Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 5

Adriano Bernetti da Vila
"The Touch of the Sun" - Dolomit - Oil Paint by Adriano Bernetti Da Vila - 2023

2023

About the Item

Title: "The touch of the Sun" Composition: The painting is dominated by a sweeping vista of the Dolomites, with the mountains rising majestically in the distance. We can see also a closer glacier. The mountains are shrouded in a delicate veil of mist, creating an ethereal and otherworldly atmosphere. As the sun begins to rise, its pink golden rays illuminating the peaks and casting shadows across the valleys. Color Palette: The  color palette aims to evoke a sense of tranquility The color palette is soft and muted, with shades of gray/purple, carminum red, light blue, and many different shadows of "green" for the trees that as well receive the first ray of sun on the top. The mist is rendered in delicate washes of blue pink green and white, creating a sense of haziness and ethereality. The rising sun is fare out of the scene. Texture: The texture of the painting is varied, with smooth washes of color for the mist, and far trees, and bolder on the mountains where I used a particular technique to highlight the rocky appearance of the mountains, inspired by the Pale di San Martino Dolomiti group, and delicate details for the other fare mountains and for the trees. The painting aim to evoke a sense of awe and wonder at the beauty of the Dolomites. The combination of the misty atmosphere, the majestic mountains, and the forest creates a sense of tranquility and serenity. The painting is intended to be also a tribute to the beauty of the natural world and the power of nature to inspire us and to calm our soul. The viewer could feel a sense of connection to nature, and a sense of awe at the beauty of the scene.
  • Creator:
    Adriano Bernetti da Vila
  • Creation Year:
    2023
  • Dimensions:
    Height: 23.63 in (60 cm)Width: 31.5 in (80 cm)Depth: 0.99 in (2.5 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
    Insurance may be requested by customers as additional service, contact us for more information.
  • Gallery Location:
    Roma, IT
  • Reference Number:
    Seller: T-1477791stDibs: LU650314199402

More From This Seller

View All
The Meeting Oil Painting - 19th Century
Located in Roma, IT
The meeting is an original modern artwork realized by Artist of 19th century. Mixed colore oil painting on canvas, not signed. Relined in the mid-20th Century.. The artwork depic...
Category

19th Century Modern Figurative Paintings

Materials

Oil, Canvas

Lombard Landscape - Oil Paint by Gigi Comolli - 1928
Located in Roma, IT
Lombard Landscape is a modern artork realized by Gigi Comolli in 1928. Mixed colored oil on canvas. Includes frame: 110 x 127.5 cm Hand signed and date...
Category

1920s Modern Figurative Paintings

Materials

Oil

Hollands Canal Face with Figs - Oil Paint on Panel by Gerard Diepeveen
Located in Roma, IT
Hollands Canal Face with Figs is a splendid oil paint on panel realized by the Dutch artist Gerard Diepeveen . Beautiful and suggestive view of Dutch canals. Dimensions: cm 35 x ...
Category

Late 20th Century Modern Figurative Paintings

Materials

Oil

Seaside - Mixed Colored Oil on Canvas by Gennaro Villani - Early 20th Century
Located in Roma, IT
Seaside is an original modern artwork realized by Gennaro Villani in the first half of 20th Century. Mixed colored oil on canvas. Hand signed on the lower right margin. Includes f...
Category

Early 20th Century Modern Figurative Paintings

Materials

Canvas, Oil

Grey of the River - Painting by C. D'Aloisio Da Vasto - Mid-20th Century
By Carlo D'Aloisio da Vasto
Located in Roma, IT
Grey of the river is an original modern artwork realzied by Carlo D'Aloisio Da Vasto (1892-1971) in the mid-20th Century. Mixed colored oil painting. Hand signed on the lower marg...
Category

