Men Figurative Paintings

A large early 20th Century naive, folk art, oil on canvas view of a livestock fair by Tanim. The painting is signed bottom left. A wonderful, humorous and playful view of animals an...

Twilight on purple and blue colors Russian countryside Dacia This work is Published on the book "Zabelin -Master of colours" Vjacheslav ZABELIN (Moscow, 1935 – 2001) MUSEUMS Mosc...

While walking in Jackson Square in New Orleans, you can't help but hear the trumpets and trombones of the Jackson Street band that spends their time entertaining the tourists and locals alike. Setting up on the square to paint, Melinda captured the sounds and sights of New Orleans. She depicted the talented Jackson Street NOLA musicians as they walked through the street. This painting is dedicated to all the working artists making their way through life doing what they love and are called to do. NEW ORLEANS SOUNDS by E. Melinda Morrison...

"Self with Atlanta Shirt" is a post modern oil on canvas painting. It is a self portrait of Nick Weber. Nick Weber (b.1971), living and painting in Springs, NY (about a block away ...

Large Victorian painting of children resting outdoors by J.O. Banks English, late 19th Century Frame: Height 91cm, width 111cm, depth 10cm Can...

Ferol K. Sibley Warthen (American, 1890 – 1986) ‘Figures in an idyll’ Oil on canvas Signed `FEROL SIBLEY` (lower right) 30.1/4 x 24.1/4 in. (76.5 x 61.5 cm.) Warthen was born Ferol ...

This painting, one of ten, belonging to a series of works exhibited in 2017 for the " DECADES " exhibition, that tell the atmosphere of 70s Dimension: 100 cm x 150 cm. Mixed Media o...

A large-scale contemporary figurative interior scene depicting several nude figures, including a man reclining in a bed, in a red room with a tree by Bay...

Feminine Mistique, ink on archival paper. Keith Carrington’s experiences have led him to express his talents through the fluid & exacting mediums of watercolor and ink. He has honed...

This one of a kind, Resin work on masonite and Claybord measures 40x30x3". It combines images of Ceravolo's original Steve McQueen art and Ceravolo h...

Yellow and blue-toned abstract impressionist portrait of a boy by Danish artist Hans Christian Bärenholdt. Signed by the artist at the bottom right. Hung in a gold carved frame. Dim...

This is for an original Oil Painting by the famous New York Jewish Artist Tully Filmus Painting Depicts a orchestral Quartet of men beautifully painted and Amazing Good Condition ...

Hieronymus FRANCKEN III (Antwerp 1611 - 1671) 17th century Antwerp School The Denial of Saint Peter Oil on panel, dim. h. 53 cm, l. 76 cm Framed, h. 82 cm, l. 106 cm Sold with the ...

Colossal Hand - Colossal Head - Colossal Foot (Triptych), 2003 Acrylic on canvas (Signed on front) 78 7/10 H × 236 1/5 W in (78 7/10 H × 78 7/10 W in eac...

Story illustration for The Robe (People's Book Club) written by Lloyd Douglas, 1942 "Father had bought Demetrius six years ago and presented him to Marcellus on his seventeenth birt...

This buoyant late 19th-century oil painting by Danish artist Niels Frederik Schiøttz-Jensen (1855-1941) depicts a coastal view in Capri, Italy, with a travelling family. Schiøttz-Jen...

"The Golden Hour" is am epic painting from Sandra Jones Campbell's recent Summer collection, a series that displays her unique vision of the world and is informed by her current soc...

Henry Benson: 1930-1998. Listed American Impressionist artist. His technique involved applying a rough texture to his canvas before starting his works. After he would apply his beaut...

Belgian artist Miette Braive(1916-2000), was classically trained in Belgium, before moving to Paris to pursue her art career as first a student and then a contemporary of the French ...

In what appears to be a moment of defeat, the subject sits glassy-eyed in the corner of a boxing ring. A momentary respite, perhaps, before he begins the voluntary abuse to his body...

Acrylic on beaverboard

Ron Hick's (US based) "Other Than" is an original, handmade oil painting that depicts an impasto rendering of two figures with dark hair and an abstracted background. Ron Hick's wor...

One of the originators of the Western pop art movement, Billy Schenck incorporates techniques from photorealism with a pop art sensibility to both exalt and poke fun at images of the West. Schenck is known for utilizing cinematic imagery reproduced in a flattened, reductivist style, where colors are displayed side-by-side rather than blended or shadowed. In the August 2014 issue of SouthwestArt magazine, his work was described as “a stance … a pendulum between the romantic and the irreverent.” Schenck’s artwork is now in 48 museum collections, including Smithsonian Institution, Denver Art Museum, The Autry Museum of Western Heritage, Booth Western Art Museum, Tucson Museum of Art, Phoenix Art Museum, the Mesa Southwest Museum, Museum of the Southwest, Midland TX...

“Exalt His Name Together” Calendar illustration; publisher: (Shaw-Barton), January 1962; The Household Hints Calendar Original calendar accompanies this piece Sight Size: 24.75" x ...

