Philip Campbell Curtis Art

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...

Gustavo Úbeda (1930-1994) - Surrealist Harlequin - Oil panel Oil measurements 41x50 cm. Frame measurements 44x53 cm. The painting by Gustavo Úbeda Romer...

YURI MARTINEZ RAMOS "LOVE FIRST PIPE" OIL ON CANVAS, SIGNED CUBAN-AMERICAN, C.2006 20 X 16 INCHES Yuri Martinez Ramos was born in Havana, Cuba on November 24, 1964. He studied at the Elemental School of Plastic Arts from 1975 – 1979 and the National School of the Arts from 1979 – 1983. Martinez’ figurative paintings have been compared to Botero because of his satirical social commentary. His style, however, is uniquely his own with typically vibrant Latin colors and use of expressive magical realism. His paintings tell his story and the story of the Cuban dilemma. Martinez was granted permission by the US Justice Department after much effort with Cuban authorities to come to the US with his family and pursue his career outside Cuba. He now lives and works in Texas. Papillon Gallery...

An oil on canvas painted by Jack Sassoon which was certainly a premonition of what was to come. Entitled Death of the Young Men and dated 1938, it depicts men in gas masks and a woma...

"I Am Not Alone" by Joshua Salami is a captivating artwork that delves into the profound bond between a woman and her cherished pet, transcending the conventional role of a companion...

Wilson Bigaud is an idea artist in who showcases visual ideas in many of his paintings. In this work, a married Haitian couple tunes their radios in sync as they lie in bed. Bigaud was greatly interested in radios, which appeared in many of his works. This work rises to the level of Surrealism in that Bigaud is doing more than just depicting a normal bedroom moment. There is something very strange and bizarre in the couple's synchronized actions. Also of note, it looks like the woman is swallowing the edge of the radio. Signed lower right in a handmade and hand-painted frame. Wear to the edges of board, including delamination in the corners, some dents and losses. Frame rubbing with associated wear. Areas of white discoloration to the bed and headboard...

"Conversation With Myself" delves into the realms of self-discovery and introspection. The young man's introspective pose invites viewers to reflect on their inner dialogue and explo...

Artist: William Skilling, After Giuseppe Arcimboldo Title: Vertumnus Year: circa 1950 Medium: Oil on Canvas, signed l.r. Size: 42 in. x 36 in. (106...

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), "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...

YURI MARTINEZ RAMOS "HOME FIRE OIL ON CANVAS, SIGNED CUBAN-AMERICAN, C.2006 20 X 16 INCHES Home Fire" brings me back to my childhood home when my grandpa visited us every day smoking his pipe and conversing good moments. Yuri Martinez Ramos was born in Havana, Cuba on November 24, 1964. He studied at the Elemental School of Plastic Arts from 1975 – 1979 and the National School of the Arts from 1979 – 1983. Martinez’ figurative paintings have been compared to Botero because of his satirical social commentary. His style, however, is uniquely his own with typically vibrant Latin colors and use of expressive magical realism. His paintings tell his story and the story of the Cuban dilemma. Martinez was granted permission by the US Justice Department after much effort with Cuban authorities to come to the US with his family and pursue his career outside Cuba. He now lives and works in Texas. Papillon Gallery...

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...