Medium Figurative Paintings

Original study for the cover illustration of The Saturday Evening Post, published June 2, 1923 Medium: Oil on canvas Artwork Dimensions: 21.5 x 15.75 in. Framed Dimensions: 25 x 18...

A charming landscape scene depicting figures in a rowing boat on a river. The boat is shown before a cottage and distant town. Unsigned. Presented in a black lacquer frame. Provenanc...

Intense figurative abstract with bold colors and the text "I Don't See Anything Here" by R. Navarro (American, 20th Century). Signed "R. Navarro" and dated "2000" on verso. Image, 30...

"Untitled (Rope Dancer series)" is an acrylic on canvas made by Jack Roth in 1980. The artwork is 18 x 30 1/8 inches. It weighs less thn 50 lbs. The work is signed and dated in penci...

The laundry is drying 1950s, oil on cardboard, 51x74 cm Published in the book "Biruta Baumane", Anda Treija, Juris Petraškevičs, publisher Galerija Da...

This artwork titled "Cahro Di Gnano" c. 1990 is an oil painting on canvas by noted Italian artist Lido Bettarini, 1927-2019. It is signed at the lower l...

Beautiful young lady in a Paris Park, signed, Original Frame, listed size includes the frame.

The painting is signed and dated 1894 Description: Eugene Alexis Girardet (1853-1907) was a prominent Swiss painter known for his remarkable attention to detail and his ability to capture vivid and dynamic scenes. Born in Paris, France, Girardet came from a family of artists and received early artistic training from his father, Paul Girardet, and his uncle, Jules Girardet, both respected engravers. He later studied at the prestigious École des Beaux-Arts in Paris, where he honed his skills and developed a deep appreciation for historical and orientalist subjects. He was interred at the Père-Lachaise Cemetery. In addition to several museums in France, his works may be seen at the Dahesh Museum of Art and the National Museum of Fine Arts of Algiers, as well as at museums in Switzerland and New York City. Girardet’s artwork often depicted historical and exotic scenes, particularly focusing on Middle Eastern and North African themes. His meticulous attention to detail and his ability to convey a sense of movement and drama made his works highly sought after. One of his most renowned paintings, “The Charge,” exemplifies his exceptional talent and his ability to create a captivating and immersive experience for viewers. In “The Charge,” Girardet presents an army of Arab camel...

Abstract and figurative interpretation of a classic theme. Originally inspired by the Odalisque.

Oil on Canvas by post-impressionist French artist Francois Gall (1912-1987). Signed lower right and titled on the verso “Jeunne Fille de Coiffan.” Painting measures: 16” H x 13” W. ...

A vibrant nautical scene by the well listed British artist George Richard Deakins. The use of heavy impasto applied with a palette knife and vivid block colours is a trademark of Dea...

Eastman Johnson Adelaide, circa 1870-79 Signed with initials lower right; titled on the reverse Oil on board 19 x 15 inches For many years the foremost genre painter in the United ...

TITLE: "RIDING CARROTS IN THE WILD" Hand painted and stencilled on panel In 1999 BustArt began his artistic career with classic Graffiti. Until 2005, he became familiar with the w...

Blue, light blue, reading, flowers Olga BOGAEVSKAJA (St. Petersburg 1915 – 2000) She is regarded as one of the leading representatives of the Leningrad School of painting. She was ...

