Le Pont Neuf, 1953
View Similar Items
Marc ChagallLe Pont Neuf, 19531953
1953
About the Item
- Creator:Marc Chagall (1887 - 1985, French)
- Creation Year:1953
- Dimensions:Height: 48.5 in (123.19 cm)Width: 41.5 in (105.41 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Generally very good condition, some small areas of striation scattered throughout the surface, typical, none broken or problematic, some slight impressions from the crossbrace.
- Gallery Location:Greenwich, CT
- Reference Number:Seller: FACHA1953021stDibs: LU2664213887462
Marc Chagall
Described by art critic Robert Hughes as "the quintessential Jewish artist of the twentieth century," the Russian-French modernist Marc Chagall worked in nearly every artistic medium. Influenced by Symbolism, Fauvism, Cubism and Surrealism, he developed his own distinctive style, combining avant-garde techniques and motifs with elements drawn from Eastern European Jewish folk art.
Born Moishe Segal in 1887, in Belarus (then part of the Russian empire), Chagall is often celebrated for his figurative paintings, but he also produced stained-glass windows for the cathedrals of Reims and Metz, in France; for the United Nations, in New York; and for the Hadassah Hospital in Jerusalem, as well as book illustrations, stage sets, ceramics, tapestries and fine-art prints. Characterized by a bold color palette and whimsical imagery, his works are often narrative, depicting small-village scenes and quotidian moments of peasant life, as in his late painting The Flight into Egypt from 1980.
Before World War I, Chagall traveled between St. Petersburg, Paris and Berlin. When the conflict broke out, he returned to Soviet-occupied Belarus, where he founded the Vitebsk Arts College before leaving again for Paris in 1922. He fled to the United States during World War II but in 1947 returned to France, where he spent the rest of his life. His peripatetic career left its mark on his style, which was distinctly international, incorporating elements from each of the cultures he experienced.
Marc Chagall remains one of the past century’s most respected talents — find his art on 1stDibs.
- PensandoBy Felix MasLocated in Greenwich, CTPensando is an oil on canvas painting with an image size of 39.25 x 32 inches, signed 'felix mas' lower right and framed in a Spanish-style, closed-corner, black and gold frame. Fel...Category
21st Century and Contemporary Contemporary Figurative Paintings
MaterialsCanvas, Oil
$12,850 - Memories of EcstasyBy Mark KostabiLocated in Greenwich, CTMemories of Ecstasy is an oil on canvas painting, 24.75 x 18.5" canvas size, signed on the front ‘KOSTABI 2022’ lower right, and signed, titled and dated verso. Framed in a contempor...Category
21st Century and Contemporary Contemporary Paintings
MaterialsOil, Canvas
- She Had a BallBy Mark KostabiLocated in Greenwich, CTShe Had a Ball is an oil on canvas painting, 18.5 x 24.75" canvas size, signed on the front ‘KOSTABI 2022’ lower left corner, and signed, titled and dated verso. Framed in a contempo...Category
21st Century and Contemporary Contemporary Paintings
MaterialsOil, Canvas
- Together We Soar, 2022By Mark KostabiLocated in Greenwich, CTTogether We Soar is an oil on canvas painting, 24.75 x 18.5", signed on the front ‘KOSTABI 2022’ lower right, and signed, titled and dated verso. Framed in a contemporary black frame...Category
21st Century and Contemporary Contemporary Paintings
MaterialsOil, Canvas
- Take Me AwayBy Mark KostabiLocated in Greenwich, CTTake Me Away is an oil on canvas painting, 31.5 x 23.75" canvas size, signed on the front ‘KOSTABI 2023’ lower left, and signed, titled and dated verso. Framed in a contemporary blac...Category
21st Century and Contemporary Contemporary Paintings
MaterialsOil, Canvas
- Echoes of the PresentBy Mark KostabiLocated in Greenwich, CTEchoes of the Present is an oil on canvas painting, 23.75 x 17.75 inches, signed and dated 'KOSTABI 2018' lower left. Framed in a contemporary black frame.Category
21st Century and Contemporary Contemporary Paintings
MaterialsCanvas, Oil
- 20th century oil painting entitled The Unknown CornerLocated in London, GBCollections: Robert Isaacson; James Draper, New York, 2014. Exhibited: Cambridge, The Fitzwilliam Museum, Beggarstaffs: William Nicholson and James Pr...Category
Early 20th Century Modern Figurative Paintings
MaterialsCanvas, Oil
