Figurative Paintings

This beautiful painting was created in 1877 by the well-known French painter, Gustave Clarence Rodolphe Boulanger. Boulanger often produced work which combined the classical and Orie...

Gouache on paper, 1920's by Hugò Scheiber ( 1873-1950 ) Hungary. Signed with pencil lower central: Scheiber H. Framed under glass. Height: 25.98 in ( 66 cm ), Width: 19.69 in ( 50 c...

Her work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged. Her work creates a commentary about “beginnings” and the transmission of signs and emotions through visual elements evoking a spiritual essence to our scientific notion of etymology. After studying under Rolf Dürig...

Pensativo Ricardo Ramírez Rodríguez Mixed Media on Canvas 80 x 100 cm 2007, MX Unframed

Carmen Gutierrez painting "Demasiado". Oil on canvas. Signed by the artist. 23.6 x 31.5 in. image.

GODCHAUX Emile (1860) Big Compositions of Flowers in Pair Oil on canvas signed low right Frames gilded with gold leaves Dim canvas (each) : 90 X 129 cm Dim frame (each) : 118 x 159 cm Certificate of authenticity GODCHAUX Emile (1860 - nc) French School - XIXth century Born in 1860 Painter of genre scenes, landscapes, waterscapes, marines, flowers, still lives. He sold his paintings on the public place, and sometimes in Lotteries. He is related to Alfred Godchaux...

An original expressionist painting by American female artist Jackie Felix.

Pastel and carbon pencil on cardboard, ca. 1930 by Hugo Scheiber. Signed lower left: Scheiber H. Dimensions: 14.96 x 12.99 in ( 38 x 33 cm ), Framed: 19.69 x 15.75 in ( 50 x 40 cm ) Hugo Scheiber born 1873 Budapest - he died 1953...

Gregory Kitterle's Arch and Pole is a 11.8 x 12-inch ink, oil, and pencil painting on board. It oscillates between figuration and abstraction, in a tridimensional space alternating b...

Re. the works : These are a set of 9 works of size 14 x 11 inches ( unframed work size ) . To get the best out of them we recommend placing them together in interesting ways . Few ...

An original oil, oil stick and charcoal diptych painting on canvas by Contemporary female artist Dorothy Fitzgerald. This monumental work measures 60" (h) x 120" (w) This work was featured in the recent exhibition of The Corridors Gallery at Hotel Henry...

Sekhar Kar - Untitled - 14 x 11 inches ( unframed size ) Mixed media on board ** Delivered in parcel form mounted but not framed. Style : Sekhar Kar paintings depict men and women...

An original oil on MDF by contemporary conceptual painter Rob Lynch. This work was part of a recent pop up exhibition The Dreamer Who Dreams, which was curated to raise money for Th...

An original oil on MDF by contemporary conceptual painter Rob Lynch. This work was part of a recent pop up exhibition The Dreamer Who Dreams, which was curated to raise money for Th...

Signed lower left, 'Lavallen', dated 1987 and titled verso 'Mujer Dormida' (Woman Sleeping). A large figural oil painting of a young woman shown reclining on a sofa. Julio Lavallen...

Her work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged. Her work create...

Bold abstract figurative of a figure in a blue scarf by San Francisco artist Michael William Eggleston (American, 20th c.)From a collection of his works. Si...

The Fighters. Signed and dated lower left, also signed and titled on reverse. Erwin Guillermo was born in Guatemala City in 1951. He is one of the best representatives of Guatemalan Art...

Lotus is a painting made by Evelyne Ballestra, a French contemporary artist. This piece is a part of a flower series, defined by their distinct bright colors, satiny, silky, vibratin...

Original and unique painting by contemporary french artist Thierry Bruet. Oil on canvas. Anachronistic artwork created by Thierry Bruet.

Elin Siân Blake. Welsh ( b.1981). Iron Puddlers. Oil on box canvas. Signed lower right. Image size 19.7 inches x 15.6 inches ( 50cm x 39.5cm ). Frame size 20.9 inches x 16.9 inches ...

