Oil More Art

Artist Comments
Dawn's first rays bathe the Los Angeles skyline, casting a burnished glow over the iconic palm trees. Billowing clouds add a touch of softness to the scene. T...

Seascape , 120x150cm, oil on canvas

Artist Comments
Artist Doug Cosbie paints the East Quoddy Lighthouse, known as the Head Harbour Lightstation, to the locals. The building towers at...

Artist Comments
"For a few brief moments on the south rim, the morning sun lights up the canyon walls like neon while casting blue shadows into its depths," says artist Cryst...

Introducing the original oil painting White Abstraction, created with a combination of brushes and palette knife on canvas. This contemporary work of art features a beautiful abstrac...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

Artist Comments
A sunlit meadow bursts with vibrant orange and yellow wildflowers, filling the foreground with warmth. A towering leafy oak surrounded by lush trees stands prou...

Artist Comments
The artwork depicts a warm summer day in Montmartre, Paris. An older couple walks arm in arm across the street while people dining al fresco bask in the afterno...

Artist Comments
Artist Benjamin Xu paints a vibrant architectural scene that explores hope, resilience, and bright horizons. The artwork highlights a balance between structure ...

Artist Comments
This impressionist painting invites a sense of quiet mystery. Artist Faye Vander Veer uses a muted palette with closely related values, allowing the warm sunlig...

Artist Comments
More and more I love to experiment with abstraction. It's amazing how realism with some abstraction somehow looks more true than when rendered using just real...

Artist Comments
The setting is the Corner Deli on Kenmare Street in Soho, New York, across the street from Lt. Petrosino Square. I was interested i...

Artist Comments
A mother and child sit in front of a cozy fire, basking in the warmth it provides. The scene captures the miracle of childbirth and the intimate bond between th...

Artist Comments
A young boy sleeps on a couch with his plastic sword. He peacefully enters the dreamland with his favorite symbolic attire and a heroic pillowcase. The early mo...

Wonderful contemporary abstract signed painting Series of 4 canvas assembled to form a single painting signed Kozo Inoue dated 1974 This painting, never before on the market, comes f...

Born in 1982 in Manzanillo, Cuba, artist Darwin Estacio Martinez honed his artistic skills at the Professional Academy of Fine Arts "El Alba" in Holguin...

Man 1, 2021, 120x55 cm

Single Window, 158x200 Cm, oil on canvas

Artist Comments
A delicate pink bonsai springs from a teal ceramic pot. Bold colors and defined brushstrokes bring the scene to life, giving it a lively and appealing appearanc...

Georgian or early Victorian Marine Oil on Panel of busy shipping scene with figures on Harbour, possibly the Isle of Wight Oil on wooden panel housed in a handmade gold frame. A ra...

Artist Comments
Artist Pat Doherty paints a peach-colored orchid plant in a blue-and-white ceramic flower pot. Her still-life painting draws on her experience as a former comme...

Artist Comments
A young girl sits on a red cushioned stool, staring at her reflection in the mirror. Her slip white dress illustrates her innocence, while her expression hints ...

Artist Comments
Snow covers the landscape, painting the birch trees and soil white. Drawing from quiet, reflective walks in the woods, artist Valerie Berkely captures this sere...

