Paint More Art

Prokash Karmakar Landscape Acrylic on Canvas 30 x 36 inches 76.2 x 91.4 cm 2012 ( Framed & Delivered ) Karmakar is best known for his landscapes and nudes, which are generally p...

"Happy Hippy Days Kings Road" by Therese James invites viewers into a vibrant and nostalgic street scene along the iconic Kings Road in Chelsea. This lively painting captures the ess...

Nightingales, 130x90cm

Prokash Karmakar Untitled Acrylic on Paper 28 x 20 inches 71.1 x 50.8 cm 1990 ( Framed & Delivered ) Karmakar is best known for his landscapes and nudes, which are generally pain...

Narcissus, 40x30cm

Prokash Karmakar Untitled ( Mother & Child ) Acrylic on Paper 28 x 20 inches 71.1 x 50.8 cm 1990 ( Framed & Delivered ) Karmakar is best known for his landscapes and nudes, which...

My dawn, 120x120cm, Oil, Canvas, Sand

Montana Engels: "This Blue work with blue and green accent, is inspired by the neon blue or green sparkles of the sea called bioluminescence. The ocean can glow and glitter like star...

Montana Engels: "Malé is painted with sand and shells from the Maldives. Hence the name Malé, referring to the capital of the Maldives. From up close the painting looks abstract with...

Montana Engels: "Celeste is a painting that holds the entire world in her gaze. She captures every wandering eye and stops the world from spinning by drawing you in with her gaze." ...

Dreams of a red dog, 120x100cm

Spring in the village, 120x120cm, Oil, Canvas, Sand

Lady with a dog, 170x112cm

The room cannot stand emptiness, 100x90cm

Sumiko and Vitya, 150x120cm, Oil, Canvas, Sand

Erection of the garden, 35x30cm

White Swan, 50x40cm

Napik, 130x95cm

Roosters fight - children cry, 98x178cm

Belly wings, 70x90cm

Butterfly grower, 103x93cm

My paintings are a reflection of my inner space, I will call it a garden. What is this garden like? It's a little chaotic, a little bright, a little abstract, a little orderly, a l...

My paintings are a reflection of my inner space, I will call it a garden. What is this garden like? It's a little chaotic, a little bright, a little abstract, a little orderly, a l...

Midnight Blues, 2020

Badri Narayan The Flower Water colour on Paper 8 x 8 inches 20.3 x 20.3 cm 8th April 1993 ( Framed & Delivered ) This work features in the Book on Badrinarayan Written by Ms. ...

Badrinarayan The Cockerel Water colour on Paper 22 x 14 inches 55.8 x 35.5 cm This work features in the Book on Badrinarayan Written by Ms. Prema Vishwanathan & Published by Ma...

KG Subramanyan Untitled (Goat), Water colour on Paper 6 x 8 inches 15.2 x 20.3 cm 1999 Inclusive of shipment without frame. Style : K G Subramanyan was one of the leading artists...

Jeram Patel Untitled , Acrylic on Canvas 36 x 48 inches 91.4 x 121.9 cm 2005 Price on Request ( UNFRAMED ALL IN DOOR DELIVERED ) Born : 1930 Died : 2016 Jeram Patel was on...

KG Subramanyan Untitled ( Flowers ), Water Colour on Paper 11 x 10 inches 27.9 x 25.4 cm 1982 ( Framed & Delivered ) Style : K G Subramanyan was one of the leading artists who wa...

KG Subramanyan Untitled , Gouache on Paper 8 x 11.5 inches 20.3 x 29.2 cm 2007 ( Framed & Delivered ) Style : K G Subramanyan was one of the leading artists who was part of Ind...

Untitled "Marble Fragment 1" 2019, acrylic, landscape, wall sculpture, clouds, purple, blue