Adolphe Aizik Feder (Ukrainian, 1886-1943), alternate spelling Adolf Feder "Portrait of a Rabbi" Oil painting mounted to board. Signed (upper left). Sight size, 6 3/4 by 5 1/8 inches; overall as framed, 8 3/8 by 6 3/4 inches. Adolphe Féder (1886 – 1943) was a Jewish-Ukrainian painter and illustrator. He moved to France in 1908, where he remained until his deportation and subsequent murder at the hands of the Vichy regime. Adolphe Feder is best-known today for the artwork he produced of those interned with him in the Drancy internment camp. Born to Jewish Ukrainian merchant parents, in 1905 Féder found himself involved in the revolutionary Bund Labor Movement. His involvement in the organization would force him to flee to Berlin, Germany at the age of 19. Following his time in Berlin, Féder moved to Geneva, Switzerland before moving to Paris, France in 1908 to study at the Académie Julian. At the Académie he studied painting and worked closely with the French Impressionist, Henri Matisse in his workshop. In 1926, Féder made a trip to British Mandate Palestine (Israel). On his trip he encountered many Judaic elements, which he painted. The trip's impact on him yielded many of his most notable paintings such as "Juif à barbe tenant un plateau" ("Bearded Jew holding a tray"). When Féder returned to Paris, he brought many of these paintings back with him, which garnered him recognition in the Parisian artistic community. Before Féder was sent to Auschwitz he painted prisoners and guards in the Drancy internment camp. When Nazi troops marched across France in 1942, Féder, aged 52, tried to get in contact with the French Resistance but was caught by the Pétain militia. He and his wife were arrested on 10 June 1942 and imprisoned in Cherche-Midi prison; he was transferred to the Drancy internment camp in September 1942. In Drancy, Féder continued to paint, creating portraits of those around him such as the other prisoners and guards. His paintings stopped with his deportation to the Auschwitz concentration camp on 13 December 1943 where he was murdered. Féder's wife, Sima Féder, donated Féder's works from inside Drancy to the Ghetto Fighters' House upon her death in 1967. Féder's success came in 1912 when his landscape works were displayed at the Salon d'Automne. He continued to paint following this including a series of 45 illustrations created for a book of poetry by French poet Arthur Rimbaud. The book received a limited run of 350 copies in 1924, but was commended for its watercolor illustrations. When Féder's work appeared in the Fearon Galleries in 1923, his work received great praise. A monograph on Féder was written in 1929 by Gustave Kahn. (also known as Aizik Féder or Айзик Федер) He was associated with The School of Paris, Ecole de Paris, which was not a single art movement or institution, but refers to the importance of Paris as a center of Western art in the early decades of the 20th century. Between 1900 and 1940 the city drew artists from all over the world and became a centre for artistic activity. School of Paris was used to describe this loose community, particularly of non-French artists, centered in the cafes, salons and shared workspaces and galleries of Montparnasse. Before World War I, a group of expatriates in Paris created art in the styles of Post-Impressionism, Cubism and Fauvism. The group included artists like Pablo Picasso, Marc Chagall, Amedeo Modigliani and Piet Mondrian. Associated French artists included Pierre Bonnard, Henri Matisse, Jean Metzinger and Albert Gleizes. The term "School of Paris" was used in 1925 by André Warnod to refer to the many foreign-born artists who had migrated to Paris. The term soon gained currency, often as a derogatory label by critics who saw the foreign artists—many of whom were Jewish—as a threat to the purity of French art. Art critic Louis Vauxcelles, noted for coining the terms "Fauvism" and "Cubism", Waldemar George, himself a French Jew, in 1931 lamented that the Ecole de paris, School of Paris name "allows any artist to pretend he is French. it refers to French tradition but instead annihilates it. The artists working in Paris between World War I and World War II experimented with various styles including Cubism, Orphism, Surrealism and Dada. Foreign and French artists working in Paris included Jean Arp, Joan Miro, Constantin Brancusi, Raoul Dufy, Tsuguharu Foujita, artists from Belarus like Michel Kikoine, Pinchus Kremegne, and Jacques Lipchitz, the Polish artist Marek Szwarc and others such as Russian-born prince Alexis Arapoff. A significant subset, the Jewish artists, came to be known as the Jewish School of Paris...

figurative, women, beach scene Oil and Charcoal on Linen

Original and unique painting by contemporary french artist Thierry Bruet. Oil on canvas, 2024. #arthistory Reinterpretation of Titian's "The Entombment...

