Evguéne Danilevsky

20th Century Russian painting of Lenin by Yevgeny Danilevsky

20th Century

Orientalist oil painting of Bedouins in a desert by Alphons Leopold Mielich Austrian, c.1900 Canvas: Height 68cm, width 111cm Frame: Height 79cm, width 121cm, depth 4cm Painted by t...

'His First Suit,' a large Victorian oil painting, signed 'Fred Morgan' English, c.1899 Frame: Height 109cm, width 133cm, depth 8cm Canvas: Height 92cm, width 116cm, depth 2.5cm Executed in oil-on-canvas, and mounted in a carved giltwood frame, this beautiful English painting, titled 'His first suit,' is by the late Victorian artist Frederick Morgan, an artist working in a similar style to that of the more well known Arthur John Elsley...

The Triumph of Bacchus, a large oil painting by Ferdinand Leeke Oil-on-canvas, German, 1918 Frame: height 175cm, width 227cm, depth 10cm Canvas: height...

Painted by the Polish artist Arthur Bryks, this work depicts five males seated around an open book. The pictorial emphasis is on their heads, the five of which transcribe a circular ...

This large and impressive oil on canvas painting depicts the Procession of the Torah, an event that occurs during the Jewish festival of Simchat Torah. The location is a synagogue in Livorno, Italy; the scene isdimly light, low light highlighting the many pious figures who occupy the interior of the synagogue. The work is after Solomon Alexander Hart...

Measuring nearly two metres in height, this fantastic large painting will be an excellent addition to a large, grand interior space. It is the work of the Italian painter Angelo Urba...

A. J. Bennett (South African, fl. Early 20th century) Light and Shade • Oil on canvas artist board ca. 42.5 x 29.5 cm • Later frame ca. 53.5 x 41 cm Worldwide shipping is complime...

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...

Signed with monogram lower left * The Robert Lehman Collection at the Metropolitan Museum of Art contains more paintings (nine) by Georges D’Espagnat than any other nineteenth- or ...

A beautiful oil painting by French artist Louis Valtat. Featuring a colorful display of a flower bouquet of dahlias.

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...

Adriana Pincherle, (1905, Rome - 1996, Florence). A lady with a turban and green shadows in a landscape. Italian female painter, active in Rome and from 1943 in Florence. Painting signed and dated lower right: Adriana Pincherle. 1973. Oil painting on canvas. The simple composition, which represents a woman from behind, bears the influence of Matisse's avant-garde style, with bold and refined color combinations. The shape is created with color, creating an almost surreal and highly expressive effect. The painter once said: "My painting has always been figurative, not realistic. In this sense I felt very similar to the Informal movement, which, fundamentally, pushed my passion for color to the extreme." FREE SHIPPING in Italy and Europe Artist Biography: Pincherle Adriana Rome 25 December 1905 - Florence 8 January 1996 Adriana was born in Rome on 25 December 1905, into a family in which two cultures were intertwined: the Jewish one of her father, the engineer Carlo Pincherle, of Venetian origins and in love with painting, and the Catholic one of her mother, Isa di she. De Marsanich, a noble but decayed Hungarian. Adriana is the eldest child and two years older than her brother Alberto, known to the literary world under the pseudonym Alberto Moravia As Pincherle herself says about her, as a child she spent hours admiring her father who painted watercolours, and it was perhaps then that her interest in drawing and above all her particular sensitivity towards color was born. Thus, having completed her classical studies, she began to attend the "ladies" atelier of the engraver Alfredo Petrucci and the free nude courses at the Academy, where she met Mimmo Spadini and Scipione, and came into contact with Roman art. In 1931 she made her debut at the collective "First Roman exhibition of female art" at the "Galleria di Roma", while the following year, at the same gallery, she exhibited a solo show together with Corrado Cagli, already attracting the attention of critics, famous comment by Longhi, cited several times by Pincherle herself, who prefers the "sissy" between the two artists. As evidence of the results achieved by Adriana since her first works, we remember that among her works presented in 1932 there was also the famous "Standing Self-Portrait", now in the Uffizi Pincherle's growth passes through places and periods common to both the Roman School and the school of painters of the via Cavour group (Mafai, Raphaël, Scipione), with tangents and deviations, but his pictorial research arrives at original solutions independent of any label . Fundamental to the maturation of her art was her stay in Paris in 1933, in which Pincherle admired and studied closely the Fauves, Renoir and in particular Matisse. In the same year she exhibited for the first time in Florence at the Sala d'arte delle Nazioni with Milena Barilli...