Art by Medium: Tempera

Tex Coulter (1923-2007) Image Size: 22 x 28 Frame Size: 25 x 31 Medium: Casein on Board Signed Self Portrait with Stats Biography Tex Coulter (1923-2007) In Memory of DeWitt "Tex" Coulter 1923-2007 1948 Leaf Football Card - New York Giants Dewitt Coulter is home from the Army, West Point. He was a much-sought after football player and was an All-American at Army. He returned home and changed into civilian clothes after three years in khakis. Mr. Coulter is buttoning up his shirt. There is a suitcase on the bed behind him. ALL-TIME AREA PLAYER: TEX COULTER OF MASONIC HOME WAS GREATEST AMONG GREATSTHE DALLAS MORNING NEWS - Sunday, December 16, 1984 By: Sam Blair - Staff Writer of the News The all-time area high school football player is a gentle giant of 59 now. He's a man whose talents ranged far beyond the playing field-- an artist, cartoonist, sportswriter, builder and humanitarian. He's better known as Tex Coulter to fans across two nations who followed his later exploits with Army's powerhouse teams of World War II, the New York Giants of the National Football League and the Montreal Alouettes of the Canadian Football League. But, as Masonic Home in the late 1930's and early 40's he was Dewitt Coulter, a gifted athlete whose normal position was tackle but could play anywhere he was needed. "Those were wonderful years," said Coulter. "Masonic Home played a tremendous role in my life. I enjoyed my high school football career more than any other. That's why I'm, really thrilled by this selection. "Coulter was 5 when he moved to the home with his brother and two sisters from the Red Springs community near Tyler. Their late father was a Mason, which qualified them to live at the Fort Worth home until they graduated from high school. By the time Coulter was in the seventh grade, coach Rusty Russell...

Bratin Khan - Untitled - 42 x 50 inches Tempera on canvas. The anecdotes and narratives of Krishna's life are generally titled as Krishna Leela. He is a central character in the Ma...

A fine pair of huge Italian 18' century Capriccio with Classical ruins, tempera oil on canvas . Atr.Pietro Paltronieri, il Mirandolese (Mirandola 1673-1741 Bologna). Not signed. M...

This painting by Joan Nelson depicts a sepia-toned scene placed behind the walls of a dark brown building. Potentially depicting a rooftop or a balcony, a way further into the buildi...

'Schlüsselloch' by Fides Becker Acrylic and Eggtempera on Canvas, 33 x 54 cm, 2017 The leading theme of the artist’s interventions is the staging of temporality, transience, and change. Fides Becker (* 1962) developed and pursued her picturesque strategies in the illusionistic pictorial space. Her practice explores intimate worlds through objects and materials we associate with the private sphere in everyday life. Sofas, beds, curtains, mirrors, and sheets are reconstituted in her paintings as fragments, details or dissolving surfaces that engage with the ambiguities between presence and absence, past and present, and personal and collective images. Fides Becker (*1962 in Worms) studied at the Städel School in Frankfurt a.M., at the Academie van Beeldende Kunsten in Rotterdam, and at the Hochschule der Künste in Berlin. Her works can be found in numerous national and international collections, such as the National Collection of Rhineland-Palatinate, the Art Collection of the German Bank...

'Robe 7' by Fides Becker Acrylic and Egg Tempura on Canvas and Deco Fabric, 184 x 159 cm, 2005 Fides Becker The leading theme of the artist’s interventions is the staging of temp...

If Thomas Geyer could preserve the moment of beauty, of wonder, in a jar, he would. Instead, he rummages through his memories of aesthetic gazes and moments of longing and transforms...

Lalu Prasad Shaw Untitled (Biwi with the Flower) Untitled (Babu with the Cigarette & Flower) 28 x 22 Inches Tempera on Board, 2016 ( Set of 2 works ) ( Framed & Delivered in a teak f...

‘Teppiche' Acrylic and Eggtempera on Canvas, 115 x 85 cm, 2016 Fides Becker The leading theme of the artist’s interventions is the staging of temporality, transience, and change. ...

'Robe 4' by Fides Becker Acrylic and Egg Tempura on Canvas and Deco Fabric 160 x 140 cm, 2005 The leading theme of the artist’s interventions is the staging of temporality, transi...

'Schwanken' by Fides Becker Acrylic and Egg Tempura on Cotton Canvas 95 x 70 cm -2009 Fides Becker The leading theme of the artist’s interventions is the staging of temporality, t...

Stuckrosette, 2010, Acrylic and Egg Tempura on Canvas and Deco Fabric, 40x35 cm, 2.600 € INSTANTDREAMS Gallery presents Fides Becker The leading theme of the artist’s interventio...