Original and unique painting by contemporary french artist Thierry Bruet. Oil on canvas. Anachronistic artwork created by Thierry Bruet.

Original and unique painting by contemporary french artist Thierry Bruet. Oil on canvas. Anachronistic artwork created by Thierry Bruet, inspired by a pa...

William Bouguereau French 1825-1905 Petite Mendiante (Little Beggar) Signed “W. Bouguereau 1880” (center left) Oil on canvas William Bouguereau's faithful images of young women a...

William-Adolphe Bouguereau 1825-1905 French Au Bord du Ruisseau Signed and dated “W-Bouguereau-1888” (upper left) Oil on Canvas “Bouguereau’s paintings of children allowed for th...

During the artists carrier he only painted 2 Picador's of this size for the exhibition at Galerie Maurice Garnier, in Paris France, who was his dealer at the time. Shortly after the ...

Original and unique painting by contemporary french artist Thierry Bruet. Oil on canvas. Anachronistic artwork created by Thierry Bruet, inspired by a pa...

Original and unique painting by contemporary french artist Thierry Bruet. Oil on canvas. This anachronistic work is inspired by a fusion of the works of the Venetian painter Giambattista Tiepolo...

Original and unique painting by contemporary french artist Thierry Bruet. Oil on canvas. Anachronistic artwork created by Thierry Bruet, inspired by a pa...

Evelyne Ballestra's work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged....

Academic style figurative painting of a young athlete, wrestler in training "Wrestler in Training", Painted by Mark Beard as Bruce Sargeant (pseudonym in h...

‘Arms Crossed’ is a medium size vertical expressionist figurative oil on canvas painting created by Vietnamese artist La Ba Quan in 2011. Featuring a palette made of grey, soft blue, green and pink, the painting brings to mind the fascinating aura of a Chaim Soutine. This expressionist painting is dominated by the tortuous lines of the man’s silhouette...

‘Emotional’ is a large expressionist figurative oil on canvas painting of vertical format created by Vietnamese artist La Ba Quan in 2011. Featuring a palette made of grey, brown, bl...

Bernard Lorjou has painting this subject "Harlequins" many times in watercolors, drawing , oil paintings and later on in the late 60's in acrylic, both on canvas, paper and some on m...

Paul Manes was born May 4, 1948, in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has been widely exhibited in America and Europe and h...

Paul Manes was born May 4, 1948, in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has been widely exhibited in America and Europe and h...

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret (these are generally hand signed Awret Safed on the verso. I just have not opened the frame to check) the actual glazed ceramic is 10.25 X 14.75 inches. It depicts a girl or woman with potted plants, birds, pomegranates and other fruits and flowers in a naif, folk art style. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret - who would later become her husband. Among the other artists in the workshop were Herbert von Ledermann-Vütemberg, a sculptor from an aristocratic family with Jewish roots, Léon Landau, and Smilowitz, who perished in the camps in the East. Irène and Azriel tried to bribe a German officer to prevent Smilowitz's deportation. Not only were they unsuccessful, but they were almost put onto the same train. Jacques Ochs was another artist with whom they became friends in the camp. Ochs, a French-born Protestant who lived in Belgium, was interned as a political prisoner. He remained in Belgium after liberation. After the war the Awrets immigrated to Israel and made their home in Safed. They continued to work, and were instrumental in founding Safed's artists' quarter. The Beit Lohamei Haghetaot (Ghetto Fighters' House Museum) art collection holds works donated by Awret. These date from her time in Malines camp and from her stay in Brussels after the war, when she was in the company of orphans who had hidden while their parents were sent to Auschwitz. Her highly expressive works have made their way to exhibitions at theTel Aviv Museum, the Haifa Museum of Modern Art and the Modern Art Gallery in Washington, D.C., as well as into the private collections of such individuals as Dr. Jonas Salk...