Portrait of Grand Duke Pavel Petrovich (1754–1801), later Emperor Paul I of Russia After Alexander Roslin (1718–1793) Oil on canvas, oval, late 18th century This is an exceptionally handsome and historically resonant eighteenth-century portrait, uniting the immediacy of an intimate likeness with the authority of one of the defining dynastic images of Imperial Russia. Grand Duke Pavel Petrovich, the future Emperor Paul I, turns towards the spectator with a composed, almost conversational expression, his youthful face emerging softly from the restrained brown background. The rich scarlet of his coat, the deep blue of the sash and the flashes of gold, lace and jewelled decoration give the picture remarkable visual distinction, while the oval format concentrates attention upon the sitter’s face and magnificent ceremonial attire. Painted during the eighteenth century, the present work is a contemporary reduced version of Alexander Roslin’s monumental state portrait of 1777, now in the State Hermitage Museum, St Petersburg. Roslin’s full-length original measures approximately 265 by 168 centimetres; here, its essential elements have been reformulated as a more intimate portrait suitable for display within an aristocratic residence, diplomatic household or private cabinet. Pavel is dressed in the height of European court fashion of the later 1770s. His scarlet habit à la française comprises a close-fitting coat and elaborately embroidered waistcoat, enriched with scrolling metallic ornament, floral motifs and a sequence of large decorative buttons. The shoulder is finished with a densely worked epaulette-like band, while a white linen stock and delicate lace jabot frame the face. His powdered hair is dressed in the fashionable bag-wig, drawn back and tied with a broad black silk ribbon. Although the costume is unmistakably Russian in its dynastic significance, its cut and ornament belong to the international language of court dress then prevailing from Versailles and Vienna to Stockholm and St Petersburg. In Roslin’s original full-length composition, the costume was completed by matching scarlet breeches, silk stockings, buckled shoes, a sword and a plumed tricorne, all identifying Pavel as both a prince of the blood and a cultivated participant in the ceremonial life of Europe’s great courts. Across his breast passes the broad blue watered-silk sash of the Imperial Order of St Andrew the First-Called, the senior Russian order of chivalry established by Peter the Great. The sash, conventionally worn from the right shoulder towards the left hip, proclaimed the sitter’s position at the summit of the imperial hierarchy. Superimposed upon it is the red-enamelled cross of the Order of St Anna, surrounded in the portrait by scintillating, jewel-like highlights. The cross had a particular dynastic resonance: the order had been founded by Pavel’s paternal grandfather, Duke Karl Friedrich of Holstein-Gottorp, in memory of his wife Anna Petrovna, daughter of Peter the Great. Pavel’s display of the two orders therefore asserted not only rank and honour, but his descent from the founder of Imperial Russia and his inheritance through the Romanov and Holstein-Gottorp lines. Contemporary portraits similarly identify Pavel through the blue sash and star of St Andrew and the red cross of St Anna. Born in St Petersburg in 1754, Pavel Petrovich was the only son of Grand Duke Peter Fyodorovich, later Emperor Peter III, and Grand Duchess Catherine Alexeyevna, the future Catherine the Great. Through his father he was a great-grandson of Peter the Great and inherited the Romanov and Holstein-Gottorp bloodlines; through his mother, born Princess Sophie of Anhalt-Zerbst, he was connected to the extensive network of German princely houses that shaped eighteenth-century European dynastic politics. His childhood was dominated by the uncertainties of imperial succession. Soon after his birth, the Empress Elizabeth removed him to her own household and assumed control of his upbringing. Educated under the statesman Nikita Panin, Pavel studied history, geography and mathematics and became fluent in Russian, French and German. He was eight when his father ascended the throne in 1762, only to be deposed by Catherine within months and to die shortly afterwards in confinement. Although Pavel remained the acknowledged heir, Catherine ruled for another thirty-four years and excluded him from meaningful political authority. He was therefore publicly honoured as the future sovereign while being denied the practical experience of government. In 1773 he married Princess Wilhelmina Louisa of Hesse-Darmstadt, who converted to Orthodoxy as Grand Duchess Natalia Alexeievna. She died in April 1776 after a prolonged labour, together with her stillborn child, leaving Pavel widowed and the succession unsecured. A second marriage was arranged within months. His new bride was Duchess Sophie Dorothea of Württemberg, daughter of Friedrich Eugen, later Duke of Württemberg, and Friederike Dorothea of Brandenburg-Schwedt. Raised at Montbéliard in a cultivated German princely household, she converted to Orthodoxy as Maria Feodorovna and married Pavel in October 1776. The union strengthened Russia’s links with Württemberg and Brandenburg-Prussia, but also became an enduring domestic and cultural partnership. Maria was intelligent and artistically gifted, practising drawing, embroidery, ivory carving and hardstone work, while collecting books and decorative art and later supporting charitable and