Anna Shesterikova

Little Flower

2020

In crafting this piece, I was deeply moved by the serene interplay of humanity and the sea. Employing oil paints, I tapped into the impressionistic soul, capturing the fleeting cares...

In this oil painting, I've captured a tranquil moment on a sunlit balcony. The figure, immersed in thought by a spread of fresh blossoms and fruit, epitomizes serenity. My brushwork ...

In this canvas, I've captured the tranquil essence of the sea's dance with light, employing a symphony of brushstrokes to create a serene atmosphere. I was driven by the compelling c...

This large oil painting is a memory from my childhood. One day, like the girl in the picture, I was lying on a haystack, looking up at the sky and feeling incredibly happy! The esse...

In this oil painting, I've portrayed grace and composure, bringing the timeless elegance of ballet to life. With each brushstroke, I captured the dancers' serene expressions, blendin...

The painting "Easter Morning" is a hymn to maternal love, a symbol of rebirth to a new life. The picture is full of hidden philosophical meaning. I saw its plot in a dream. In the ...

Family scene. Oil sketch on cardboard. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck was the son of Jules Evariste van Biesbroeck, a painter of Ghent, but was born in Italy, in Portici, near Naples, while his parents were staying there. (In the 19th century many artists made educational trips to Italy). It was a long visit: the child was two years old by the time the family returned to Ghent.[1] After a short period of practice with his father, van Biesbroeck was enrolled in the Academy of Fine Arts in Ghent. His first painting, "The Shepherd" (French: Le pâtre), was sold at the Triennale in Ghent. In 1888, when he was only 15 years old, he made his debut at the "Salon des Champs-Elysées" in Paris with his monumental work "The Launch of the Argo" (French: Le lancement...

'Cours de maison Blida'. Oil sketch on cardboard. Signed and titled on the back. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparati...

A fine mid 20th century post impressionist oil of a young woman sewing by lamplight circa 1960's oil on canvas 46cmx 70cm good gallery frame 63cmx 88cm Very atmospheric light effect painted in expressive colourfield palette creating a soft diffused atmosphere under the old lamp...

David R. Buchanan 20th Century British. 'Men at Work' circa 1930's oil on canvas 45cmx60cm good quality gallery frame 61cmx76cm A dymanic scene of a gang of road workers laying mains...

Literature Dorival, Bernard & Rouault, Isabelle, Rouault, L’Oeuvre peint(Monaco, 1988), vol. 2, p. 150, no. 1864 (illus.) Executed in 1937, Carlotta belongs to a group of portraits...

A beautiful woman sits at an open window, gazing down at a small bird who has landed nearby in this serene portrait by Charles Levier. Warm orange tones are played off their complements in shades of blue, the artist utilizing several different layers of oils to create a subtle and relaxed view of a spring day near the sea. Beyond the window a small chapel sits on a peninsula, surrounded tranquil blue waters. This work, like many of Levier's, belongs to the French figurative movement of the Glorious Thirty (Les Trente Glorieuses) - the golden period of thirty years after WWII which were a time of great hope and prosperity in France. Inspired by Hollywood cinema, Charles Levier sought harmony in composition and purity of color and form. His said that his creations represented "a light and delicate world, of dark and subtle shades and colors." Levier worked in a somewhat abstracted, cubist style. Additionally he often employed the French technique of "cloisonnism" (after the French for "partition"), a style of post-Impressionist painting with bold and flat forms separated by dark contours, also seen in this work. The term was coined by critic Edouard Dujardin on the occasion of the Salon des Indépendants, in March 1888 and was commonly used by artists like Émile Bernard, Louis Anquetin, Paul...