This magnificent oil on panel portrait, presented by Titan Fine Art, is a splendid example of the sumptuous female portraits that were painted for members of the upper echelons of society during the early part of the 1600’s. The artist has rendered this portrait with meticulous attention to detail and the surface effects of the fine materials. The elaborate lace coif and cuffs are painstakingly delineated, as is the bold black damask, and sumptuous gold decoration of her skirt and stomacher, which is wonderfully preserved and quite remarkable considering the age of the work and the fact that darker pigments are particularly vulnerable to fading and wear. This work with its spectacular depiction of costume is of absolute quality, it can be rated as one of the best works in the artist’s oeuvre and as such it is an important and splendid example of Dutch portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middleclass patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Dress was a key component in portraits, and the exuberant attire reiterates the incredible wealth of this woman. The sitter will have visited the artist’s workshop and inspected examples on display. They would have chosen the size and the sort of composition and on that basis negotiated the price – which would have also been determined by the complexity of the clothing and the jewels that were to be depicted, and by the materials to be used. When all was considered, this portrait would have cost the sitter (or her husband) a substantial sum. The colour black was regarded as humble and devout yet at the same time refined and sophisticated and the most expensive colour of fabric to dye and to maintain. Citizens spent fortunes on beautiful black robes. Such uniformity must also have had a psychological side-effect and contributed to a sense of middle-class cohesion; the collective black of the well-to-do burgess class will have given its members a sense of solidarity. The colour was always an exciting one for artists and when this portrait was painted there were at least fifty shades of it, and as many different fabrics and accoutrements. Artists went to great lengths to depict the subtle nuances of the colour and the fabrics and textures and how they reflected light and it was an ideal background against which gold and crisp white lace could be juxtaposed to dramatic effect. The sitter is either a married women or a widower as is evident by the clothing that she wears and the position, toward her right, it is highly likely that this portrait was once a pendant that hung on the right-hand side of her husband’s portrait as was convention at the time. She wears a vlieger which was a type of sleeveless over-gown or cape worn by well-to-do married women in the late 16th and early 17th centuries. Variations with short sleeves or high shoulder rolls are known. Sometimes sleeves were attached with aiglets, and often slits were made to allow belts or the hands to pass through. Three-piece vlieger costumes of this kind were standard items of clothing in portraits of the women of the civic elite in the period 1600-40 and was a variant of the Spanish ‘ropa’ and served as a trademark of well-to-do married burgher women. Girls and unmarried woman, including beguines, wore a bouwen (a dress with a fitted bodice and a skirt that was closed all round) instead. This clear distinction between apparel for married and unmarried women is clear not only from inventories and trousseau lists, but also from contemporary sources such as the Dutch Spanish dictionary published by Juan Rodrigues in 1634. In it, a bouwen is described as a ‘ropa de donzella’ (over-gown worn by a virgin) and a vlieger as a ‘ropa de casada’ (overgown worn by a married woman). It is striking how few women are depicted wearing a bouwen, unless they are part of a group, family or children’s portrait and it can therefore be assumed that independent portraits of unmarried women were seldom commissioned. It is also believed that the clothing worn in these portraits existed and were faithfully reproduced when cross-referenced with the few exact documents. These sources also demonstrate that clients wanted their clothing to be depicted accurately and with this in mind precious garments and jewels were often left in the painter’s studio. The prominent white lawn molensteenkraag (or millstone ruff) is held up by a wire supportasse and was reserved only for the citizens that could afford this luxurious item that often required 15 meters of linen batiste. The fabulous wealth of this sitter is also evident by the elaborate lace coif and cuffs which have been exquisitely depicted; lace was often literally copied by artists in thin white lines over the completed clothing. The gold bracelet with jewels is a type that was evidently fashionable as it is seen in a number of portraits during the 1610s and 1620. Clothing and jewellery were prized possessions and were often listed in inventories of estates and passed down from generation to generation. There were a great number of jewellers of Flemish origin working at all the courts and cities of Europe, competing with the Italians, and then the French, adapting themselves to the tastes and positions of their patrons and the raw materials available in the country where they worked. The fashion for jewels “in the Flemish style” succeeded that of the Italian style. Cornelis van der Voort, who was probably born in Antwerp around 1576, came to Amsterdam with his parents as a child. His father, a cloth weaver by trade, received his citizenship in 1592. It is not known who taught the young Van der Voort to paint, but it has been suggested that it was either Aert Pietersz or Cornelis Ketel. On 24 October 1598 Van der Voort became betrothed to Truytgen Willemsdr. After his first wife’s death he became betrothed to Cornelia Brouwer of Dordrecht in 1613. In addition to being an artist, Van der Voort was an art collector or dealer, or both. In 1607 he bought paintings from the estate of Gillis van Coninxloo, and after an earlier sale in 1610 a large number of works he owned were auctioned on 7 April 1614. Van der Voort is documented as appraising paintings in 1612, 1620 and 1624. In 1615 and 1619 he was warden of the Guild of St Luke. He was buried in Amsterdam’s Zuiderkerk on 2 November 1624, and on 13 May 1625 paintings in his estate were sold at auction. Van der Voort was one of Amsterdam’s leading portrait painters in the first quarter of the 17th century. Several of his group portraits are known. It is believed that he trained Thomas de Keyser (1596/97-1667) and Nicolaes Eliasz Pickenoy (1588-1650/56). His documented pupils were David Bailly (c. 1584/86-1657), Louis du Pré...

Presented by Titan Fine Art, this elegant and beautiful portrait depicts Abigail Hay, Lady Dupplin, Countess of Kinnoull; it is an excellent example of English portraiture from the f...

Canadian artist Slavo Cech’s unique sculpture practice is most often inspired by nature. Exploring the language of form and fluidity in the medium of metal sculptures for over 35 yea...

Aubrey Penny Abstract Watercolor - Untitled Signed, Dated, and Numbered 2204, 1962 Untitled Aubrey Penny (American 1917-2000) was an innovative California abstract artist who worke...

"Coalescence #1" 25" x 21.5" inch by Oleg Char Medium: Spray paint, Acrylic on restored Antique Mirror, Wood frame THE ARTIST: Unearth the essence of contemporary art with Oleg Cha...

Experience the captivating allure of Rachel Marie's latest masterpiece, "Untitled," on display at our gallery. With delicate strokes and vibrant hues, Marie effortlessly transports v...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

"Immersion" by Roman Goss is an original abstract painting that captivates viewers with its intricate composition and vibrant use of color. Through a combin...

“Pink and Morris” 70x70 cm, oil on canvas

I have just taken this painting back into stock. It was painted back in the 1980,90s and the location is a meadow at Priors Halton so it is looking towards Clee Hill. (Near Ludlow i...