educational institutions. The couple had ten children, nine of whom survived childhood. Their eldest son, Alexander, succeeded Pavel as Emperor Alexander I and ruled during the Napoleonic era; their younger son Nicholas later became Emperor Nicholas I. Constantine Pavlovich became a prominent military figure and briefly stood at the centre of the succession crisis of 1825. Their daughters married into leading European dynasties: Alexandra into the Austrian imperial family, Elena into Mecklenburg-Schwerin, Maria into Saxe-Weimar-Eisenach, Catherine into Württemberg and Anna into the Dutch royal house. Through their children, Pavel and Maria extended Romanov influence across much of Europe. The birth of Alexander in 1777 secured the succession and prompted Catherine to give the couple the estate that became Pavlovsk, south of St Petersburg. Its Neoclassical palace, begun by Charles Cameron in the early 1780s, became closely associated with Maria’s artistic interests, family life and refined sociability. Gatchina, by contrast, reflected Pavel’s more martial character. There he developed his own court and pursued his interests in military organisation, ceremony and administrative discipline. In 1781–82 Pavel and Maria travelled through Europe as the Count and Countess of the North, visiting royal courts, artists, manufactories and antiquities collections. They acquired paintings, furniture, bronzes, sculpture, textiles and porcelain, helping to make Pavlovsk one of Russia’s most sophisticated expressions of international Neoclassical taste. Yet Catherine continued to restrict their independence, taking charge of the upbringing of Alexander and Constantine just as Empress Elizabeth had once removed Pavel from his own parents. This repetition deepened the estrangement between mother and son. Pavel finally succeeded Catherine in 1796, aged forty-two. His reign lasted little more than four years, but his Act of Succession of 1797 established male-line primogeniture and ended much of the uncertainty surrounding the Russian imperial succession. His attempts to regulate the court, army and administration, and to reverse elements of Catherine’s policies, alienated powerful members of the nobility and officer corps. In March 1801 he was assassinated during a palace coup at the Mikhailovsky Castle and was succeeded by Alexander. This knowledge lends the portrait particular poignancy: Pavel appears not as the embattled emperor of his final years, but as the elegant young heir at a moment when marriage, dynasty and the anticipated birth of a son seemed to promise stability and renewal. Roslin’s portrait should be understood within this urgent dynastic context. The Swedish painter had travelled to St Petersburg in 1775 at the personal invitation of Catherine II and was commissioned to paint monumental state portraits of the Empress, Pavel and Maria Feodorovna. The pendant portraits of the young couple presented the heir and his new wife as the polished, fertile and internationally connected future of the Romanov dynasty. Roslin recorded in 1777 that the ruling family had ordered multiple copies. At least six versions of Pavel’s portrait and twelve of Maria’s are known, and such replicas were distributed as courtly and diplomatic gifts. A pair was presented to James Harris, later First Earl of Malmesbury, then the British ambassador to Russia. The existence of numerous eighteenth-century replicas was therefore not accidental or merely commercial: repetition was integral to the commission’s political purpose. Each version extended the official image of succession from the imperial palace into allied courts, embassies and aristocratic collections. The present portrait belongs to that wider culture of dynastic dissemination. Rather than reproducing Roslin’s entire monumental setting, with its architectural balustrade, extensive Neva prospect, sword, hat and full ceremonial costume, the painter has selected the head and upper body and adapted them to an oval. This transformation changes the character of the image. The grandeur of the original remains legible in the orders, costume and confident turn of the figure, but the reduced composition produces a greater sense of proximity to Pavel himself. The face becomes dominant, and the future emperor appears less as a remote emblem of state than as a recognisable young man. The type also circulated through prints: an oval engraved version published in 1781 and now represented in the British Museum demonstrates how rapidly Roslin’s conception entered the broader visual culture of late-eighteenth-century Europe. The artistic economy in which the portrait was created differed substantially from the modern open market. In Catherine’s Russia, the most prestigious portrait production was sustained by imperial commissions, aristocratic patronage and diplomatic gift-giving. Roslin’s success was extraordinary: during approximately two years in Russia he received around seventy-five commissions, many of which had to be completed after his return west. The appetite for his work reflected both the wealth of the Russian court and its determination to present itself through the most polished international style available. Alongside imported masters such as Roslin, Russia was developing its own institutional artistic culture. The Academy of the Three Noble Arts had been founded in St Petersburg in 1757 and was elevated by Catherine in 1764 to the Imperial Academy of Arts. It recruited European teachers, trained Russian...