A crayon and chalk drawing of a band by French artist Jean Arène. The work is signed and dated top left. Presented in plain metal frame under glass. A charming coloured drawing of a Provencal musical band. The French equivalent of a 'mariachi band'. Two trumpet players, a tuba and a drum. The musicians are all wearing straw 'boater' hats and striped blazers. In the background is the terrace of a café with its green tables. Arene has captured, with a lightness of touch, all the excitement and animation of the scene. Jean Arène was a student of August Chabaud, a highly sought after French artist in Provence who in turn took his inspiration from Cezanne. After a stint in 1949 at the School of Fine Arts in Marseille, then a year in Paris in 1950 with the poster artist Paul Colin, Jean Arène returned to Marseille the following year where he founded the "Group of under 30' with Trofimoff, Trabuc, Zutter and Mela and began painting as an autodidact, while earning a living in advertising and decoration. His first exhibition dates from 1956. Then, from 1957, Jean Arène left the city for the countryside, which served as his base for many trips, often hitchhiking and backpacking, but always accompanied by a pencil and a sketchbook: Spain, Morocco in 1957, West Africa in 1960, (followed by an exhibition in Dakar), Northern Europe (Germany, Denmark, Sweden, Norway, Lapland , Lofoten, Netherlands and Belgium) In 1963 a trip to Tunisia. Then in 1966 his first retrospective in Toulon. In 1970 Arène left for the United States and Mexico, followed two years later by West Africa again: Tassili, the Sahara and Algeria. He exhibited extensively in Provence and the Gard: Aix-en-Provence, Uzès, Avignon, La Ciotat...

In "Black Elegance," Odetomi skillfully brings forth the allure of a woman wearing a striking traditional Ankara head tie. The Ankara fabric, renowned for its vibrant patterns and bold colors, holds deep cultural significance in many African countries. The artist's meticulous strokes and rich palette draw attention to the intricate patterns and textures of the head tie, which gracefully wraps around the woman's head, exuding elegance and confidence. Enhancing the artwork's magnificence are the subtle nuances captured in the woman's expression and posture. Her gaze reflects strength and determination, while her regal pose embodies the grace and resilience often associated with African women. Through his artistry, Odetomi captures not only the physical beauty of the subject but also her inner strength and cultural heritage. "Black Elegance" by Abayomi Odetomi...

A rare chance to collect an original oil painting by Shizico Yi at the lowest price possible. We offer the original artwork with a artist’s lifetime Warranty too! Taking on the inspiration of the legendary poet, Dylan Thomas, the poem, Do not go gentle into that good night, is a painting celebrates life in its ageing; as Rosa Albertine only flowers once in early Summer with the most festive blooms and heavenly scents, a symbol of a fully lived life. About the Painting : Painted Plein Air, in Artist's own garden of her very own planted memorial roses. This is Rosa Albertine, the first Old English variety Artist Shizico Yi planted in 2016 in her garden before her late dog died; Old English Roses...

