Michaele Vollbracht Art

French Figures by Bernard Labbe (French mid 20th century) original gouache on card size: 19.5 x 13 inches condition: very good and ready to be enjoyed ...

A rare original signed Art Deco gouache on paper by Erte (Romain de Tirtoff) . This stunning theatrical costume design is signed Erte at the lower right. The piece is 20 by 18 fram...

"Les Artistes du Cirque" is an original painting in ink, watercolor, and gouache on paper by leading Fauvist artist Kees Van Dongen, signed in the lower right. In the piece, two circus performers stand against against a wall. On the left, a pale woman in a blue leotard with red flowers on the shoulder stands with her arms crossed, looking out at the viewer. The painter fills in her tights with delicate white brushstrokes, lending them an almost iridescent appearance. Her strawberry blond hair is piled on top of her hair according to the fashion of the period. On the right, an African man stands in a vivid orange toga, looking somewhere off to the left. His feet are clad in bright white shoes...

Alice Anne Renshaw. English ( b.1849 - d.1900 ). Young Lady With Meadow Flowers In Her Straw Hat Watercolor & Gouache on Artist's Board ( An embossed stamp in the top left hand corn...

This is a signed portrait painting done in an outsider, folk art, expressionist style. it is signed in Hebrew, also marked with a Jewish star. this is from a collection of works by the same hand. they are all signed. Some have markings to the back of the paper. they have some age to them. They bear similarities to artists as dissimilar as Moshe Tamir, Mane Katz and an Israeli version of Purvis Young. In this piece the artist choice of colors is muted yet powerful. Israel has had a Vibrant Folk Art, Naive art scene for a long time now, artists like Yisrael Paldi, Nahum Guttman, Reuven Rubin and even Yefim Ladyzhensky had naive periods. The most well know of the strict naive artists are Shalom of Safed, Irene Awret, Gabriel Cohen, Natan Heber, Michael Falk and Kopel Gurwin. Naïve art is any form of visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing). Unlike folk art, naïve art does not necessarily evince a distinct cultural context or tradition. Naïve art is recognized, and often imitated, for its childlike simplicity and frankness. Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective. One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso. Naïve art is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide. Museums devoted to naïve art now exist in Kecskemét, Hungary; Riga, Latvia; Jaen, Spain; Rio de Janeiro, Brasil; Vicq France and Paris. "Primitive art" is another term often applied to art by those without formal training, but is historically more often applied to work from certain cultures that have been judged socially or technologically "primitive" by Western academia, such as Native American, sub saharan African or Pacific Island art (see Tribal art). This is distinguished from the self-conscious, "primitive" inspired movement primitivism. Another term related to (but not completely synonymous with) naïve art is folk art. There also exist the terms "naïvism" and "primitivism" which are usually applied to professional painters working in the style of naïve art (like Paul Gauguin, Mikhail Larionov, Paul Klee). At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blaue Reiter, an almanac in 1912. Wassily Kandinsky and Franz Marc, who brought out the almanac, presented 6 reproductions of paintings by le Douanier' Rousseau (Henri Rousseau), comparing them with other pictorial examples. However, most experts agree that the year that naive art was "discovered" was 1885, when the painter Paul Signac became aware of the talents of Henri Rousseau and set about organizing exhibitions of his work in a number of prestigious galleries. The Earth Group (Grupa Zemlja) were Croatian artists, architects and intellectuals active in Zagreb from 1929 to 1935. The group included the painters Krsto Hegedušić, Edo Kovačević, Omer Mujadžić, Kamilo Ružička, Ivan Tabaković, and Oton Postružnik, the sculptors Antun Augustinčić, Frano Kršinić, and the architect Drago Ibler. Art brut, primitive art, primitive, art naïf, naïve art. Outsider art. A term applied to Yugoslav (Croatian) naive painters working in or around the village of Hlebine, near the Hungarian border, from about 1930. Some of the best known naive artists are Dragan Gaži, Ivan Generalić, Josip Generalić, Krsto Hegedušić, Mijo Kovačić, Ivan Lacković-Croata, Franjo Mraz, Ivan Večenaj and Mirko Virius. Camille Bombois (1883–1970) Ferdinand Cheval, known as 'le facteur Cheval' (1836–1924) Henry Darger (1892–1973) L. S. Lowry (1887–1976) Grandma Moses, Anna Mary Robertson (1860–1961) Nikifor (1895–1968) Poland, Horace Pippin (1888–1946) Jon Serl (1894-1993) United States Alfred Wallis (1855–1942) Scottie Wilson (1890–1972) Gesner Abelard (b. 1922) Jan Balet (1913–2009) Michel Delacroix (b. 1933) France Howard Finster (1916–2001) Ivan Rabuzin (1921–2008) Spontaneous Art Museum in Brussels Art en Marge Museum in Brussels MADmusée in Liege International Museum of Naive Art of Brazil in Cosme Velho, Rio de Janeiro Gallery Jacques Ardies in São Paulo Musée international d'art naïf de Magog in Magog Croatian Museum of Naïve Art in Zagreb Gallery of Croatian Naïve Art...