Village , 90x70 cm, Oil, Canvas, sand

Artist Comments
Brilliant fall colors fill this landscape near Glenwood Canyon, Colorado. Bright orange trees stand against the cool shadows of a shaded hillside covered with...

A grand-scale, signed and dated, hand-painted, expressive oil-on-canvas painting by listed French artist, Dominique Dehais (b. 1950). The vivid composition in cobalt, white, gray and...

Artist Comments
Artist Benjamin Xu presents a geometric architectural scene that conveys a strong sense of shelter, stillness, and spatial harmony. The viewer is drawn into a d...

Artist Comments
This still-life painting depicts white roses arranged in a brass vase, with a pink one at the bottom. The earth-toned palette and thick bravura brushstrokes impart a timeless aura to the piece. Against the brown background, the elements stand out with their soft and endearing details.

About the Artist
Sherri Aldawood didn't intend to always paint flowers, but over time her love of gardens started to permeate her art. She focuses on the light and color of the flowers on the canvas. Sherri prefers alla prima, working with wet layers of paint instead of letting them dry. She keeps the paint as wet as possible by using walnut and clove oil...

Artist Comments
The artwork offers a geometric reimagining of a coastal village from a unique perspective with a thoughtful color palette. The high vantage point shifts focus f...

Artist Comments
Artist Benjamin Xu renders the familiar landscape of Venice, Italy, into an idealized, dreamlike painting by exploring color, form, and stillness. A stone moori...

Artist Comments
The artwork portrays the Ten of Pentacles card, symbolizing success, financial satisfaction, and the completion of a wealth cycle. White bison figures, repres...

DEEP INSIDE is an original middle size abstract oil painting inspired by the quiet horizon where sea and sky meet. Soft gradients create a feeling of infinity, while a thin horizon l...

Artist Comments
A quiet desert vista in Joshua Tree National Park basks in cool afternoon light. In the foreground, a cluster of prickly pear cacti with soft blue-green pads, t...

Remote work

Artist Comments
Artist Onelio Marrero lives just minutes from the New Jersey shore, where he and his wife enjoy long walks along the beach. In the quieter winter months, the ...

Artist Comments
Artist David Thelen presents a serene spot nestled in a mountain range. The water's edge glimmers at the foot of towering trees, while lush foliage adorns the...

Victorian Landscape Beach Scene Oil Painting of Mother, Child and Dog on the Beach. A beautiful and tender scene of a Mother with her young child and pet Dog playing gently by the Sea. A true gem of the Victorian era where the motif of family was strongly portrayed and romanticised. Frederick Thomas Charles Underhill British 1832 - 1896 London painter of genre, coastal scenes and biblical subjects. Born in Birmingham. Exhibited from 1851-75, at the RA between 1852-67. Titles at the RA including 'Sea Coast, 1852, 'The Gypsy Mother', 1855 and 'Hagar and Ishmael...

Oil on canvas 60x60 cm

Peonies, 40x30 cm, oil on canvas

Artist Comments
A vineyard stretches out with bold, loose brushwork and a dark underpainting that highlights form and color. The radiating rows of grapevines create a focused...

Artist Comments
"Being a single father and working a full-time job limits the time I have to paint," shares artist Christopher Garvey. "This...

Artist Comments
Artist Onelio Marrero visited a place in New Jersey called The Grounds For Sculpture. The gardens there are replete with exotic flora and fauna. Overlapping the...

Artist Comments
Golden light from the setting sun glows softly on one side of the woods, while the foreground rests in cool shadow. Autumn colors peek through the trees. A wind...

