Charles Kiffer

Backstage

"UNTITLED" OIL AND ACRILIC ON CANVAS SIGNED 35.5 X 27.5 INCHES Sofía Ruiz was born in 1982. What she expresses through her paintings has to do with whe...

SUENO PROFUNDO OIL AND ACRILIC ON CANVAS SIGNED, 2013 EXHIBITED MUSEO DEL BANCO CENTRAL DE COSTA RICA 43.25 X 35.5 INCHES Sofía Ruiz was born in 1982....

Beautiful. large oil on canvas, in excellent condition. Framed The Spätimpressionist Leopold Illenz was a student of Anton Azbe, and Simon Hollósy at Munich private schools...

CHARLES KVAPIL "NU" OIL ON CANVAS, SIGNED, TITLED BELGIAN, DATED 1932 46 X 32 INCHES FRAMED 55.5 X 41 INCHES Charles Kvapil 1884-1957 Charles Kvapil was born in 1884 in Anvers...

ALEXANDER KREISEL "MAN WITH YELLOW TIE" OIL ON CANVAS BOARD, SIGNED RUSSIAN-AMERICAN, C.1935 26 X 19.5 INCHES FRAMED 29.5 X 23.5 INCHES Alexander Krei...

Reza begun studying art seriously at age 15 and was studying at the institute of art in Iran where he graduated with highest honors. He also studied privately with one of Persia’s mo...

Childhood, a reoccurring theme in Darlene Cole’s work, is represented by prepubescent girls and boys, engaged in some type of action. Without adult supervision, these activities confer on Cole’s children an adult-like aura, empowering them. The artist cites Neil Postman’s 1982 book about the decline in innocence in American culture The Disappearance of Childhood as a text that informs her work. In it, Postman argues that communications technology, such as the invention of the television and later, the Internet, contributed to children losing their innocence, thus transforming them into young adults. A source of inspiration for Cole are the works of the Pre-Raphaelite Brotherhood, a group of English painters, poets and critics, founded in 1848. They studied nature attentively, employed vivid colours and depicted unconventional-looking women. Just like in Pre-Raphaelite works, the girls in Cole’s paintings embody enigma, distance, and beauty. The past, in general, is a great source of inspiration for the artist. Cole’s cottage, or ‘artist’s retreat’ as she calls it, was built at the beginning of the 20th century. Since she kept all the original furniture and linens intact, the cottage, on the side of a lake, seems to belong to the past. Nature, another omnipresent theme in Cole’s work, is in many works represented by flowers, such as pink David Austin roses...

Childhood, a reoccurring theme in Darlene Cole’s work, is represented by prepubescent girls and boys, engaged in some type of action. Without adult supervision, these activities confer on Cole’s children an adult-like aura, empowering them. The artist cites Neil Postman’s 1982 book about the decline in innocence in American culture The Disappearance of Childhood as a text that informs her work. In it, Postman argues that communications technology, such as the invention of the television and later, the Internet, contributed to children losing their innocence, thus transforming them into young adults. A source of inspiration for Cole are the works of the Pre-Raphaelite Brotherhood, a group of English painters, poets and critics, founded in 1848. They studied nature attentively, employed vivid colours and depicted unconventional-looking women. Just like in Pre-Raphaelite works, the girls in Cole’s paintings embody enigma, distance, and beauty. The past, in general, is a great source of inspiration for the artist. Cole’s cottage, or ‘artist’s retreat’ as she calls it, was built at the beginning of the 20th century. Since she kept all the original furniture and linens intact, the cottage, on the side of a lake, seems to belong to the past. Nature, another omnipresent theme in Cole’s work, is in many works represented by flowers, such as pink David Austin roses...

Simon Casson’s paintings are singular statements of pure uniqueness. Their contemporary abstraction inflicts its imprint upon the often capriccio paintings, through predatory slabs o...

Simon Casson’s paintings are singular statements of pure uniqueness. Their contemporary abstraction inflicts its imprint upon the often capriccio paintings, through predatory slabs o...

EMILIO GRAU SALA Spanish, 1911 - 1975 LE PETIT DÉJEUNER DANS LE JARDIN signed Grau Sala (lower left) oil on canvas 25-3/4 X 32 inches (65.5 X 81 cm....

FÉLIX ALARCÓN Spanish, 1840 - 1905 MORNING WALK THROUGH THE PLACE OF THE CONCORD signed "F. Alarcón" (lower left) oil on canvas 19-3/4 X 25-7/8 inches (...