Sunil Das

Horse Head, Oil on Canvas, Red Color by Padmashree Artist Sunil Das "In Stock"

1978

Shuvaprasanna Bhattacharya - Middletone - 45 x 35 inches (unframed size) Acrylic, Charcoal & Oil on Canvas Inclusive of shipment in a roll form. Style : The city of Kolkata has alwa...

Shuvaprasanna Bhattacharya - The Owl Oil Acrylic & Charcoal on Canvas 48 x 48 inches (unframed size) 2005 One of the most popular series of the Master Artist, The Golden Flute is...

Bijan Choudhury - Untitled - 48 x 60 inches (unframed size) Mixed Media on Canvas Inclusive of shipment in roll form. Style : The Marxist orientation did not allow Bijan Chowdhury "...

Bijan Choudhury - Untitled - 48 x 60 inches (unframed size) Mixed Media on Canvas Inclusive of shipment in roll form. Style : The Marxist orientation did not allow Bijan Chowdhury "...

Isha Mahammad - Untitled - 24 x 30 inches (unframed size) Oil on Canvas It will be shipped in rolled form. Born in Hoogly, West Bengal, 1933. Education : Diploma in Fine Arts (D...

Shuvaprasanna Bhattacharya - The Owl - 30 x 30 inches (unframed size) Oil & Acrylic on Canvas ** This work will go in rolled from, for framing please contact with gallery. In Hindu Mythology , some say, Lakshmi (Goddess of Fortune and Wealth) rides the owl; others believe the owl simply accompanies her, while she ... Goddess Lakshmi is also said to be the mistress of spiritual wisdom. By keeping the owl as her vehicle, she teaches us to open our eyes to the light. Style : The city of Kolkata has always figured prominently in his work. His themes come from his personal interactions with its urban milieu - its sickness and sordidness, its violence and vulnerability and all that compounds its existential agony. Shuvaprasanna has depicted varying moods of the city and its people, its places, and all its facets that make the city distinctive. He doesn't merely portray reality as 'matter of fact' and his presentation of reality often has dream-like elements in it. In terms of technique, Shuvaprasanna boasts a precise, finely executed style that yields an unmistakable visual intensity. He works comfortably in an assortment of media, including oil on canvas, charcoal, and mixed media. About the Artist and his work : Born : In Calcutta, 1947. Education : Graduated from Indian College of Art (R.B. University, Calcutta) in 1969. Exhibitions : Shuvaprasanna has had several gallery and museum exhibitions, including at the Tao Art Gallery and at the Chawla Art Gallery, Square One Mall. Several works by the artist have been sold at auction, including 'ABODE' sold at Waddington's 'Fine Prints & Photography Auction...

A painting of a whimsical scene, "Read All About It" shows three animals of indeterminate species sitting on a soft pastel, green field facing a large billboard. On the billboard are...

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

An incredibly striking image of a white butterfly set against a background of yellow petals. Painted with great energy and with a most appealing texture to the paint surface. This lo...

An incredibly striking image of a white butterfly set against a background of yellow petals. Painted with great energy and with a most appealing texture to the paint surface. This lo...