Nudes By. Salcia Bahnc (Polish, American, 1898-1976) Signed Lower Middle Unframed: 14 x 18 inches Framed: 23 x 26 inches Painter, illustrator, printmaker, teacher. Born in Dukla, Poland. Though she was born in Dukla, a town in south-eastern Poland, she moved to Prsemysl, one of the largest and most ancient cities of southern Poland, at a young age. Her mother was reportedly descended from the "Van Ast" family, a Dutch dynasty that produced several artists, including Balthasar van der Ast (1593/4 - 1657). According to one art historian she came to New York at the age of five (c. 1903), and another, at the age of eight (c. 1906). Her family was Jewish and reportedly quite wealthy. Why they would have left imperial Austria, under whose sovereignty either of her proposed birth cities were under, is unknown. However, while these areas did not suffer the pogroms typical in neighboring imperial Russia, the Austro-Hungarian empire had become much more anti-Semetic, which may have hasten there departure. How, according to one source, they ended up living in the Jewish ghetto of New York is extremely puzzling. Did they loose their wealth to some business disaster? Where they forced to leave it behind? Was there some familial tragedy? We may never know. In her youth she lived first in New York City and then in Boston, Massachusetts, where her family had relatives. It is reported that when she was in fourth grade she was found to be so competent in drawing that for the next two years she taught a drawing class after school for the other children. In Boston, Bahnc's mother eventually remarried and moved the family to Chicago where the young artist was primarily raised. In Chicago she worked during the days as a sales clerk in a department store. At night she put herself through school at the School of the Art Institute of Chicago (SAIC) and taught at her former alma mater after her graduation during the years 1923-1929. She also studied at the Chicago Academy of Fine Art. She took up design work and began exhibiting painted silk creations at a private Chicago gallery (probably Thurber, see below). The first museum exhibitions she is known to have participated in were held at the Art Institute of Chicago. During this period she became known for her portraits. Originally a resident alien, she was naturalized at the district court of Chicago, Illinois in July of 1913. In 1920 she lived on East Ontario Street in Chicago in a neighborhood filled with art studios and artists, including James Allen Saint-John (1872-1957), Paul Bartlett (1881-1965), Pauline Palmer (1867-1938), and George Ames Aldrich (1872-1941). It is in Chicago that she saw her greatest success as an artist. In 1927, Chicago art dealer Chester H. Johnson said of her work: "The Art of Salcia Bahnc is a sincere manifestation of the spirit we know as 'Modernism' . . . . . . She is the spirit of the Age, not its Fashion." Local reviewers agreed, one going as far to say that her exhibition was " . . . the most interesting one man show by a young artist that has ever been presented to Chicago, and I keep telling myself that New York will get her if we don't watch out." She was apparently a favorite and friend of art critic Clarence Joseph Bulliet (1883-1952), who authored a number of books and articles that praised Bahnc's work. Bulliet was central in introducing and popularizing modern art in the mid-western United States. In his book Apples and Madonnas: Emotional Expression in Modern Art (1935) he called Bahnc a "A thorough Expressionist." A year later in his book The Significant Moderns and Their Pictures (1936) he noted that one of her paintings of a nude was ". . . powerful in its elemental brutality." During this period other critics reported positively on the work she was producing. Ida Ethelwyn Wing reported in a volume of the Delphian Text (1930) that Bahnc, was without doubt, ". . . the most vigorous and intensively original of the American Expressionists." Paul Masserman and Maxwell Baker said of her in their work The Jews come to America (1932) that she was part of a group of artists that were "Chief among modern Jewish painters. . . " Salcia Bahnc traveled back and forth to Europe during the late 1920s and into the 1930s, a period when she faced the rise of totalitarianism. She wrote about this fact to a fellow artist to whom she commented " . . . about the difficult art scene in Paris . . . . . . and the growing power of fascism." In 1930 she was maintaining a studio in New York City at 1218 East 53rd Street and a residence in Brooklyn, Long Island. She returned to France where she married a French citizen and writer named Eugene Petit (b. 1901) and bore a son there named Alain Petit (b. 1934). She again returned to the United States in November of 1937 and traveled back to France after a brief stay in America. During her stay she continued to exhibit in Chicago, where Quest Galleries gave her a solo show. Like so many ex-patriot authors and artists who were living in Paris, she found herself trapped in France (first in Paris, then in Mayenne) following the German invasion in 1940. Being of Jewish extraction the situation could prove to be quite dangerous if she were reported or discovered by German authorities. She and her husband were able to obtain passports and escape to Portugal where in August of 1941 they boarded the S. S. Escambion to return to America. In 1940, American Export Lines, owners of the Escambion, discontinued its normal Mediterranean routes and placed their ships into service sailing from Lisbon, Portugal to New York City. Over the next two years (1940 - 1941) their ships played an important role in transporting thousands of people who were trying to escape the Nazi regime before America's own entry into World War II. One survivor, Ludwig Lowenberg, who sailed on the Escambion on the same day that Bahnc did, reported the ordeal his family endured getting to Lisbon to his own descendants: "[The family] received their American visa on May 28, 1941, only three days before the U.S. consulate in Stuttgart closed for the duration of World War II. They left Berlin on June 23, 1941, traveling for 27 hours on a locked train to Paris. There they were forced to spend an additional night in the locked train until their coach was attached to a train headed for San Sebastian in Spain. After an overnight hotel stay in San Sebastian, the train (now no longer locked) continued to Lisbon. All in all it took six days from Berlin to Lisbon. They remained for four weeks in Lisbon until they embarked on the Excambion for New York." Bahnc had given up her citizenship during her time in France and was forced to reapply for naturalization once again upon her return. She was living in New York City at 101 West 85th Street when she was re-naturalized in April of 1947. Exactly how much of her artwork was lost in Europe is not known. Clearly, she would not have been able to bring much, if anything, with her during her escape. One writer had noted that between 1930 and 1934 she had worked hard to prepare a large group of new works for a show in Paris. Between those, and what she would have produced during the next six years, the actual amount of the loss might have been staggering. Bahnc's 1942 exhibition with Julio de Diego included works recalling the suffering going on in Europe. One work in the exhibition was a portrait of the painter Katherine Dudley, who, at the time, was reportedly interned near Paris. In the later years of her career she worked extensively as a teacher and illustrator of children's books. In 1950 she taught at the Evanston Art Center, where she lead a demonstration in portrait painting. She authored or illustrated a number of works during and after World War II, including: The House in the Tree and Other Stories of Places, People and Things (1941); Claude Of France: The Story Of Debussy For Young People (1948); Time for Poetry (1951); Hidden Silver (1952); From Many Lands - The Children's Hour, Volume 9 (1969); and That Boy (no date). She returned to teach at the School of the Art Institute of Chicago during 1943-44 and 1947-53; and taught later at the Garrison Forest School in Garrison, Maryland, from 1955-57. Bahnc was known to have exhibited widely, both in Europe and in America. Her known lifetime exhibitions include: The Art Institute of Chicago, Chicago, IL, 1919-29, 1942 (The 53rd Annual; and Room of Chicago Art: Exhibition of Paintings by Salcia Bahnc and Julio de Diego), 1943; Chicago Architectural...