Daud Akhriev's (EUR and US based) "Evening Light, Florence" is an original, handmade oil painting that depicts a street within the terracotta lined walls of an Italian city. Artist Biography: The Soviet educational system singled out 8-year-old Daud Akhriev for special arts training. He painted and drew under the best painters and instructors for the next fourteen years. This culminated in a master’s degree from the Russian Academy in Leningrad (sic), after an obligatory two years in the Russian army. Though representational in orientation, Russian Academic philosophy encourages sampling, experimenting, and referencing styles and techniques from all of art history. The Russian academic training at its best imparts an artist a wide array of abilities honed to such that technical struggle is greatly reduced, leaving more time for experimentation and creativity. Akhriev, who enthusiastically cultivated all skills and styles while at the Academy, is an artist with public works in mosaic, oil on linen, water media, cast bronze monumental sculpture and ceramics. He is comfortable working in decorative styles, designing fabrics and patterns, and is equally at ease switching into Old Master oil painting. He admires Rembrandt and Schiele, Moser and Mailloll, Velasquez, Sargent and Sorolla. Akhriev is a Master Signature member of Oil Painters of America, the Artists Union of Russia, as well as the Association of Pastel Painters of Spain, the British Association of Modern Mosaicists, and the Society of American Mosaic Artists. He has won numerous prizes from the Salon International and International Masters Exhibitions in Texas, and at OPA regional and national exhibitions. He won Grand Prize from Pastel Magazine’s international 100 competition in 2015 and was twice honored again in 2017. Erlanger Hospital awarded Akhriev and team the creation of their non-denominational chapel which won “Ten Best Mosaic in Situ” in 2016 from the Society of American Mosaic Artists. He is an internationally renowned instructor of figurative and landscape painting and drawing. His work is published in several art books in Russian, Chinese and English. Magazines such as Fine Art Connoisseur, Pastel Journal and Artists Magazine have large features on his work. Currently his pastel paintings are at the Ming Gallery of Pastel Painting in Suzhou, China, by invitation, and are going to be in the inaugural exhibition of the new Chinese museum pastel painting throughout history through the present day. He has served as a juror for Oil Painters of America, and he frequently teaches masterclasses in Italy. The artist is a huge sports fan and loves film and travel. He speaks Russian, Ingush, English, basic Spanish, and can communicate using hand gestures in any other language. His extracurricular passion is teaching young artists. He resides in Tennessee and Andalusia, Spain with his artist wife, Melissa Hefferlin.

Romantic English landscape titled "A good day's walk" of Cumberland England by Michael Matthews (British, b. 1933). Presented in a giltwood frame. Signed "Michael Matthews" lower rig...

Bull XV is a unique acrylic on paper painting by contemporary artist Christophe Dupety, dimensions are 65 × 50 cm (25.6 × 19.7 in). The artwork is signed, sold unframed and comes wit...

French contemporary artist Natalya Mougenot invites us into her world of expressive simplicity in "Apples and Roses". In this radiant acrylic painting, a vase filled with red bloomi...

This artwork "Still Life Flowers" 1966 is an oil painting on canvas by Canadian/Filipino artist Victor Santos, 1934-2003. It is signed and dated at ...

Homage to baroque allegory, symbolic figurative realism. About Tom Bennett: With quick brushstrokes, Tom Bennett creates representational images of human figures and animals, emphas...

CRIMSON CONVERSATION Size: 51 x 64 cm (including frame) Oil and gouache on board A bold and expressive mid-century modernist figurative composition, painted in oil and gouache onto ...

Illuminated in afternoon light, this seaside scene by Diane Monet focuses on a mother and child enjoying a leisurely stroll on a brick-lined street beside the water. Roche-Guyan by ...

Shipping Procedure FREE Shipping Worldwide 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 Authent...

Rare Judaica Art. Jewish genre scene. In the tradition of Moritz Oppenheim, Isidor Kauffman and Maurycy Gottlieb and later of Tully Filmus, Zalman Kleinman and Itshak Holtz the artist captures this Jewish scene with a particular sensitivity. Part of the Ecole De Paris The term "School of Paris" was used in 1925 by André Warnod (fr) to refer to the many foreign-born artists who had migrated to Paris. School of Paris artists were progressively marginalized. Beginning in 1935 art publications no longer wrote about Marc Chagall, just magazines for Jewish audiences, and by June 1940 when the Vichy government took power, School of Paris artists could no longer exhibit in Paris at all. 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 Miró, Constantin Brâncuși, 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 or the School of Montparnasse. The "core members were almost all Jews, and the resentment expressed toward them by French critics in the 1930s was unquestionably fueled by anti-Semitism." One account points to the 1924 Salon des Indépendants, which decided to separate the works of French-born artists from those by immigrants; in response critic Roger Allard (fr) referred to them as the School of Paris. Jewish members of the group included Emmanuel Mané-Katz, Chaim Soutine, Adolphe Féder, Chagall, Moïse Kisling, Maxa Nordau...