An incredibly striking image of a black and yellow butterfly. Painted with great energy and style. This looks stunning against a white wall. Henri-André Martin (1918-2004) A Swallowtail butterfly Signed Oil on canvas 23½ x 23½ inches excluding frame 26½ x 26½ inches including frame Provenance: The artist's studio sale Born in Lyon in 1918, Henri-André Martin spent his youth in Saint-Étienne. Following his father into the medical profession, he spent his first years studying medicine in Lyon, but also enrolled in the École de Beaux Arts during this time. Upon returning from captivity in 1942, Martin soon became director of the otolaryngology clinic at Édouard-Herriot hospital. Painting, however, remained his true calling in life - it was, to him, an invaluable form of self-expression. Reserved and extremely modest, and frequently regarded as somewhat aloof, art was a means of articulating his anxieties and apprehensions, as well as giving a voice to his inner child. Martin had a brush in hand at all times, wherever he went, and painted countless gouaches of varying sizes. His beach paintings in particular have been compared to those of Boudin. Until the 1970s, Martin had a tendency to paint ‘on the ground’, yet in all of his paintings, there is a distinct sense of distance and removal from the subject-matter. In the years that followed, we see a development in this simplification and abstraction of the subject-matter, as seen, for example, in his images of almond trees standing alone against the stark winter sky of Provence. The palette begins to darken, his work acquires a feeling of gravity, as his paintings of Hamburg Port evidently reflect. His collection entitled ‘Trunks’, six lithographic plates, draws on visual and written material in the book, L’Olivier. His interest in the symbolism of the olive tree subsequently grew, and he turned to literature, painting and historical traditions to develop and nuance his understanding of its allegorical value. This fascination with the olive tree, and more broadly, with the nature of symbolism, came to profoundly inform his later work. What he learnt to represent was not merely the physical reality of his subjects, but their implicit interconnection with abstract ideas. As René Déroudille writes, the lithographic plates are ‘especially devoted to and embrace renewal’, revealing an artist who is in ‘full mutation’. In the 1980s, Martin’s work took a more explicit turn towards abstraction. It was during this time that he produced a series of large nudes, which he entered into the major exhibition at L’Atrium in Lyon, in 1992. In the years that followed, Martin focused on animating the shapes and forms born of his imagination, eventually accomplishing this and changing his focus once again, turning to more attractive, even decorative subjects, like Japanese...

An incredibly striking image of a Swallowtail butterfly. Painted with great energy and style. This would look stunning against a white wall. Henri-André Martin (1918-2004) A Swallowtail butterfly Signed Oil on canvas 23½ x 23½ inches excluding frame 26½ x 26½ inches including frame Provenance: The artist's studio sale Born in Lyon in 1918, Henri-André Martin spent his youth in Saint-Étienne. Following his father into the medical profession, he spent his first years studying medicine in Lyon, but also enrolled in the École de Beaux Arts during this time. Upon returning from captivity in 1942, Martin soon became director of the otolaryngology clinic at Édouard-Herriot hospital. Painting, however, remained his true calling in life - it was, to him, an invaluable form of self-expression. Reserved and extremely modest, and frequently regarded as somewhat aloof, art was a means of articulating his anxieties and apprehensions, as well as giving a voice to his inner child. Martin had a brush in hand at all times, wherever he went, and painted countless gouaches of varying sizes. His beach paintings in particular have been compared to those of Boudin. Until the 1970s, Martin had a tendency to paint ‘on the ground’, yet in all of his paintings, there is a distinct sense of distance and removal from the subject-matter. In the years that followed, we see a development in this simplification and abstraction of the subject-matter, as seen, for example, in his images of almond trees standing alone against the stark winter sky of Provence. The palette begins to darken, his work acquires a feeling of gravity, as his paintings of Hamburg Port evidently reflect. His collection entitled ‘Trunks’, six lithographic plates, draws on visual and written material in the book, L’Olivier. His interest in the symbolism of the olive tree subsequently grew, and he turned to literature, painting and historical traditions to develop and nuance his understanding of its allegorical value. This fascination with the olive tree, and more broadly, with the nature of symbolism, came to profoundly inform his later work. What he learnt to represent was not merely the physical reality of his subjects, but their implicit interconnection with abstract ideas. As René Déroudille writes, the lithographic plates are ‘especially devoted to and embrace renewal’, revealing an artist who is in ‘full mutation’. In the 1980s, Martin’s work took a more explicit turn towards abstraction. It was during this time that he produced a series of large nudes, which he entered into the major exhibition at L’Atrium in Lyon, in 1992. In the years that followed, Martin focused on animating the shapes and forms born of his imagination, eventually accomplishing this and changing his focus once again, turning to more attractive, even decorative subjects, like Japanese...