It is imperative to say that one cannot separate the African culture and the use of proverbs. Prof. Chinua Achebe who was a novelist, poet, and one of the dominant figures of modern...

Hitherto we are constantly being reminded of how imperative it is to get inquisitive and learn more about our history and heritage as a people. Having a strong understanding of what ...

This refined and sophisticated still life painting was realized in Italy, circa 1950, by the esteemed Italian artist Romano Campagnoli. Executed in oil paint on canvas, the still lif...

The Other Side is an original painting by Bright Toh. Bright created Other Side Acrylic on a 47.2W by 47.2H inches primed canvas. The world of art is filled with countless masterpieces that have captivated audiences for generations. Each piece carries with it its own unique story and message, conveyed through a wide range of styles, colors, and techniques. One such artwork that has recently caught the attention of many art lovers is "The Other Side", a bright and colorful piece featuring an elephant head with its long tusk on a human body. At first glance, "The Other Side" appears to be a whimsical and playful piece, bursting with vibrant colors and patterns. The elephant head, with its long trunk and tusks, is instantly recognizable, and yet it is placed on top of a human body, creating an unusual and surreal image. The elephant's expressive eyes and playful smile add to the overall sense of joy and wonder that the artwork evokes. But there is much more to "The Other Side" than meets the eye. Upon closer inspection, it becomes clear that the piece is imbued with deep symbolism and meaning. The fusion of human and animal forms represents the interconnectedness of all living beings, reminding us that we are all part of the same great tapestry of life. The elephant, with its reputation for wisdom and strength, represents the power and potential of the human spirit. The bright colors and intricate patterns of "The Other Side" are also laden with meaning. The bold hues of orange evoke feelings of joy, energy, and vitality, while the swirling patterns suggest movement and flow. The use of color and pattern is also a nod to the rich cultural traditions of the artist's homeland, imbuing the piece with a sense of cultural identity and heritage. But perhaps the most striking aspect of "The Other Side" is the way in which it challenges our perceptions of reality. By merging the form of an elephant with that of a human, the artwork invites us to question our preconceived notions of what is possible and to embrace the infinite potential of the human imagination. It encourages us to explore the boundaries of our own creativity and embrace the unexpected. In conclusion, "The Other Side" is a remarkable piece of art that manages to be both playful and profound. Through its use of color, pattern, and form, it conveys a deep sense of interconnectedness and the power of the human spirit. At the same time, it challenges us to question our own perceptions of reality and to embrace the limitless potential of the human imagination. As such, it is a masterpiece that is sure to captivate and inspire art lovers for generations to come. Bright Toh work portrays the exquisite synergy that exists between the evolving African man, wildlife, and their common environment, through the possession of totems as a liaison to his ancestries, which is a core aspect of his identity and cultural heritage. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Born on the 6th of august 1994 in Buea, Bright Toh holds a Bachelor’s degree in Engineering Electrical and Electronics Engineering from the University of Buea. Notwithstanding his Engineering academic background, Toh is a self-taught visual artist. Bright Toh is a visual artist with artistry portraying the exquisite synergy that exists between the evolving African man, wildlife, and their common environment, through the possession of totems as a liaison to his ancestries, which is a core aspect of his identity and cultural heritage. He is a 2022 ‘Last Picture Show’ Lagos Edition (Collective exhibition) Participant. He also won the UNHCR global Youth With Refugee Art...