Bavarian Celebration Painting by WRS Stott c.1930s Wonderful original illustration painting by book illustrator WRS Stott. A celebrato...

Literary Origins of Angelica The subject of this painting is Angelica, a princess from the epic chivalric romances of the Italian Renaissance. She first appears in Matteo Maria Boiardo’s Orlando Innamorato (1483) and reappears famously in Ludovico Ariosto’s Orlando Furioso (1532). In these poems – part of the Matter of France cycle of Charlemagne and his paladins – Angelica’s extraordinary beauty ensnares many knights, including Orlando (Roland) and his cousin Rinaldo, sparking rivalries and adventures. Ariosto’s narrative particularly highlights Angelica’s tumultuous journey: at one point she is stripped and chained to a rock as a sacrifice to a sea monster (a scene mirroring the myth of Andromeda) before being dramatically rescued by the valiant knight Ruggiero on his winged horse. Ultimately, however, Angelica chooses her own destiny. She falls in love with a humble Saracen soldier, Medoro, whom she nurses back to health, and she returns with him to her far-off Asian kingdom – an affair that drives the heartbroken Orlando to madness. This independent resolution (marrying outside the circle of Christian knights) made Angelica an emblem of feminine agency and romantic idealism in Renaissance literature. Her story remained popular in art and literature through the centuries, symbolizing the allure and elusiveness of love. Kronberg’s Portrayal and Composition In Julius Kronberg...

Beautiful impasto landscape of a figure and dog walking on a road leading to Mt. Tamalpais by Northern California artist Robin Blair (American, 20th centur...

Original art canvas entitled London Calling by renowned contemporary U.K. artist Jagga. Co-signed by the artist and The Clash bass player, Paul Simonon. Limited edition number 16/20...

Unframed, acrylic on canvas Signed

Original oil painting on canvas 70X50 cm, entitled Mountain Mystery. Excellent condition.

Sonia Gechtoff False Faces, circa 1950-52 Signed lower right Oil on canvas 30 x 22 1/4 inches Sonia Gechtoff was born in Philadelphia to Ethel "Etya" and ...

This artwork c.1970 is a oil painting by Russian artist Irina Belotelkin Roublon 1913-2009. It is signed lower right by the artist. The...

Orientalist painting by Georges Philippe Jacqmotte (1876–1949), a Belgian painter known for his Impressionist landscapes and still lifes. 'Odalisque' is the French term odalisque c...

Figurative Study In Sausalito by Patricia Gren Hayes Berkeley Figurative School Modern painting of a nude woman with the Sausalito landscape in the background by American painter, P...

Still Life with Mask and Books is an artwork realized by Antonio Sciacca (Catania, 1957) Oil painting on canvas 60x80 cm. Hand signed on the lower and rear Original inscription ...

Wonderful Bay Area School figurative of tan man with blue hat by Patricia Gren Hayes (American, 20th Century), 1980. Signed, titled and dated on ve...

Magdalena Nałęcz (b. 1970) She graduated from the Academy of Fine Arts in Cracow in 1995. She received numerous scholarships and prizes: in 1997 the scholarship of the city of Cracow...

Emmanuel Aubain (1872-1965) A Landscape Signed lower left Oil on canvas transefered on cardboard panel In quite good condition, some abrasions in the r...

San Antonio . Oil on canvas by Spanish artist Chico Montilla. Measurements: (H) 65 x (W) 81 x 2 (D) cm. Framed 85 x 101 x 5 cm. San Antonio, another expressionist view of the countr...

