Georges Rouault Portrait Paintings

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...

ANNA KINCAIDE "Turn Your Magic On" Oil & Mixed Media on Canvas 60 x 60 inches Communicating emotion and narrative with limited assistance from her figure’s facial expressions, Anna ...

This is a possible self portrait by the famed female surrealist artist. It is also strikingly similar in style with it's exaggerated eyes to her portrait of Jean Genet, ( Leonor F...

Artist Edward Cucuel and his wife Clara Lotte von Marcard spent their first two decades together in Germany, mostly in a villa on Lake Ammersee in Holzhausen near Munich. It is the works created in this period, mainly outdoor scenes of young women in fashionable attire of the day, that are most collected and appreciated among his works. It’s easy to see why- they capture an elegance and sense of calm and easy leisure- of long days in gardens or by the water.  This is one of those captured moments with a well-dressed woman watching the sailing yacht...

"Abstract Cactus" is an acrylic painting from Ryan Rivadeneyra's series of imagined modernist sculptures. In this series, Rivadeneyra explores the possibilities of colorful sculptura...

Provenance: Charles H. and Virginia Baldwin, Claremont, Colorado Springs, Colorado ca. 1907-1934; thence by descent until sold in 1949 to: Charles Blevins Davis, Claremont (renamed Trianon), Colorado Springs 1949 -until gifted in 1952 to: The Poor Sisters of Saint Francis, Trianon, Colorado Springs, 1952 until acquired, 1960, by: John W. Metzger, Trianon, renamed as the Trianon School of Fine Arts, Colorado Springs, 1960-1967; when transferred to: The Metzger Family Foundation, Trianon Art Museum, Denver, 1967 - 2004; thence by descent in the Metzger Family until 2015 Exhibited: Trianon Art Museum, Denver (until 2004) The present work is a spectacular jewel-like canvas by Amigoni, rich in delicate pastel colors, most likely a modello for an altarpiece either lost or never painted. In it the Madonna stands firmly upon a cloud in the heavens, her Child resting on a delicate veil further supported by a cloud, as he gently wraps his arm around his mother’s neck. From above angels prepare to lower flowers and a wreath, while other angels and seraphim surrounding the two joyfully cavort. Dr. Annalisa Scarpa, author of the forthcoming monograph on Jacopo Amigoni...

ANNA KINCAIDE "Go Your Own Way" Oil & Mixed Media on Canvas 60 x 60 inches Communicating emotion and narrative with limited assistance from her figure’s facial expressions, Anna Kin...

Winter Shadows 35 by Eleanor Woolley [October 2021] original Oil Paint on Canvas Image size: H:15 cm x W:15 cm Complete Size of Unframed Work: H:15 cm x W:15 cm x D:3.8cm Sold Un...

'Nude at the Window Overlooking Sacré-Coeur', oil on paper mounted on canvas, by Louis Latapie (circa 1930s). Although later in Latapie's career he embraced cubism and abstraction, t...

the most important American Impressionists of his age. While many of his contemporaries focused on the landscape, Frieseke gained his inspiration from the figural, and in particular the theme of femininity. His works capture female figures engaging in traditionally feminine roles — strolling in the garden or posed in a domestic interior. At the Mirror...

The Man with the Moustache signed by Louise Alix (French, 1888-1980) *see notes below oil painting on canvas unframed measures: 18 inches high by 23.5 inches wide condition: overall ...

Provenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...