Mid-20th Century Modern Figurative Paintings

Materials

Oil

Seaside. - Painting by Fioravante Seibezzi - 1950s
By Fioravante Seibezzi
Located in Roma, IT
Seaside is an original modern artwork realized by Fioravante Seibezzi in the mid-20th Century. Oil on wood. Includes frame Fioravante Seibezzi (Venice 1906...
Category

1950s Modern Figurative Paintings

Materials

Paint, Oil

You May Also Like

Brooklyn Transfer East River Crossing, Oil on Canvas Painting Frederick Reimers
Located in Atlanta, GA
"Bklyn Transfer, East River Crossing" by Frederick Reimers (1911–1994) This unique, captivating cityscape painting by Frederick Reimers (USA, 1911–1994) offers a dynamic view of the ...
Category

20th Century Modern Landscape Paintings

Materials

Canvas, Oil, Acrylic

Signed Antique African Modernist Figural Landscape Framed Oil Painting
Located in Buffalo, NY
Exceptionally well painted African landscape painting. Oil on board. Framed. Signed. Image size, 22L x 26H.
Category

1960s Modern Figurative Paintings

Materials

Canvas, Oil

"Into the Woods" Henry Prellwitz, Lyrical Woman In Wooded Landscape Painting
By Henry Prellwitz
Located in New York, NY
Henry Prellwitz Into the Woods Oil on board 11 1/2 x 8 3/4 inches Henry Prellwitz studied art at the Art Students League of New York, where his chief mentor was Thomas Wilmer Dewing; he later became its director.[3] He also studied at the Académie Julian in Paris. In 1892, he set up his studio in the Holbein Studios building on West 55th Street in Manhattan, where his future wife, the artist Edith Mitchill, also had a studio. They married in 1894 and had a son, Edwin. By the mid 1890s, he was teaching portrait painting at the Pratt Institute, where one of his students was the Cubist artist Max Weber. In 1899, Henry and Edith moved to the north shore of Peconic Bay on Long Island, where their artist friends Irving Ramsay Wiles and Edward August Bell were already established. They painted plein air paintings and also worked in adjoining studios at High House, their Peconic Bay home. Prellwitz painted Impressionist and Tonalist waterscapes of Peconic Bay and allegorical figure paintings such as the 1904 Lotus and Laurel. He exhibited mainly on the east coast and at expositions like the St. Louis World's Fair, where he won a silver medal. He won the Third Hallgarten Prize from the National Academy of Design (NAD) in 1893 for The Prodigal Son, and his Venus won the Thomas B. Clarke Prize at the 1907 NAD exhibition for the best figure composition by an American citizen painted in the United States. Both Prellwitzes disappeared into obscurity for several decades after their deaths in the early 1940s. Rediscovered in the 1980s, they have been called one of the best-kept secrets in art...
Category