Mid Century French oil on canvas of two couples enjoying a day at the beach by Jef Friboulet. Signed bottom right, titled, dated and signed dedication to the rear of the canvas, presented in fine hand decorated and gilt Florentine wood frame. With his characteristic charm Friboulet has captured a scene of two couples enjoying a trip to the beach. In the foreground a couple seem to be all bundled up and under an umbrella, the figures highlighted by the contrast in colours between the vibrant red and the black. In the background another couple, again in red and black, this time one lady has her bathing costume on and the other sitting on a foldable picnic...

Rudolf Ernst 1854-1932 Austrian Spinning Yarn Signed and dated “R. Ernst 86” (lower right) Oil on panel Austro-French Orientalist painter Rudolf Ernst showcases his aptitude for the genre in this skillfully executed oil on panel. In it, two exotically dressed...

"The Kunafeh Merchant" Oil Painting 27" x 31" inch (1960) by Youssef Sida Signed and dated 1960 Youssef Sida 1922-1994 Born in 1922 in Damietta, and in ...

A very rare composition by the artist Jean-Pierre Cassigneul, the woman holds a beautiful Bouquet of Roses is rare by the artist, she is wearing a beautiful chapeau in front of a p...

This recently rediscovered expressionist drawing by László Moholy-Nagy is part of a small group of drawings made by the artist early in his career, in Vienna and Berlin. The use of interlaced curves, typical of the artist's technique, gives this hieratic portrait a magnetic radiance, while the absence of any connection with the rest of the body evokes a profane Holy Face. 1. From Hungary to Chicago, the ardent life of László Moholy-Nagy Moholy-Nagy was born in Borsod, now known as Bácsborsód in Southern Hungary, in July 1895. He studied law in Budapest in 1913, when he was drafted into the Austro-Hungarian army to serve as an artillery officer on the Italian and Russian fronts. While serving at artillery observation posts, Moholy-Nagy was able to execute numerous drawings, recording his traumatic war experience, on the reverse of military-issued postcards which he could easily carry with him. In 1917, he was seriously wounded and hospitalized. The following year (around 1918 at the age of 23), he abandoned his plans to become a lawyer in favour of a career as an artist, with the encouragement of his friend, the art critic Iván Hevesy. The drawings executed in those early years reveal Moholy-Nagy's powerful Expressionist lines. In his autobiography of 1944, Abstract of an Artist, Moholy-Nagy explained his early figurative style, writing that contemporary art in those days was too chaotic and that and all the '-isms' were incomprehensible and puzzling to him. He was, however, experimenting with Dadaist compositions already in 1919 and then moved to Vienna and later to Berlin, where he would soon make his first works in his Constructivist style of the early 1920s. In Berlin he met photograph and writer Lucia Schultz who became his wife the next year. In 1922 he met Walter Gropius. During a vacation on the Rhome with Lucia, she introduced him to making photograms on light-sensitized paper. Walter Gropius invited him to teach at the Bauhaus in Weimar in 1923 where he replaced Paul Klee as Head of the Metal Workshop. The Bauhaus became known for the versatility of its artists and Moholy-Nagy was no exception: throughout his career, he became proficient in the fiels of photography, typography, sculpture, painting, printmaking, film-making and industrial design. In 1928 Moholy-Nagy left the Bauhaus and established his own design studio in Berlin. He separated from his first wide Lucia in 1929. In 1931 he met actress and scriptwriter Sibylle Pietzsch. They married in 1932 and has two daughters, Hattula (born 1933) and Claudia. After the Nazis came to power in Germany in 1933, he was no longer allowed to work there. He moved his family to London in 1935. In 1937, on the recommendation of Walter Gropius, Moholy-Nagy moved to Chicago to become the director of the New Bauhaus, but the school closed in 1938. Moholy-Nagy resumed doing commercial design work, which he continued for the rest of his life. In 1939 Moholy-Nagy opened the School of Design in Chicago, which became in 1944 the Institute of Design, becoming part of the Illinois Institute of Technology in 1949. Diagnosed with leukemia in 1945, Moholy-Nagy died of the disease in Chicago in 1946. 2. Description of the artwork This drawing presents us with a frontal representation of a man in his thirties, whose penetrating gaze seems to stare at us. The face is highly symmetrical and is modelled by curved black lines. The very high forehead and the slightly dilated left pupil reinforce the very expressive character of the face. Like the Holy Face which appeared on the cloth stretched out to wipe Christ's face by Saint Veronica, only the model's face is represented on the cardboard piece. The curved lines that define the face, hollowing out the temples, the eyelids, the cheeks and the area around the mouth, create a kind of magnetic radiation around a median point located between the eyebrows. In some respects, this face may evoke one of the most famous representations of the Holy Face: the extraordinary engraving by Claude Mellan...