Medium: Oil on Canvas Signature: Signed Lower Right J. C. Leyendecker’s illustrations and advertisements fueled a collective visual memory for the early 20th century American public. Over the course of his career, Leyendecker created 322 covers for The Saturday Evening Post, as well as numerous other magazines, including Collier’s and Ladies’ Home Journal. The only illustrator to eclipse his fame was Norman Rockwell and Rockwell was quick to credit Leyendecker as his mentor and inspiration. This previously unknown work was recently discovered at a small country auction in South Carolina. It is likely an early work by Leyendecker, dating to circa 1900. The sinuous reddish orange flames emitted by the slain dragon recall the steam and vapors found in his later work, including an advertisement for Ivory Soap and a Thanksgiving cover for The Saturday Evening Post. The chiseled features and elegant expressions of the two knights and Christ are similar to those of his many successful advertising campaigns and illustrations. The inclusion of columns and the decorative border also are seen in works ranging from the 1901 Thanksgiving edition cover of Success magazine...

June Glasson is an artist, illustrator, and designer. She lives in New York. Her paintings have been exhibited at the National Portrait Gallery in London, Nature Morte Gallery in Ber...

Boats Approaching the Coast Kohler Fritz Moritzberg, Germany 1887 – 1972 Düsseldorf, Germany German Painter Signature: Signed bottom right and placed Medium: Oil on board Dimension...

Acrylic & oil on wooden panel Marie-Pierre Autonne is a French artist born in 1960 who lives & works in Angers, France. She studied at Penninghen in Paris, France. She worked for se...

The concept originated from the acquisition of a bank draft register from the 1920s. The text sheets reflect that era of economic prosperity before the Great Depression and the subse...

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

This charming original painting on canvas by Joyce Roybal features a whimsical group of musicians joyfully playing instruments in Roybal’s signature naïve style. With bold colors, pl...

Portrait of Woman if a beautiful oil on wooden panel realized by Antonio Feltrinelli in 1930s. Very good conditions. Antonio Feltrinelli (Milan, 1887 – Gargnano, 1942) Antonio Felt...

Louis Cretey (Lyon, France, 1635 - 1702) Title: Saint Sebastian Medium: Oil on canvas Dimensions: with frame 91 x 75 x 5 cm - without frame 77 x 60.5 cm With a "cassetta" frame in ...

Oil painting on canvas by Elena Mardashova, 60x80 cm. Excellent condition.

PHILIPPE NOYER "AU BAR" WATERCOLOR, SIGNED FRANCE, C.1960S 25.5 X 19.5 INCHES Philippe Henri Noyer 1917-1985 Philippe Henri Noyer was born on June 28, 1917 in Lyons, France. After a traditional education at the elite Ecole des Roches, Noyer enrolled in the Ecole des Beaux Arts in Lyon. Next he moved to Paris, where he worked in decorative arts and advertising. It was during this time, he discovered his talent for oil painting, officially starting his painting career in 1943. That same year, Noyer met the famed Parisian art deal, Emmanuel David, who would promote his work and career. Noyer produced many portraits, for which he quickly gained an international reputation, but he also painted dream figures in rural or maritime settings, compositions that were classical in technique but surreal in concept. In 1947, Noyer held his first one-man show at the prestigious Drouant-David Gallery in Paris. In 1949 the gallery consigned twenty of Noyer’s paintings to an American art dealer who had agreed to organize an exhibition of them in the United States. However the American dealer sold the paintings at cost, in order cover a gambling debt, to Robert Goldstein...

Les Dormeuses (The Sleepers) Acrylic on Canvas 46 x 61 cm Les Dormeuses by Grégoire Mathias captures the serene stillness of rest through the fragmented yet harmonious lens of Diach...