French modernist tempera painting of an open air market in the streets of town by artist Schwerb, circa 1950. Original artwork on paper displayed on a white mat with a gold border. ...

Mid-century tempera painting on paper in warm orange tones of parent with child by French artist Clairet, 1956. Signed and dated lower right. Original artwork on paper displayed on ...

Sunny face. Bilateral. Cardboard, tempera, 53x35.5 cm Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, graphic artist, poet, translator. Born in Riga in a Russian-Polish-German family. Vladimir Glushenkov...

MEDICINAL PLANTS, CANABIS SATIVA L. (MARIJUANA), 2013 Tempera on paper 49,5 x 38,5 cm Born in 1967 in Trikala, she grew up in Athens, Greece, where she lives and works. She graduate...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Bibliography Art in America, April 1951, p.78 About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Signed lower right: "Atherton", inscribed "John Atherton Original Tempera 7/28/50" on verso. Artwork measures 16" x 20" and framed 20" x 24" x 2 ½" About this artists: John Atherton (1900-1952) did not show an early aptitude for art; rather, his first love was nature and the activities he relished there, mainly fishing and hunting. Born in Brainerd, Minnesota in 1900, he learned to fish with his father from the age of four. Later the family moved to Spokane, Washington, and when he was old enough, Atherton worked at a variety of jobs to help support his family. One such job, in the sorting plant of a lead and silver mine, paid $4.25 a day—a good wage, though he never had time to spend his money, since he worked seven days a week. After serving in the Navy for a year during World War I, Atherton was determined to get an education. He worked as a sign painter and played the banjo in a dance band, finally accumulating enough money to enroll in the California School of Fine Arts in San Francisco. Once there, he worked like a fiend, attending classes both during the day and at night, getting the best training available. Though he had always intended to be a fine artist, Atherton’s first jobs were for commercial art firms. In 1929, using the prize money won for a painting he entered in an art competition, Atherton and his wife moved to New York City. Though the economic situation was difficult in those years, he managed to keep going by taking commissions for magazine illustrations, and over the years he would paint more than forty covers for The Saturday Evening Post. In 1938, an artist friend suggested that he use the same flat, decorative style as his commercial work for his gallery paintings. This was a breakthrough for Atherton; soon afterwards he held a one-man show at the Julien Levy Gallery in New York, and his paintings began to be collected by museums including the Museum of Modern Art in New York and the Metropolitan Museum of Art. Atherton’s reputation increased to a national scale when he designed the art deco stone lithograph poster for the 1939 World’s Fair that strikingly depicted Earth and its atmospheric layers in the lap of Liberty. Atherton was highly influenced by the magic realist...

Lalu Prasad Shaw - Untitled - 25 x 20.5 inches Tempera on Board, 2015 Style : Known widely for his highly stylized portraits of Bengali women and couples, Lalu Prasad Shaw’s works lay the most emphasis on his subject’s physical characteristics. Capturing the expressions of his subjects perfectly with the greatest economy of line and colour each of Shaw’s paintings has an intimate feel to it. Influenced by the pre-independence Company School of art, the traditional Kalighat Pat and the Ajanta cave paintings, Shaw’s works, mainly executed in gouache or tempera, like his own person, are simple and graceful, having a very still, well-composed and smooth exterior. This senior artist draws his inspiration primarily from nature and the milieu surrounding the great Bengali middle class, often depicting pleasant and quiet scenes from his own life on his canvases and papers. His style is unique and modern in its adaptation of academic and traditional Indian formats. A particularly notable aspect of Shaw's paintings is their simple yet sophisticated look. One notices a seamless synthesis of different stylistic elements to achieve a phenomenal effect. About the Artist and his work : Born : 1937 in Bengal. Education : completed his education in fine arts at the Government College of Arts and Crafts in Kolkata. International Shows : 1970 - Second British Biennale in London; 1974 - Norwegian Print...

This artwork is a captivating representation of The Trinity, created by the British artist Robert Arthur Wilson. It vividly demonstrates Wilson's profound engagement with avant-garde theories related to colour, music, and emotion, which had a significant impact on his artistic vision. Wilson's exploration of colour abstraction was groundbreaking and played a pivotal role in establishing him as one of the most promising artists of his time. His innovative approach to colour abstraction is evident not only in the portrayal of the sky but also in the overall composition of this piece. Robert Arthur Wilson (British, 1884 – 1979) Triune Tempera on panel Signed ‘R.A. Wilson’ (lower right) and titled on a label on the reverse 29.1/8 x 29.1/8 in. (69 x 69 in. ) Robert Arthur Wilson was a British painter. Wilson was born in Sunderland in 1884. Leaving school at the age of thirteen, he was employed for a time as a bookkeeper before beginning an apprenticeship under a local sign...