Monumental original painting by listed artist Frank Nelson Ashley The subject matter of this painting is a vibrant scene in New Orleans of the "Poo-Pah Club" jazz band, acrobat performers, finely dressed ladies, and cherubs that have fallen from the heavens to be a part of such a joyous parade. The colors are magnificent! Oil on canvas Signed & dated lower left and verso Title: "Parade of the Poo-Pah Club Jazz Band" 48" x 82" Artist Bio: Frank Ashley American 1920-2007 Joined Carmel Art Association 1970. Frank Ashley grew up in St Paul Minnesota. He attended the University of Minnesota, served as a pilot in the Army Air Corps in England during WWII, and was awarded two Distinguished Flying Crosses, a Purple Heart and four Air Medals. He studied at the American Academy of Art in Chicago, the Minneapolis...

Framed Maurice Kish (American, 1895-1987) Genre painting of a man carrying water buckets Signed lower left: Maurice Kish Framed dimensions: 12 1/8 x 9 1/8 in. Maurice Kish, painter and poet, was born in Dvinsk, Russia (also known as Denenburg while under Russian rule) which is now known as Daugavpils, Latvia. Dvinsk was one of the leading Jewish cities in Russia in the 19th century, and a center of Jewish culture and debate. It was also a poor city where an estimated 30% of the Jewish population applied for aid in 1898. (1) Maurice (Moishe) Kish was born February 19, 1895 (2). A census conducted 2 years earlier indicated 330 industrial establishments owned by Jews, and 99 owned by non Jews. The dominant trades were tailoring and shoemaking. (1) "Kish… immigrated to New York in his teens. He pursued studies in art at Cooper Union and the National Academy of Design, gaining a foundation solid enough to support himself as a painter and to place his work in exhibitions, by the late 1930's, at such prestigious venues as the Corcoran Gallery of Art and the Pennsylvania Academy of Fine Art." (3) Kish also exhibited at the New York World's Fair in 1939, and by 1945 had exhibited 13 times at the National Academy and won 30 art prizes. He was a member of numerous art associations, including the Educational Alliance, the American Veteran Society of Artists, and the Brooklyn Art Alliance. (4) During the Depression Kish often portrayed "factory and street scenes in New York with the tired faces of workers revealing the weight of wage-labor upon their lives." (5) Kish himself was no stranger to the proletarian life - he was a skilled craft worker for decades in a factory which made glass vases. He was short and sturdy, a former amateur boxer, and also served as a dance instructor in the Catskills. In the 1970's, at the age of 75, he was still playing handball in the famous Brighton courts. (6) By the last decade of his life, however, he had lost his eyesight and was infirm. Kish lived most of his adult life in Brooklyn, initially in Brownsville but mainly in Williamsburg, and then Brighton Beach where he became enchanted by Coney Island...

Hercules and Omphale Oil on panel, 52 x 41 cm According to legend, Hercules had to make atonement and became a slave to the Lydian queen Omphale. When she found out who her slave was, she married him. Falling for his mistress and made effeminate by the luxury of court life, the former hero allowed himself to become the laughing stock of the court. He dressed in women's clothes, spun wool and did other women's work, whereas Omphale wore his lion's skin and carried a wooden club. When the time of punishment was over, the hero realised his delusion and left Omphale. So far, the painting could not be clearly assigned to an artist. Nevertheless, it impresses with its fluid and convincing painting, whose colourfulness and conception are reminiscent of the Prague School around Bartholomäus Spranger. This work follows an engraving and an etching made by Michel Dorigny in 1643 after a design by Simon Vouet. It shows the same scene but the print differs in minor details from the present painting (see e.g. the head of the lion) and the treatment of the faces seems to be painted more detailed and refined. So far there is no painting...

A real picture of the present, the motives of which are quite clear. Three years ago, no one would have thought that an accessory not worn by a person could be the cause of a fight. But in the situation that has developed in the world in 2020, the mask has become a vital necessity not only for doctors, but also for ordinary citizens. There are things that should not be ignored. There are issues of health and safety rules, the neglect of which sometimes leads to not at all funny consequences: illness, fights, conflicts, and, in the best case...

The Show is On, 1940, oil on canvas, signed and dated lower right, 24 x 20 inches, exhibited: 30th Annual Exhibition of the Associated Artists of Pittsburgh, Carnegie Institute, Pitt...

Giclee on canvas. Hand signed lower right by Doug Bloodworth. Hand numbered 39/150 lower right. Canvas size 38 x 50 inches. Canvas is not stretched. Artwork is in excellent co...

In "Moody," the painter Rudolf Kosow presents a composition that captivates with its emotional depth and surreal creativity. The subject, a soulful canine with eyes that gleam with a...

Just discovered within an exceptional private west coast collection, the signature and inscription on this incredible small oil on paper, is at the moment, undecypherable, we are res...

Self-portrait 5 2009, canvas, acrylic, 140x98 cm Juris Utāns (1959-2022) was a Latvian painter. Worked in the field of critical realism, socially a...

