (French 1922-2022) ...

Josine Vignon (French 1922-2022) ...

Signed figures in landscape oil on canvas circa 1860 by French impressionist painter Stanislas Lepine. The piece depicts a daytime view of a bustling street in Normandy on a cloudy day. Signature: Signed lower left and further signed and indistinctly titled on original artist's label verso Dimensions: Framed: 26"x19" Unframed: 18.5"x11.5" Provenance: Private French collection Stanislas Victor Édouard Lépine was the pupil of Corot in Paris between 1860 and 1875. His first paintings hardly attracted attention. He would perhaps have remained unknown for a long time if Count Armand Doria, struck by the feeling visible in his landscapes, had not taken him under his protection with Adolphe Félix Cals...

In Geri's own words: "My love for art began in my early teens when I signed up for art class in high school and soon discovered that I had a passion for drawing and oil. Growing up i...

This artwork titled 'Church Ruin in Colima" c.1960 is an oil painting on hardboard by noted American artist Mark Allen Coomer, 1914-2004. It is signed at th...

José Martinez Lozano - Landscape - Oil on board Oil measurements 37x41 cm. Frame measurements 46x50 cm. Josep Martínez Lozano was born in the Born district of Barcelona on March 2...

Elena Degenhardt's "Ocean I" is a poignant representation of the relentless and eternal spirit of the sea. Crafted in 2022, this exquisite original artwork measures 4 x 6 inches, ren...

Portrait of an Elegant Lady by John Arthur Machray Hay (Scottish, 1887-1960) signed and dated 1910 oil on canvas, unframed canvas: 30 x 24 inches provenance: private collection, UK c...

Joaquin Terruella Matilla (1891-1957) - Landscape - Oil cardboard Oil measures 33x41 cm. Frame measures 47x55 cm. Joaquim Terruella Matilla (1891 - 1957) Joaquim Terruella Matilla,...

Josine Vignon (French 1922-2022) ...

The picture shows a girl firefighter. The main idea of ​​this work is that every woman contains strength and femininity, tenderness and will. A woman can do everything, but the quest...

This painting dedicated to "Women" series is a special one since it is all about my strong deep personal transformation as an artist. This transformation was based on the expansion ...

Summer in La Baule VI Sun Bathing Summer Scene: Women enjoying sunbathing in La Baule VI Technique: oil, acrylic, and ink on old book pages on wooden frame 30x30cm ■■ 11,8x11,8 inc...

Embracing my roots and my cultural background through having a special spiritual connection to the women I depict on my canvases. The theme of women, womanhood and femininity is at ...

Josine Vignon (French 1922-2022) ...

In my art practice I love to use bright colors which boldly contrast with complementary colors so I could get unusual original compositions and structures. The objective of this art...

The White Scarf (Self Portrait of the Artist) Oil on board, 1894 Signed and dated lower left: E M Heller '94 (see image) Framed in a metal leaf Whistler style frame, Frame: 23 x 18-...

This painting will come to you stretched on a wooden stretcher and completely ready to be placed in the interior. ABOUT THE ARTWORK "My Brave Princess" from the "PERICHORESIS SERIES...

PS 238 Le temps des Jonquilles ou l'art de montrer son dos. Portrait of a woman with back naked. Structural analysis: Such as Impressionist painting, the subject is firstly a stu...

"Happy is he who can love his wife like a mistress, and unhappy is he who allows his mistress to love him like a husband."

This painting will come to you stretched on a wooden stretcher and completely ready to be placed in the interior. ABOUT THE ARTWORK "Let's Keep Them for Ourselves" delves into the i...

LEONID VAICHLIA (St. Petersburg, 1922) Works by Leonid Vaichlia can be found in various private collections in Europe, Japan, United States and in the following museums: Mosca, T...

This lovely Scottish exhibited seascape oil painting is by noted Scottish artist Patrick Downie. It was painted in 1914 and exhibited at the Glasgow Institute of Fine art that year e...

"Micky" by John Young-Hunter (British 1874-1955) signed and dated 1920 oil on canvas, unframed canvas: 50 x 31 inches provenance: private collection, UK condition: very good and soun...

PS 239 Sed non Satiata Portrait of a naked woman with blue hair. Structural analysis: Such as Impressionist painting, the subject is firstly a study of light on human body, creat...

"In love, pauses are especially delightful. As if in these moments tenderness accumulates, breaking through then with sweet outpourings."

This painting will come to you stretched on a wooden stretcher and completely ready to be placed in the interior. ABOUT THE ARTWORK "Paradise" within the "PERICHORESIS SERIES" refle...

A wonderful 16"x20" Tom Nicholas. Tom Nicholas, N.A., AWS was born in Middletown, Connecticut in 1934. From 1953 to 1956 he was a scholarship student at ...

"The Day's Toil" Oil painting 16" x 24" inch by Omar Abdel Zaher Abdel Zaher is a graduate of the Academy of Fine Arts in Helwan and has been painting for three decades and has nota...

Untitled, 1951 Oil on canvas 19 7/8 x 24 in. Framed: 28 1/2 x 32 1/2 x 1 1/2 in. Signed and dated lower left