- Three FiguresBy Wifredo LamLocated in Beverly Hills, CAProvenance: Cernuda Art, Coral Gables Private Collection, Los AngelesCategory
1970s Modern Figurative Paintings
MaterialsCanvas, Oil
$80,000 Sale Price20% Off - Six O'ClockLocated in Los Angeles, CASix 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
MaterialsCanvas, Oil
$12,500 - Gold Mine, Central City, ColoradoBy Joseph MeertLocated in Los Angeles, CAThis painting is part of our exhibition America Coast to Coast: Artists of the 1930s Goldmine, Central City, Colorado, oil on canvas, 36 x 28 inches, c. 1936, signed lower right, ex collection of Platt Fine Art, Chicago, Illinois (label verso). About the Painting Joseph Meert’s painting, Goldmine, Central City, Colorado, depicts the short-lived resurrection of a once prominent city just outside Denver. Central City was founded in 1859 soon after John Gregory struck gold in the area. As word spread, thousands of miners converged into “Gregory’s Gulch” and its surroundings became known as the “richest square mile on earth.” Mining production quickly increased resulting in Central City to becoming Colorado’s largest city in the early 1860s. Despite some technical difficulties transitioning to lode mining and the rise of competition from Leadville, Central City remained an economic boom town through the turn of the century. But, with every boom, there is a bust. World War I marked the end of Central City’s prominence as ore production ground to a halt and by 1925, the town’s population shrank to only 400 people. The desperation of the Great Depression and a nearly 100% increase in the price of gold lured labor and capital back to Central City. Meert painted in Colorado during the mid-1930s, a time when he created his most desirable works. It is during this period of renaissance that Meert captures one of Central City's outlying dirt streets bordered by 19th century wooden houses from the town's heyday and the more recently installed electric lines leading to a distant gold mine. A lone figure trudges up the hill, a mother with a baby in her arms, putting us in mind of the rebirth of the town itself. Meert had solo exhibitions at the Colorado Springs Fine Arts Center in 1936 and the Denver Art Museum. Although it is not known whether Goldmine, Central City was included in either of these exhibitions, it seems likely. Moreover, the painting is closely related to Meert’s painting, The Old Road, which was painted in 1936 and exhibited at the Corcoran Gallery of Art in Washington, DC and at the Dallas Museum of Art. About the Artist Joseph Meert was a well-regarded painter and muralist, who initially made a name for himself in the American Scene and later as an abstract expressionist. Although initially successful, Meert struggled financially and with mental illness later in life. He was born in Brussels, Belgium, but moved with his family to Kansas City, Missouri. As a child, a chance encounter at the Union Pacific Railyard changed his life. Meert happened upon a worker repainting and stenciling a design on a railroad car. Meert later recalled that this experience introduced him to the idea of being a painter. Without support from his father, Meert obtained a working scholarship to the Kansas City Art Institute. After four years at the Kansas City Art Institute, Meert studied seven years at the Art Students League and in Europe and Los Angeles. At the Art Students League, Meert fell under the spell of Thomas Hart Benton and Stanton MacDonald-Wright. In 1931, he befriended Jackson Pollock. By 1934, Meert was part of the Public Works of Art Project when he met his wife, Margaret Mullin...Category
1930s American Modern Landscape Paintings
MaterialsCanvas, Oil
- The Landing/Dawn LandingLocated in Los Angeles, CAThis painting is part of our exhibition America Coast to Coast: Artists of the 1940s. The Landing/Dawn Landing, 1944, oil on canvas, signed lower left, 20 x 30, titled verso; exhib...Category
1940s American Modern Paintings
MaterialsCanvas, Oil
Price Upon Request - Fish Story oil painting by Williams Charles PalmerLocated in Hudson, NYThis painting is illustrated in the Catalogue of the 1945 Encyclopedia Britannica Collection of Contemporary American Painting, p.84. Written and edited by Grace Pagano. "Painting ...Category
Mid-20th Century American Modern Figurative Paintings
MaterialsOil, Canvas