Amy Hill

"Contemporary Renaissance Double Portrait, oil painting "Two Girls with Sign"

2018

36"x36" oil on wood panel. This painting fuses figure and pattern, with a contemporary Pop Art feel. Emily Roz depicts a red with white polka dot bikini clad torso, against a ground...

38"x25" signed by the artist, David Kramer. (oil, enamel, acrylic, pencil on gessoed paper) In this conceptual work on paper, the text "Keeping it Real...Whatever That Means" is wr...

60"x144" large scale painting, oil on canvas, created on two joined canvases. The deep blue palette gives a sense of underwater space in this grand depiction of coral reefs. Artist, Karen Marston presents this endangered species in a grand scale to show its beauty and importance to our environment. Karen Marston is a painter living and working in Brooklyn, NY. Her work has been seen in a number of solo exhibitions in New York City. In addition to her 2018 show Harbingers, at the Owen James Gallery in Soho, other recent solos include: 2017’s To Embrace the Whole Sky with the Mind, at Station Independent Projects on the Lower East Side, Demeter’s Wrath in 2016 at the Owen James Gallery and Storm Watch...

Morning Vine, 2017, oil on traditional gesso primed canvas mounted on wood panel with incised line drawing, 54 x 40 inches Morning Vine is painted on a traditional gesso primed surf...

This large scale conceptual text based painting by New York artist, David Kramer, features, in bold type the phase: "... I AM STILL WAITING FOR MY...

20"x30" oil on panel, signed on reverse by the artist. This snowy winter landscape depicts a back woods scene. Christopher Lowry Johnson’s paintings respond to a sense of place, mor...

Gillis Claeissens Portrait of a Lady, probably "Anne Joigny-de Pamele" Oil on wood, 35,5 x 28 cm Gillis Claeissens has only recently been rediscovered as an important portrait painter of the 16th century. He received his training in the studio of his father, Pieter I Claeissens. Gillis became a freemaster of the St Luke's Guild in Brussels in 1566 and worked at the court of Alexander Farnese in Brussels between 1589 and 1592. Later he was also court painter to the Archdukes Albert and Isabella. After his return to Bruges, he created portraits of high Bruges society. It was only through the Forgotten Masters exhibition in Bruges in 2018 that the work of Gillis Claeissens was rediscovered. The present painting recently turned up in a private collection and was confirmed as a typical work by Claeissens by Mrs Oosterwijk at the Museum Groeninghe in Bruges. Gillis Claeissens or Egidius Claeissens (Bruges, 1526 – Bruges, 17 December 1605) was a Flemish painter of portraits and altarpieces and a member of a prominent family of artists originating in Bruges. It has only been possible to distinguish Gillis Claeissens' work from that of his father and siblings after scholars discovered a contract with the artist for the painting of a tryptich. It was further discovered in 2015 that he artist can be identified with the Monogrammist G.E.C. These discoveries have allowed to recognise Gillis Claeissens as an important portraitist alongside Pieter Pourbus in 16th century Bruges. Portrait Paintung, Old Master, Bruges School, Bruges Painting...

This piece from Berlin's studio dates back to 2003 but has only now been released. She's an a la mode young woman from the halcyon days of the Belle Epoque; confident and bewitching ...

The Holy family with St. Joseph and St. Anna. Tuscan school. Late mannerist period, Circa 1610. Oil on canvas. Size 102cm x 77cm Painting by an unknown Tuscan painter from the lat...

This acrylic on canvas painting is of a Renaissance Madonna. Framed beautifully, this spiritual portrait is of a graceful moment. The cerulean blue fabric is used to represent extrav...

A masterful copy by an unknown artist, after the portrait of "Beatrice d'Este" by Leonardo Da Vinci also known as ‘Portrait of a Lady’ or ‘La Dama con la reticella di perle (The Lady With a Pearl Hairnet)’. The original work originally created in the 15th Century is currently on display in the Pinacoteca Ambrosiana Museum of Milan. Beatrice d'Este was the Duchess of Bari/Milan and was believed to be one of the most attractive princesses of the Renaissance. Her impeccable style won her many admirers throughout Italy and France, and she became a trendsetter of the highest order. This copy of the original painting, is an oil on canvas done in the 18th Century, and in this exquisite portrait, the artist has masterfully depicted the fine details with draped hair, pearls, royal dress, ornate headgear and sumptuous jewelry in front of a dark background. Once again, capturing the imagination with another enigmatic smile. It comes housed in an elegant period giltwood frame with ebonized trims and ready to be displayed with hanging wire on verso. Art measures 28 x 18 inches Frame measures 34.5 x 24.5 inches There is much debate and controversy over who actually painted the "Beatrice d'Este" was it Leonardo da Vinci (1452–1519), or Giovanni Ambrogio de Predis (1455–1508). So we may never know who executed the original portrait which hangs in the museum, but that need not deter from an appreciation of its singularity. Following the portraiture convention established by painters of the Quattrocentro, the artist has chosen to portray his sitter in profile. In doing so, he magnificently captures the essence of his sitter, a girl on the threshold of womanhood. Bedecked in the adornments—silk, velvet, pearls and embroidery (brocade) crafted of spun gold threads—afforded her by birthright and marriage, Beatrice looks forward in noble serenity. And at the same time her profile with its upturned nose and slight smile betrays an innocence that must have been the basis of the oft-repeated epithet: la più zentil donna in Italia” (“the sweetest lady in Italy”). It is believed the lady is Beatrice d'Este (1475-1497), duchess of Bari and later of Milan, the wife of Ludovico Sforza (known as "il Moro"). One of the most beautiful princesses of the Italian Renaissance, she was known for her good taste in fashion. Beatrice was a member of the Este-Sforza family, which joined by marriage two of the oldest reigning and already powerful houses in Italy. The house of Este, which held court in Ferrara, traced its lineage to the 11th century Dukes of Saxony and Bavaria. Beatriceʼs father, Ercole I ruled the Ferrara commune for 34 years, catapulting the city-state (and the Estes with it) to an unmatched level of economic prosperity and cultural prominence. The family was renowned for its love of letters and patronage of the arts. The first time Leonardo da Vinci’s name resounded in the Ambrosiana, it was through the pen of its founder, Cardinal Federico Borromeo, who attributed this little panel to the great Master, describing it as “A portrait of a Duchess of Milan, by the hand of Leonardo”. Following the Cardinal’s statement, the portrait was for long assumed to depict Beatrice d’Este, the wife of Ludovico il Moro. However, scholars have recently been more cautious and vague in their statements, with regard to both the artist (anonymous Lombard or Emilian...

Provenance: Private Collection, New Jersey The present painting depicts Saint Vincent Ferrer preaching from a raised pulpit to a group of seven peopl...