This is a signed portrait painting done in an outsider, folk art, expressionist style. This one looks like a Chassidic Breslov Hasidic man. it is signed in Hebrew, also marked with a Jewish star. this is from a collection of works by the same hand. they are all signed. Some have markings to the back of the paper. they have some age to them. They bear similarities to artists as dissimilar as Moshe Tamir, Mane Katz and an Israeli version of Purvis Young. In this piece the artist choice of colors is muted yet powerful. Israel has had a Vibrant Folk Art, Naive art scene for a long time now, artists like Yisrael Paldi, Nahum Guttman, Reuven Rubin and even Yefim Ladyzhensky...

The Band by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 18.5 x 13 inches provenance: artists estate, France condition: very good and sound condition

Gloria Dudfield Driver with Hard Hat 1960s Gouache and Oil Pastel on Paper 27"x36" unframed $700 *Custom framing available for additional charge. Please expec...

Glassblowers WPA American Scene Mid- 20th Century Modern Figurative Workers. Dated and signed "32 Harry Gottlieb" lower right. Sight: 13 1/8" H x 18 1/4" W. Harry Gottlieb, painter, screenprinter, educator, and lithographer, was born in Bucharest, Rumania. He emigrated to America in 1907, and his family settled in Minneapolis. From 1915 to 1917, Gottlieb attended the Minneapolis Institute of Arts. After a short stint as an illustrator for the U.S. Navy, Gottlieb moved to New York City; he became a scenic and costume designer for Eugene O"Neill's Provincetown Theater Group. He also studied at the Philadelphia Academy of Fine Arts and the National Academy of Design. He was one of America's first Social Realist painters, influenced by that Robert Henri-led movement in New York City where Gottlieb settled in 1918. He was also a pioneer in screen printing, which he learned while working for the WPA. He married Eugenie Gershoy, and the couple joined the artist colony at Woodstock, New York. He lectured widely on art education. In 1923, Gottlieb settled in Woodstock, New York and in 1931, spent a a year abroad studying under a Guggenheim Fellowship. In 1935, he joined the Federal Art Project...

FRANK BRANGWYN ( U.S./U.K./Belgium, 1867-1956) watercolor, gouache, and charcoal on paper, "The Scourging of St. Alban," study for the mural painted for Christ's Hospital, West Horsh...

A large and colourful French mid-century painting of fishermen repairing their nets by Jean-Frédéric Canepa. The painting is signed bottom right and presented in a fine gilded wood f...

William Gropper Original Gouache on Paper Hand signed lower right 33.5 x 27.5 image 26 x 20.5 The New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. This original watercolor drawing is done in the iconic style of the artist's oeuvre. Born to Harry and Jenny Gropper in 1897, William was raised in New York City's Lower East Side. His parents were Jewish immigrants from Romania and Ukraine, and young William grew up in relative poverty, watching his family struggle to achieve that sought-after American dream. His father, a bright and college-educated man, was unable to find employment that worthy of his intellect. His mother, meanwhile, worked as a seamstress from home. Coupled with the devastating loss of an aunt to the infamous Triangle Factory fire of 1911, significant childhood factors created the foundation that led to Gropper’s exploration of the American experience. Early on, Gropper displayed an extraordinary, natural skill for art. By 1912, he was already studying under the instruction of George Bellows and Robert Henri at the Ferrer School in Greenwich Village. During his time at school, Gropper was also awarded a prestigious scholarship to study at the National Academy of Design. However, he refused to fit into convention and was swiftly expelled from the Academy. After his expulsion, Gropper returned home to help financially by assisting his mother and taking a shop position. However, he didn't abandon art academia and soon presented a portfolio to the New York School of Fine Art which earned him a scholarship for study. Gropper obtained his first significant job as a cartoonist for the New York Tribune in 1917. While working as a staff cartoonist for the Tribune, he also contributed drawings to publications like Vanity Fair, New Masses, The Nation, and Freiheit. His interest in the welfare of the American worker, class inequality, and social injustice was central in his work. After publishing the graphic novel Alley Oop in 1930, Gropper's illustration career extended well into the decade. However, he was never exempt from controversy, and his 1935 Vanity Fair cartoon; prompted anger from the Japanese government. As an involved labor organizer and Social Realist activist, Gropper continued to bring attention to his radical reputation with visits to the Soviet Union and Poland. However, his concern with European politics and U.S. social causes didn't slow down his artistic career, and by the late 1930s, he had produced significant murals for American cities like Washington D.C. His 1938 mural Construction of a Dam was commissioned for the Department of the Interior and represents the Social-Realism style that depicts experiences of the worker and everyday societal life. Measuring at a staggering 27ft by 87ft, the piece portrays muscular, robust American laborers scaling rocky hillsides, building infrastructure, and operating heavy machinery. The mural feels undeniably American with golden scenery, denim blues, and steely gray colors. Gropper fits perfectly into Social-Realism because the style exhibits an illustrative flair with strong lines and simple, bold hues. The inspiration for Construction of a Dam sprang from his 1937 travels to the poverty-stricken Dust Bowl area. The trip was sponsored by a Guggenheim Foundation Fellowship, and his drawings of the Grand Coulee and Boulder Dams...