A contemporary painting by British Artist Alec Cumming. Alec Cumming 'Splash" 70cm x 69cm - canvas 2015 Signed and dated verso with a Gallery for Art 1821 A contemporary oil on c...

A fine luminous Maine harbor scene by contemporary American artist William R. Davis (1952-). Davis was born in Somerville, Massachusetts, and grew up in Hyannis Port where he took sa...

Artist Comments
A Highland cow stands in a grassy field with a dramatic sunset in the background. The animal dominates the foreground, its long hair and large horns clearly vis...

Artist Comments
Artist Crystal DiPietro shares a spectacular mountain desert view from a camping and hiking trip to the Desert National Wildlife Refuge. Rendered en plein air, Crystal captured the sierra's golden summit as the sun sets, its rays melting into the west. "The late afternoon light lit up the dramatic peaks with a warm glow."

About the Artist
Many artists work with the landscape, but Crystal DiPietro sees her works as different from most in the genre. "I tend not to see landscapes as soft and pretty, but as rugged, dramatic and colorful." Many of her works depict wild storms and moody sunsets. She spends a lot of time in remote spots and uses layers of color to create her compositions. Her work hovers between a brief impression of a scene and a pure dream. Crystal's landscapes of southern Utah seem to undulate and continuously change. What's interesting, though, is that these mountains and valleys seem to do the same thing in person. In these areas, the view changes constantly throughout the day as the light shifts, throwing shadows of faces, mazes and alien patterns across the cliff faces. Crystal impressively captures what's there, and what seems to be but isn't.

Words that describe this painting: mountains, desert, peaks, sunset, landscape, southwest, west, western, plein air, Mojave, Joshua Tree, shadow, impressionism, oilpaint, impressionism, landscape, western, oil painting, blue

Sunset Glow...

Artist Comments
Orange and yellow candy-colored Gerbera daisies exploding on a nostalgic patterned blue background featuring pink flowers. Painted on Arches heavyweight oil primed paper, which can be framed with our without glass.

About the Artist

Words that describe this painting: Gerbera daisies, daisies, vase, floral, bouquet, flowers, still life, flora, representational, vintage, oil painting, orange

Flowers and Twigs...

My work touches on the importance of home and a sense of security. I believe it is a basic human need to feel like someone is waiting for you. I depict not only my homeland, but also...

Swift dawn, 100x80cm

Artist Comments
A still life of fruits unfolds in classical style, where tiny butterflies and insects animate the quiet arrangement. A marble tabletop holds a variety of ripe p...

Artist Comments
The lake in Wisconsin remains beautiful even in winter, its frozen surface turning white as snow accumulates. In the evening, the icy expanse reflects soft bl...

Afterwave By Christopher Witchall is a realist seascape oil painting, measuring 30 x 40 inches (approx 76 x 101cm). The viewer is looking directly out to sea from the standpoint of t...

Artist Comments
After arranging the composition for this floral still life, artist Nicole Lamothe was immediately attracted to the soft warm lig...

A fine New England Cape Cod landscape by American artist Aldro Thompson Hibbard (1886-1972). Hibbard was born in Falmouth, MA, studied at the Massachusetts College of Art and at the Boston Museum School with artists such as Edmond Tarbell, Frank W. Benson, Joseph R. DeCamp, and later became one of the founders of the Rockport Art Colony, living on Cape Ann in Massachusetts and summering in Jamaica...

Artist Comments
A woman holding a cat stands by a kitchen window, looking out toward something unseen. Light from outside fills the room with warmth and a quiet, sentimental to...

Artist Comments
The interior of an eatery on the east side of Manhattan exudes an eclectic charm. Several Tiffany-style lamps hang overhead, casting a warm glow over the space....

Sometimes the landscape can tell more than figurative works. Thanks to emigration, I increasingly use new colors and forms. Gray-blue tones have been replaced by bright red and acid...

Artist Comments
Artist Suren Nersisyan depicts saguaro cactuses in the deserts of Arizona standing under the hot sun. Their large fleshy stems stretch up to the sky thriving ...