Allegory of summer, personified by Ceres Workshop of Hendrick Van Balen Antwerp School, early 17th century. Oil on copper, Dimensions: h. 52 cm, l. 40cm Antic giltwood frame Framed dimensions: h. 74 cm, l. 60cm Very good condition Our delicately painted work is part of the pictorial tradition that is both allegorical and mythological in vogue in Antwerp, whose leaders are Jan Brueghel the Younger and Hendrick Van Balen. Numerous works emerging from their workshops illustrate mythological subjects, the seasons, the elements, the senses or intertwining the lush landscapes, animals and gods of Olympus. At the heart of a green landscape dominated in its center by a generous apple tree, the beautiful Ceres, partially dressed in a large blue drape, is wearing a crown of ears of wheat, her symbol of the goddess of the earth and harvests. She holds the sickle in her right hand and carries sheaves of wheat. To her right a nymph holds the cornucopia while puttis pick and offer flowers. In the foreground are the summer fruits: figs, cherries, apples and lemons. A squirrel munching on cherries symbolizes toil and foresight, themes that are echoed in the work of the harvesters on the wheat fields in the background. The background is composed of vegetation, on the right a wild rose bush with its branches erect against a tree trunk, in the center of the trees with silvery green foliage. Our painter, a student of Hendrick Van Balen, finds his inspiration in the works of the master such as this nymph in yellow drapery seen from behind, one of the figures which accompanies many of the master's paintings. The elegant gestures, the flesh...The indisputable influence of Jan Brueghel the Younger is revealed in the treatment of trees and flowers, wild roses, tulips as well as in the still life with the squirrel in the foreground. The craze for this type of virtuoso painting where the mythological figures are only a pretext to better illustrate the landscape and plant species surrounding them, then generated orders from all over Europe. Hendrick Van Balen, Flemish painter, born and died in Antwerp (1575-1632). A student of Adam Van Noort, he entered the guild of Saint-Luc in 1593, later trained in Italy and was Van Dyck's first master. He often painted small characters taken from scenes from the Bible or classical mythology, on paintings in which Josse de Momper...

This artwork actually contains two landscapes. The inner landscape depicts a forest of birch trees at dawn or at dusk, with a purple sky and a fuzzy Sun. The ground is full of colored small flowers and plants. The outer landscape depicts a night green landscape through birch branches, with clouds and the Moon. Although both landscape can't actually merge, some branches of the inner landscape extends into those of the outer landscape, which makes this painting surrealist. Both landscapes are separated by a pink mosaic...

Signed lower left. On rear: "Corrado Cagli Via Ludovico Muratori 27 Roma o Via Imbonati 17 Milano" "Paese" - hand written by the artist. Painting in which Corrado Cagli, a key exponent of the so called "Scuola Romana...

"Chat Noir" - Black Cat Abstract Expressionism A vibrant abstract painting of a black cat with stark contrast of black accented in red and yellow, by California-based artist, Ricardo de Silva...

A fine Victorian Scottish genre oil on canvas painting which dates to 1868 and is titled The Gossip by famous Scottish artist William Fettes Douglas RSA. It is a stunning depiction o...

John Ferneley Jnr British, (1815-1862) Horse & Groom in a Stable Oil on canvas, indistinctly signed Image size: 18.75 inches x 23.25 inches Size including frame: 23.5 inches x 28 inches Provenance: The Parker Gallery, Berkeley St., London A mid-19th century sporting painting of a horse and groom in a stable by John Ferneley Jnr. A stable hand is depicted in the middle of a stall grooming a bay horse. Nearby, a tabby cat can be seen resting on table whilst a small black and tan dog wanders by a door to the left. John Ferneley Junior was born in 1815, at Melton Mowbray, the son of the sporting artist John E Ferneley (1782-1869) and his first wife Sarah. His brother Claude Lorraine Ferneley (1822-1892) and sister Sarah Ferneley...

Jack in Paris is a unique painting by French contemporary artist Guillaume Chansarel. The painting is made with ink and acrylic on old book pages mounted on canvas, dimensions are 51...

Hawaiian Symbolism Flowering Tree and Acolytes Symbolism Landscape Symbolic landscape with four figures worshiping flowering tree by Marguerite Louis Blasingame (American; 1906-1947)...

Head Crying in the Wood, 2017 Acrylic on canvas 27.55 H x 27.55 W in. 70 H x 70 W cm The artwork represents a crying head of a man in the wood. The fear paralyzes the facial expression of the man and several droops come out of his eyes. The face expression...