1950s Figurative Paintings

Dai Xiangwen was born in Hunan in 1991 and graduated from the Academy of Fine Arts of Jianghan University, He is a member of China Artists Association, China Designers Association, a painter of Li Keran...

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 ...

Gabriel Casarrubios Martín (1953) - Fishermen - Oil on canvas Oil size 60x73 cm. Frameless. Gabriel Casarrubios Martín (1953) The Toledo artist trained in Fine Arts in Madrid, at t...

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...

Rafael Duran Benet (1931-2015) - France - Oil on canvas laid board Oil measurements 46x55 cm. Frameless. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Catalan painter, ...

ARTIST: Beatrice Huntington (1889-1988) Scottish TITLE: "Portrait Of A Red Haired Lady" SIGNED: lower left and with provenance from The Scottish Gallery Edinburgh and James Bourlet exhibition label also MEDIUM: oil on canvas SIZE: 68cm x 60cm inc frame CONDITION: very good DETAIL: The Scottish artist Beatrice M. L. Huntington (1889–1988) enjoyed a long and varied career as a painter and is best known for her insightful portraits, characterised by a strong sense of design and an intuitive use of colour. Her approach to painting was ever-evolving: throughout her long and fascinating life, which spanned a century and bore witness to the advent of the modern era, she remained indefatigably committed to her development as an artist and to 'containing and realising the big-ness of it all', as she herself described it in a letter to a friend in 1977, when at the age of 88 she was still refining her approach to form and colour. The daughter of an eminent St Andrews doctor, Beatrice grew up in affluent surroundings – an imposing townhouse on St Andrews South Street both her father's surgery and the family home. A precocious talent for both music and art led her, perhaps unusually for a girl at that time, to pursue her studies abroad. In 1906, the year she turned 17, she went to Paris to study drawing and painting and in 1911, after an evidently successful formative period in Paris, she continued her studies in Munich, attending a private art school where she apparently flourished. By the 1920s, Beatrice's own identity and path as an artist were clearly defined. Her marriage to the painter William Macdonald in 1925 created a unique artistic partnership and cemented her place within the Scottish art scene of the 1920s and 1930s, particularly in Edinburgh where Macdonald was already well established and a close friend of Scottish Colourists F. C. B. Cadell and Samuel Peploe. This is illustrated by surviving correspondence and in particular by a characterful portrait of a debonair William Macdonald by Cadell, dating from the mid-1920s. Macdonald's particular affinity for the arid landscapes of southern Spain had earned him the nickname William 'Spanish' Macdonald. Beatrice shared his love of travel and together they explored the Continent, returning frequently to the French Riviera and to southern Spain, taking as their base, for a time at least, the picturesque Mediterranean fishing village of Cassis in the South of France, a favoured haunt of the Colourists. The couple moved in artistic milieux both at home and abroad, also spending time in Kirkcudbright in Galloway. Their time painting together in Spain culminated with a joint exhibition in 1928 at Messrs Watt and Sons, Dundee, entitled 'Pictures of Spain...

Gabriel Casarrubios Martín (1953) - Fishermen - Oil on panel Oil size 22x27 cm. Frameless. Gabriel Casarrubios Martín (1953) The Toledo artist trained in Fine Arts in Madrid, at th...

Gabriel Casarrubios Martín (1953) - Fishermen - Oil on panel Oil size 27x22 cm. Frameless. Gabriel Casarrubios Martín (1953) The Toledo artist trained in Fine Arts in Madrid, at th...

Josep Lloveras Feliu (1922-2014) - Virgin Mary and child Jesus - Oil on panel Oil measurements 60x49 cm. Frame measurements 68x57 cm. Josep Lloveras y Feliu, was a painter and sculp...

Antique post impressionist Art Deco figurative oil painting by French artist Bernard Py. This large size animated interior painting of two wom...

Oil on canvas. "Sunshine Bliss: The Aroma of Summer Watermelon" In this painting, a vivid and joyful spectacle unfolds before us, as if a sunbeam has penetrated directly onto the c...

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...