Early 20th Century Modern Figurative Paintings

Materials

Oil, Board

"Glasco Landscape" Albert Heckman, circa 1940 New York Modernist Landscape
By Albert Heckman
Located in New York, NY
Albert Heckman Glasco Landscape, circa 1940 Signed lower right Oil on canvas 25 1/4 x 39 1/2 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art world in 1915 after graduating from high school and landing a job at the Meadville Post Office. In 1917, at the age of 24, Heckman enrolled part-time in Teachers' College, Columbia University's Fine Arts Department to begin his formal art education. He worked as a freelance ceramic and textile designer and occasionally as a lecturer at the Metropolitan Museum of Art. In the early 1920s, at the age of almost 30, he graduated with a Bachelor of Arts degree from Columbia Teachers College. He was especially impacted by his instructor at Columbia, Arthur Wesley Dow. After graduating, he was hired by the Teachers' College as a Fine Arts instructor. He stayed with Columbia Teachers' College until 1929, when he left to attend the Leipzig Institute of Graphic Arts in Leipzig, Germany. Isami Doi (1903-1965), who was born in Hawaii, was arguably his most impressive student at Columbia. Doi is now regarded as one of the most prominent artists hailing from Hawaii. Heckman became an active member and officer of the Keramic Society and Design Guild of New York in the 1920s as part of his early commercial art career. The Society's mission was to share knowledge and showcase textile and ceramic design exhibits. In 1922, Heckman married Florence Hardman, a concert violinist. Mrs. Heckman's concert schedule during the 1920s kept Albert and Florence Heckman apart for a significant portion of the time, but they spent what little time they had together designing and building their Woodstock, New York, summer house and grounds. A small house and an acre of surrounding land on Overlook Mountain, just behind the village of Woodstock, were purchased by Albert and Florence Heckman at the time of their marriage. Their Woodstock home, with its connections, friendships, and memories, became a central part of their lives over the years, even though they had an apartment in New York City. Heckman's main artistic focus shifted to the house on Overlook Mountain and the nearby towns and villages, Kingston, Eddyville, and Glasco. After returning from the Leipzig Institute of Graphic Arts in 1930, Mr. Heckman joined Hunter College as an assistant professor of art. He worked there for almost thirty years, retiring in 1956. Throughout his tenure at Hunter, Mr. Heckman and his spouse spent the summers at their Woodstock residence and the winters in New York City. They were regular and well-known guests at the opera and art galleries in New York. Following his retirement in 1956, the Heckmans settled in Woodstock permanently, with occasional trips to Florida or Europe during the fall and winter. Mr. Heckman's close friends and artistic career were always connected to Woodstock or New York City. He joined the Woodstock art group early on and was greatly influenced by artists like Paul and Caroline Rohland, Emil Ganso, Yasuo Kuniyoshi, Andre Ruellan, and her husband, Jack...
Category

1940s American Modern Figurative Paintings

Materials

Canvas, Oil

Six O'Clock
Located in Los Angeles, CA
Six O-Clock, c. 1942, oil on canvas, 30 x 20 inches, signed and titled several times verso of frame and stretcher (perhaps by another hand), marked “Rehn” several times on frame (for the Frank K. M. Rehn Galleries in New York City, who represented Craig at the time); Exhibited: 1) 18th Biennial Exhibition of Contemporary American Oil Paintings from March 21 to May 2, 1943 at The Corcoran Gallery of Art in Washington, D.C. #87, original price $450 (per catalog) (exhibition label verso), 2) Craig’s one-man show at the Frank K. M. Rehn Galleries, New York City, from October 26 to November 14, 1942, #10 (original price listed as $350); and 3) Exhibition of thirty paintings sponsored by the Harrisburg Art Association at the State Museum of Pennsylvania in Harrisburg in March, 1944 (concerning this exhibit, Penelope Redd of The Evening News (Harrisburg, Pennsylvania) wrote: “Other paintings that have overtones of superrealism inherent in the subjects include Tom Craig’s California nocturne, ‘Six O’Clock,’ two figures moving through the twilight . . . .” March 6, 1944, p. 13); another label verso from The Museum of Art of Toledo (Ohio): original frame: Provenance includes George Stern Gallery, Los Angeles, CA About the Painting Long before Chris Burden’s iconic installation outside of the Los Angeles County Museum of Art, Urban Light, another artist, Tom Craig, made Southern California streetlights the subject of one of his early 1940s paintings. Consisting of dozens of recycled streetlights from the 1920s and 1930s forming a classical colonnade at the museum’s entrance, Burden’s Urban Light has become a symbol of Los Angeles. For Burden, the streetlights represent what constitutes an advanced society, something “safe after dark and beautiful to behold.” It seems that Craig is playing on the same theme in Six O-Clock. Although we see two hunched figures trudging along the sidewalk at the end of a long day, the real stars of this painting are the streetlights which brighten the twilight and silhouette another iconic symbol of Los Angeles, the palm trees in the distance. Mountains in the background and the distant view of a suburban neighborhood join the streetlights and palm trees as classic subject matter for a California Scene painting, but Craig gives us a twist by depicting the scene not as a sun-drenched natural expanse. Rather, Craig uses thin layers of oil paint, mimicking the watercolor technique for which he is most famous, to show us the twinkling beauty of manmade light and the safety it affords. Although Southern California is a land of natural wonders, the interventions of humanity are already everywhere in Los Angeles and as one critic noted, the resulting painting has an air of “superrealism.” About the Artist Thomas Theodore Craig was a well-known fixture in the Southern California art scene. He was born in Upland California. Craig graduated with a degree in botany from Pomona College and studied painting at Pamona and the Chouinard Art School with Stanton MacDonald-Wright and Barse Miller among others. He became close friends with fellow artist Milford Zornes...
Category

