Coffee Still-life Drawings and Watercolors

French artist Natalya Mougenot presents a new series of small oil paintings inspired by the quiet beauty of everyday life. "Just Oranges" is one of the pieces from this collection—a ...

Mary Abbott Flowers, circa 1950 Signed lower left Pastel on paper 30 x 22 1/4 inches Provenance: Aaron Galleries, Glenview, Illinois Among the early exponents of Abstract Expressio...

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

This modern colorful expressive artwork "Happiness vase with pink flowers" belongs to my “Floral” series which is full of expressionism and vivid colors where I could fully experienc...

"Some far away speech" is an original ink and watercolor work on paper by Brian Spolans. The piece ships framed as pictured and measures 20.5in x 28.5in. Alternative custom framing...

'Composition with Tumbling Vases - Screen I', by Gary Bukovnik. Watercolor on mulberry, 28 1/2 x 68 inches, 2019. Hand painted folding screen created with watercolor on mulberry pape...

Cornelis Johannes de Bruyn (c. 1763- c. 1828) A lovely pair of 18th century Dutch still life watercolors depicting assorted flowers in a glass vase. Watercolor on paper 13 5/8 x 9 5/8 inches (34.6 x 24.4 cm) each Framed: 23 x 18 1/2 inches each Signed: J.C.J. Bruyn 1797 G (Please request photos of the actual frame) Johannes de Bruyn made his debut as a flower and fruit still life painter in the 19th century in Utrecht. He was a student of the painter G.J. van Hulstyn. In our pair of flower still lifes, Cornelis Johannes de Bruyn has depicted two bouquets of colorful flowers set in a stone niche. They are delicate, highly detailed, realistic pieces painted in the vein of seventeenth century Old Master works. Each bouquet is arranged in a low glass bowl on a small marble pedestal...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

The work of Linda Clerget is realized in an impressionist style à la gouache alla prima. The colors are broken and worked in the fresh. Linda Clerget is a French artist known intern...

'Spring Composition no. 1' watercolor on paper. Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and s...

Botanical watercolour and gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts flowers in red and butterflies in blues, yellows, black and white. This work was executed by Dufy as a fabric design. Dimensions: Framed: 17"x27" Unframed: 10"x20" Provenance: Private collection of works by Raoul Dufy for Bianchini Ferier Bianchini Ferrier Collection - Christie's London - July 2001 SF Fall Show Raoul Dufy was one of a family of nine children, including five sisters and a younger brother, Jean Dufy, also destined to become a painter. Their father was an accountant in the employ of a major company in Le Havre. The Dufy family was musically gifted: his father was an organist, as was his brother Léon, and his youngest brother Gaston was an accomplished flautist who later worked as a music critic in Paris. Raoul Dufy's studies were interrupted at the age of 14, when he had to contribute to the family income. He took a job with an importer of Brazilian coffee, but still found time from 1892 to attend evening courses in drawing and composition at the local college of fine arts under Charles Marie Lhullier, former teacher of Othon Friesz and Georges Braque. He spent his free time in museums, admiring the paintings of Eugène Boudin in Le Havre and The Justice of Trajan in Rouen. A municipal scholarship enabled him to leave for Paris in 1900, where he lodged initially with Othon Friesz. He was accepted by the École des Beaux-Arts, where he studied under Léon Bonnat, whose innate conservatism prompted Dufy to remark later that it was 'good to be at the Beaux-Arts providing one knew one could leave'. And leave he did, four years later, embarking with friends and fellow students on the rounds of the major Paris galleries - Ambroise Vollard, Durand-Ruel, Eugène Blot and Berheim-Jeune. For Dufy and his contemporaries, Impressionism represented a rejection of sterile academism in favour of the open-air canvases of Manet, the light and bright colours of the Impressionists, and, beyond them, the daringly innovative work of Gauguin and Van Gogh, Seurat, Cézanne, Toulouse-Lautrec and others. Dufy was an out-and-out individualist, however, and was not tempted to imitate any of these artists. He produced, between 1935 and 1937, Fée Electricité (Spirit of Electricity), the emblem for the French utilities company Electricité de France (EDF). Dufy visited the USA for the first time in 1937, as a member of the Carnegie Prize jury. In 1940, the outbreak of war (and his increasingly rheumatic condition) persuaded him to settle in Nice. When he eventually returned to Paris 10 years later, his rheumatism had become so debilitating that he immediately left for Boston to follow a course of pioneering anti-cortisone treatment. He continued working, however, spending time first in Harvard and then in New York City before moving to the drier climate of Tucson, Arizona. The cortisone treatment was by and large unsuccessful, although he did recover the use of his fingers. He returned to Paris in 1951 and decided to settle in Forcalquier, where the climate was more clement. Within a short time, however, he was wheelchair-bound. He died in Forcalquier in March 1953 and was buried in Cimiez. Between 1895 and 1898, Raoul Dufy painted watercolours of landscapes near his native Le Havre and around Honfleur and Falaise. By the turn of the century, however, he was already painting certain subjects that were to become hallmarks of his work - flag-decked Parisian cityscapes, Normandy beaches teeming with visitors, regattas and the like, including one of his better-known early works, Landing Stage at Ste-Adresse. By 1905-1906 Friesz, Braque, Matisse, Derain, Vlaminck, Van Dongen and Rouault were described collectively as Fauves (the wild beasts). What they had in common was a desire to innovate, but they felt constrained nonetheless to meet formally to set out the guiding principles of what promised to be a new 'movement'. Dufy quickly established that those principles were acceptable; moreover, he was most impressed by one particular painting by Henri Matisse ( Luxury, Calm and Voluptuousness) which, to Dufy, embodied both novelty and a sense of artistic freedom. Dufy promptly aligned himself with the Fauves. Together with Albert Marquet in particular, he spent his time travelling the Normandy coast and painting views similar...

This art piece features a bouquet of red roses in a bleu vase. This piece belongs to my “Floral” series which is full of expressive brush strokes where I could experience a floral th...