Beautiful oil painting of Spanish dancers by Eduardo Pisano Circa 1950S-1960s Oil on canvas The painting measures 18" W x 24" H The frame measures 24.75"...

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret is signed Awret Safed on the verso. the actual glazed ceramic is 10X15 inches. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret...

When viewed straight on, this "turning picture" by French artist Gaspar Antoine de Bois-Clair appears to be a disorganized collection of painted facial features and wooden slats. However, when viewed at an angle from either side, two separate images are revealed — portraits of Frederik IV and Louise of Mecklenburg-Güstrow, the King and Queen of Denmark. A wonder of both portraiture and trompe l'oeil, this work demonstrates the artist's skill in rendering intriguing visual effects. An impressive exercise in representing depth and 3-dimensionality in painting, the work is executed on a series of triangularly-cut strips of wood to create an effect now known as lenticular imaging...

This painting by Jean-Léon Gérôme entitled La Danse pyrrhique is among the most fascinating compositions ever composed by the Academic master’s hand. Gérôme’s iconic scenes of the East captivated a generation, and this work showcases all of the artist’s unparalleled talents. Set in the Ptolemaic period of Ancient Egypt, its depiction of the ritual Pyrrhic dance is vivid and striking. Beautifully painted and rich with detail, it represents the best of Gérôme’s famed Orientalist scenes. In La Danse pyrrhique, Gérôme gives us a dramatic rendering of this ancient war dance. Greek in origin, it was performed by costumed dancers armed with swords who completed a series of movements set to music pantomiming combat. Homer wrote that Achilles performed this dance in a show of respect and grief at the funeral of his friend, Patroclus. When Julius Caesar introduced it to the Roman Games, its popularity spread across the Roman Empire to include Egypt, where Gérôme’s composition is set. Gérôme visited Egypt for the first time in 1856, and he returned throughout the late 19th century when this work was created. Gérôme’s first-hand familiarity with this setting is evident in this piece, and his visual narrative is unlike any other. His paintings combine the rationalist style of historical paintings and the theatrical...

French Academic painter Louis-Joseph Courtat displays his mastery of composition and the female form in this entrancing oil on canvas. Entitled Baigneuses, the work was painted for and exhibited at the 1885 Paris Salon, the foremost exhibition of painters in the Western world. Large in size, it captures two nude bathers within a tranquil beach scene. While the artist's skill for landscape painting is on display, it is his command of form, light and color that bring this canvas to life. The artist specialized in paintings that glorified the nude, and his skill is clear in the luminosity of his models' skin and the classical beauty of their form and proportions. With their soft, undulating curves and flowing hair, Courtat's models reflect the two key influences on the young painter, that of the great Jean-Auguste-Dominique Ingres as well as his teacher Alexandre Cabanel. Like these two greats who came before him, Courtat similarly follows in the artistic tradition of the female nude that is traceable to classical antiquity and the Italian Renaissance. Born in Paris in 1847, Courtat studied at the famed École des Beaux-Arts under Cabanel. He was one of the Academic master's first students at the school, where he began to teach in 1864. Displaying considerable skill at an early age, Courtat won the Prix de Rome around 1870, and subsequently studied in Rome for a number of years. He returned to Paris in 1873 to make his debut at the Salon, where he was met with immediate success, receiving a third class medal. He received medals again in 1874 and 1875, a remarkable achievement for a painter of his age. In addition to the monumental nudes...