1940s American Modern Landscape Paintings

Materials

Canvas, Oil

Subway Construction
Located in Los Angeles, CA
This painting is part of our exhibition American Coast to Coast: Artists of the 1930s Subway Construction, c. 1928, oil on board, 19 x 15 ¾ inches, signed upper left, artist and title verso; exhibited: 1) 12th Annual Exhibition of the Society of Independent Artists, The Waldorf Astoria, New York NY, from March 9 to April 1, 1928, no. 864 (original price $250) (see Death Prevailing Theme of Artists in Weird Exhibits, The Gazette (Montreal, Quebec, Canada), March 8, 1928); 2) Boston Tercentenary Exhibition Fine Arts and Crafts Exhibition, Horticultural Hall, Boston MA, July, 1930, no. 108 (honorable mention - noted verso); 3) 38th Annual Exhibition of American Art, Cincinnati Art Museum, Cincinnati, OH, June, 1931 (see Alexander, Mary, The Week in Art Circles, The Cincinnati Enquirer, June 7, 1931); and 4) National Art Week Exhibition [Group Show], Montross Gallery, New York, New York, December, 1940 (see Devree, Howard, Brief Comment on Some Recently Opened Exhibitions in the Galleries, The New York Times, December 1, 1940) About the Painting Ernest Stock’s Subway Construction depicts the excavation of New York’s 8th Avenue line, which was the first completed section of the city-operated Independent Subway System (IND). The groundbreaking ceremony was in 1925, but the line did not open until 1932, placing Stock’s painting in the middle of the construction effort. The 8th Avenue line was primarily constructed using the “cut and cover” method in which the streets above the line were dug up, infrastructure was built from the surface level down, the resulting holes were filled, and the streets reconstructed. While many artists of the 1920s were fascinated with the upward thrust of New York’s exploding skyline as architects and developers sought to erect ever higher buildings, Stock turned his attention to the engineering marvels which were taking place below ground. In Subway Construction, Stock depicts workers removing the earth beneath the street and building scaffolding and other support structures to allow concrete to be poured. Light and shadow fall across the x-shaped grid pattern formed by the wooden beams and planks. It is no surprise that critics reviewing the painting commented on Stock’s use of an “interesting pattern” to form a painting that is “clever and well designed.” About the Artist Ernest Richard Stock was an award-winning painter, print maker, muralist, and commercial artist. He was born in Bristol, England and was educated at the prestigious Bristol Grammar School. During World War I, Stock joined the British Royal Air Flying Corps in Canada and served in France as a pilot where he was wounded. After the war, he immigrated to the United States and joined the firm of Mack, Jenny, and Tyler, where he further honed his architectural and decorative painting skills. During the 1920s, Stock often traveled back and forth between the US and Europe. He was twice married, including to the American author, Katherine Anne Porter. Starting in the mid-1920s, Stock began to exhibit his artwork professionally, including at London’s Beaux Arts Gallery, the Society of Independent Artists, the Salons of America, the Cincinnati Art Museum, the Whitney Studio and various locations in the Northeast. Critics often praised the strong design sensibility in Stock’s paintings. Stock was a commercial illustrator for a handful of published books and during World War II, he worked in the Stratford Connecticut...
Category

1920s American Modern Figurative Paintings

Materials

Oil

Recently Viewed

View All