Lalu Prasad Shaw Untitled (Bibi) Untitled (Babu on the Hookah) 28 x 22 Inches Tempera on Board, 2016 ( Set of 2 works ) ( Framed & Delivered in a teak frame ) Style : Known widely f...

"The Long Road" realist painting by John Whalley. Egg tempera on masonite. Signed lower right. Unframed. Late 20th century. Biography from the Archives ...

Maryn Hunzeker "Explorers" Original Casein Painting c.1960 Fantastic mid modern painting by noted artist Maryn Hunzeker. Created with casein on panel. Dimensions 26" x 18 1/4". The...

Provenance fron the Family Atelier of the artist. Unframed Complementary shipping worlwide by DHL, FEDEX. Returning customers : 25% OFF listed price on all Belfort SAS catalogue. ...

Subha Basu - Festival Tempera & Charcoal on Acid Free Paper, 17 x 22 inches, 2019 Born - 1982 at Kolkata. B.V.A from The Indian College of Art & Draftsmans...

Artist: Juhachiro Takada, Japanese XXth Title: Untitled I Year: 1982 Medium: Tempera with Graphite on Paper Size: 22 x 28 inches Frame: 29 x 35 inches

Lalu Prasad Shaw - Babu - 21.5 x 15 Inches Tempera on Board, 2015 ( Unframed & Delivered ) Style : Known widely for his highly stylized portraits of Bengali women and couples, Lalu ...

Vladimir Glushenkov (1948-2009) (May 21, 1948, Riga - December 26, 2009, Riga) - painter, graphic artist, poet, translator. Vladimir Glushkenkov was born in family with Russian-Poli...

Fred Wessel's "Pink Rose Icon" is a stunning egg tempera painting on gold leaf. Created in 2020, this piece features a beautiful single pink rose with a blooming bud, among its leave...

Kevin Weckbach's (US based) "The Grinder" is an original, hand made egg tempera painting that depicts an industrial Gristmill made up of metal buildings, a elevator and a grain silo ...

As the Days wash over Me‐ Egg Tempera ‐ Tempera Prepped Aluminum panel ‐ 12 x 24 is by E. Melinda Morrison who lives in Fort Worth Texas. Also posted are other paintings available b...

Suhas Roy - Radha - 20 x 20 inches ( unframed size) Tempera Coloured Conte on Pastel on Paper , 2005 Suhas Roy 's mystic woman which he calls 'Radha', either Oil on canvas or sof...

Douglas Safranek's Hovering captures the tension of liminal space. Bees and dragonflies appear pinned, and specimen-like, yet achieve loftiness with their wings. Their hyperbolized d...

Fred Wessel's "White Orchid" is a stunning egg tempera painting on gold leaf. Created in 2023, this piece features a blooming branch of white orchids, resting over a deep red backgro...

Artist: William Nelson Copley, American (1919 - 1996) Title: 1976 Year: 1976 Medium: Tempera on Paper, signed and dated Size: 23.5 x 18 inches Frame: 36 x 30 inches

Oil, casein & ink on panel Paul Lorenz is an American artist born in 1961 who lives & works in Buckeye, AZ, USA. With an education in Bauhaus architecture, fine art, and music compo...

UNFRAMED Simba is back by Lélia Pissarro (b. 1963) Tempera on paper 16.8 x 12 cm (6 ⁵/₈ x 4 ³/₄ inches) Signed lower right, Lélia Pissarro This work is accompanied by a certificate...

Artist: Vladimir Poutchkov (Russian/American XXth) Title: Landscape with Ruins Year: circa 1985 Medium: Tempera and Watercolor on Paper, signed l...

Another Day by E. Melinda Morrison is 24 x 30 is egg tempera on an ACM panel. Framed in a black 3-1/2" gilded frame. ACM (Aluminum Composite Material) panels have several advantag...

An original tempera on paper painting by emerging contemporary artist Anthony Leone, currently featured in the artist's solo exhibition Grape Farm.

LOL (laugh out loud) 2014 4x6" framed. 8x10" SUBTEXT This series of small paintings are a mash-up of Renaissance Choir book borders with their ornate grotesques and drolleries combi...

Vladimir Glushenkov (1948-2009) (May 21, 1948, Riga - December 26, 2009, Riga) - painter, graphic artist, poet, translator. Vladimir Glushkenkov was born in family with Russian-Poli...

