Jean-Pierre Brissart

Waiting for the 3rd man

Oil painting on masonite by the french Art Deco and modernist painter Jean Burkhalter. This artist is well-known to be one of the founders of the UAM ("Union des Artistes Modernes" i.e. Union of Modern Artists) with Pierre Chareau, Sonia Delaunay, Jean Fouquet, Eileen Gray, Hélène Henry, Francis Jourdain, Robert Mallet-Stevens, Gustave Miklos...

Title: 52 - 3 ème degré (2) Technique: oil on canvas Date: 2019 Size: 30 x 90 cm :490 euros

Title: Le bruit des sabots Technique: oil on canvas Date: 2019 Size: 54 x 81 cm 490 euros

Sylvie Magnin - Emerging Star - 2019 Grace and movement even in this suspended moment before going on stage. An art in perpetual construction through this body that is shaped every m...

This oil on canvas painting is an example of the artist's fascination with the moments just before something unexpected happens. The painting gives a scene often enacted in Northeast...

"Writings I" is a work that invites reflection on the nature of writing and the human creative process. With a vertical format divided into two distinct parts, the painting displays ...

Provenance: Santambrogio Antichità, Milan; sold, 2007 to: Filippo Pernisa, Milan; by whom sold, 2010, to: Private Collection, Melide, Switzerland De Primi Fine Art, Lugano, Switzerland; from whom acquired, 2011 by: Private Collection, Connecticut (2011-present) Literature: Ferdinando Arisi, “Ancora sui dipinti giovanili del Panini,” Strenna Piacentina (Piacenza, 2009): pp. 48, 57, 65, fig. 31, as by Panini Ferdinando Arisi, “Panini o Ghisolfi o Carlieri? A proposito dei dipinti giovanili,” Strenna Piacentina, (Piacenza, 2010), pp. 100, 105, 116, fig. 101, as an early work by Panini, a variant of Panini’s painting in the Museo Cristiano, Esztergom, Hungary. This architectural capriccio is one of the earliest paintings by Giovanni Paolo Panini, the preeminent painter of vedute and capricci in 18th-century Rome. The attribution to Panini has been endorsed by Ferdinando Arisi, and a recent cleaning of the painting revealed the artist’s signature in the lower right. Like many of his fellow painters working in Rome during his day, Panini was not a native of the Eternal City. He first trained as a painter and stage designer in his hometown of Piacenza and moved to Rome at the age of 20 in November 1711 to study figure painting. Panini joined the workshop of Benedetto Luti (1666-1724) and from 1712 was living on the Piazza Farnese. Panini, like many before and after him, was spellbound by Rome and its classical past. He remained in the city for the rest of his career, specializing in depicting Rome’s most important monuments, as well as creating picturesque scenes like this one that evoked the city’s ancient splendor. The 18th century art historian Lione Pascoli, who likely knew Panini personally, records in his 1730 biography of the artist that when Panini came to Rome, he was already “an excellent master and a distinguished painter of perspective, landscape, and architecture.” Panini’s earliest works from this period still show the evidence of his artistic formation in Piacenza, especially the influence of the view painter Giovanni Ghisolfi (1623-1683). However, they were also clearly shaped by his contact in Rome with the architectural capricci of Alberto Carlieri...

"Abstract Visage I" Portrait Oil Painting 24" x 20" inch by Ashraf Zamzami ABOUT A characteristically bold and optimistic palette does not belie the inescapably pensive nature and a...