Aditya Basak - Untitled - 36 x 30 inches (unframed size) Acrylic & Tempera on Canvas ** This work will be shipped in a roll form. "Through the medium of the fantasy, Basak probes...

Fred Wessel's "Autumn Zinnia" is a stunning egg tempera painting on gold leaf with malachite cabochons. Created in 2024, this piece features a freshly bloomed stem of an Autumn Zinni...

Fred Wessel's "Dahlia Icon" is a stunning egg tempera painting on gold leaf with coral cabochons. Created in 2022, this piece features a freshly bloomed stem of an orange Dahlia flow...

Fred Wessel's "Our Yellow Orchid" is a stunning egg tempera painting on gold leaf. Created in 2020, this piece features a beautiful branch of yellow Orchids, among its leaves, juxtap...

Oil and tempera on cardboard realized by Sirio Pellegrini in 1960s. Hand signed. Includes a coeval wooden frame realized by the Artist cm. 48.5x58.5.

Atin Basak - Durga - 30 x 24 inches ( Unframed Size ) Tempera on Board The work will be shipped unframed . Inclusive of shipment in roll form. Style : Atin Basak says that his rece...

Carlo Bossoli spent his youth and the beginning of his artistic career in Odessa, Ukraine. In 1839, he conducted his first trip to Italy where he remained for a year, travelling to R...

The present illuminated folio page contains a fine miniature depicting four figures playing polo. Polo, also called 'chagun,' was the sport of kings and princes of central Asia and Iran, and the sport probably originated there in the 6th century BCE. Polo matches appear in a large number of early Persian texts, including in the writings of the 10th century epic writer Abu l-Qasim al-Firdawsi: He describes numerous polo matches in his famous 'Shahnameh' (The Persian Book of Kings). This particular illumination also is closely related to an example held at the Smithsonian Museum of Asian Art: a folio from 'Guy u Chawgan' (The ball and the polo-mallet) which shows a polo game with the dervish and the shah. 12 x 8.25 inches, artwork 19.75 x 15.88 inches, frame accompanied on the back with an image of the verso framed to conservation standards with a 100% rag silk-lined mat in a gold gilded frame A Persian miniature is a small Persian painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant genre in Persian art in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Running. 1967. Double-sided, cardboard, tempera, 37.5x39 cm Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, graphic artist, poet, translato...

Original Egg Tempera on Panel Painting signed by the Artist in the lower left corner.

Vers Compostelle avec ma Grenouille de Benitiez Tempera on Panel In Stock Gérard Willemenot (1943, Paris, France) graduated as an architect at the School of Art in Paris. After worki...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. John Barnicoat MA ARCA (1924 - 2013) Harbour (1975) Tempera on card 26 x 26 cm Initialled B and dated '75. John Barnicoat was a painter of oils and works on paper using tempera, conté, acrylic, pen, and ink. He was brought up in Cornwall and educated at King’s College, Taunton. He joined the Royal Naval Volunteer Reserves and took part in D-Day, aged 29. He went on to read history at Lincoln College, Oxford, and also studied at the Ruskin School of Drawing. He attended the Royal College of Art in the early 1950s, eventually becoming the Senior Tutor at the RCA Painting School between 1976 and 1980. He was the head of Falmouth School of Art 1972 - 1976 and Head of the Chelsea School of Art 1980 - 1989. He wrote 'Posters: a Concise History' in 1972, and organised and curated exhibitions in the UK and Russia on the art of poster design. From 1989 onwards he produced numerous drawings and oils of the bridges of London, women’s heads, acrylic and conté works on paper, and pen and wash drawings of women dressing...

Botanical subjects are my primary inspiration. I find immense joy in capturing the colors and textures of nature through still-life settings. Exhibiting them at the George Billis Gal...

Suhas Roy - Durga - 20 x 20 inches (unframed size) Tempera and Pastel on Board , 2005 ( Framed & Door Delivered ) Durga- Indian goddess combating evil...

Fishermen's happiness. Cardboard, tempera, 21x29 cm

Stained glass project. Paper, tempera, 42x33.5 cm

A Modern realist “trompe l’oeil” egg tempera painting by American female artist Catherine Catanzaro Koenig depicting a person curled up titled “Prayer Rug #2″. Catherine C. Koenig was born Caterina Catanzaro in 1921 and grew up on the West side of Buffalo, NY. She graduated from Lafayette High School Buffalo in 1939. She exhibited a talent for drawing and painting early on and attended Albright Art School, where she graduated with an Associate's Degree in 1942. Her professional career as an artist began in the 1940s when she started to exhibit her work. From 1946-1956, she taught drawing and painting at the Art Institute of Buffalo. She married Buffalo artist...