When Johnny left school, there were many interests which ran alongside his career at the time in the City of London as an Aviation Insurance Broker at Lloyds – writing music, playing with a band, tinkering with Vintage cars, marketing various inventions and making painting trips when possible – it wasn’t long before the Arts beckoned and at twenty six he won a place at the Fine Arts Academy in Florence where he moved in 1972. A year later, moving near Lake Trasimeno, he continued his studies at the Fine Arts Academy in Perugia. Again on the move, he travelled to Pietrasanta near Carrara with some sculptors and stayed on this coast for nearly a year before moving eventually to Grimaldi, just inside Italy – a small medieval village about three hundred yards from the Italian /French frontier close to Monte Carlo. Here he began a series of backstage paintings – at the Opera and Orchestra rehearsals, fashion shows, at the Circus, Jazz and Cabaret – exhibiting regularly along the coast in Monaco, Nice, Cannes and Antibes. In 1984, circumstances changed and it was necessary to return to England – where a chance invitation to the races triggered a whole new series ‘At the Races’ which in time produced a wider series entitled ‘The British Sporting Year’ of Polo, The Henley Regatta, Derby Day, Wimbledon, Bowls, Cricket, Golf – even Jousting at Hever Castle...

This recent painting is part on an ongoing series of humans and their non human companions. It is painted on linen canvas mounted on a cradled wood panel. Signed and dated by the art...

The painting is dated and signed on the bottom left side. Description: Alfred Jacomin was a landscape and genre painter. He was a student of his father, Jean-Marie Jacomin, the Swiss...

Two Reclining Figures - Bay Area Figurative School Abstract Expressionist Abstracted figurative composition by San Francisco artist Heather Speck (Ameri...

Here for your consideration is a very interesting figurative painting by the well know American artist, Ben Stahl. Dedicated to Helen lower left and signed and dated lower left by the artist, 1978. Titled verso. Condition is excellent. The painting is mounted over a matted period thin decorated gold frame. Overall framed measurements are 17 by 13.5 inches. Frame and mat in fine condition. Provenance: Saint Petersburg, Florida estate. Benjamin Albert Stahl (September 7, 1910 – October 19, 1987) was an American artist, illustrator and author. He showed precocious talent, winning a scholarship to the Art Institute of Chicago at age twelve. His artwork appeared in the International Watercolor Show at the Art Institute when he was sixteen. He later taught at the Art Institute, as well as at the American Academy of Art, the Art Students League of New York, Brooklyn's Pratt Institute and at various universities. Stahl won many prizes, including the Saltus Gold Medal of the National Academy of Design. His work appeared in Women's Home Companion, Cosmopolitan, American Artist, North Light, Esquire, the Chicago Tribune Magazine, Picture Post, Southwest Art and in some 750 stories in The Saturday Evening Post. He was featured in the 1976 television series Journey into Art with Ben Stahl, 26 half-hour programs consisting of lectures and painting demonstrations by the artist. Stahl was one of the founding faculty for the Famous Artists School. In 1986, he guest-starred on Season 7 of The Joy of Painting wherein renowned artist Bob...

'Barcode' is a series of works provoked by the methods and algorithms employed by various corporations to track footprints through cyberspace and analyse this accumulation of personal information...

John Steuart Curry "Sketching Wisconsin," 1946 oil on canvas 31.13 x 28 inches, canvas 39.75 x 36.75 x 2.5 inches, frame Signed and dated lower right Overall excellent condition Presented in a 24-karat gold leaf hand-carved wood frame John Steuart Curry (1897-1946) was an American regionalist painter active during the Great Depression and into World War II. He was born in Kansas on his family’s farm but went on to study art in Chicago, Paris and New York as young man. In Paris, he was exposed to the work of masters such as Peter Paul Rubens, Eugène Delacroix and Jacques-Louis David. As he matured, his work showed the influence of these masters, especially in his compositional decisions. Like the two other Midwestern regionalist artists that are most often grouped with him, Grant Wood (American, 1891-1942) and Thomas Hart Benton (American, 1889-1975), Curry was interested in representational works containing distinctly American subject matter. This was contrary to the popular art at the time, which was moving closer and closer to abstraction and individual expression. Sketching Wisconsin is an oil painting completed in 1946, the last year of John Steuart Curry’s life, during which time he was the artist-in-residence at the University of Wisconsin in Madison. The painting is significant in Curry’s body of work both as a very revealing self-portrait, and as a landscape that clearly and sensitively depicts the scenery of southern Wisconsin near Madison. It is also a portrait of the artist’s second wife, Kathleen Gould Curry, and is unique in that it contains a ‘picture within a picture,’ a compositional element that many early painting masters used to draw the eye of the viewer. This particular artwork adds a new twist to this theme: Curry’s wife is creating essentially the same painting the viewer is looking at when viewing Sketching Wisconsin. The triangular composition of the figures in the foreground immediately brings focus to a younger Curry, whose head penetrates the horizon line and whose gaze looks out towards the viewer. The eye then moves down to Mrs. Curry, who, seated on a folding stool and with her hand raised to paint the canvas on the easel before her, anchors the triangular composition. The shape is repeated in the legs of the stool and the easel. Behind the two figures, stripes of furrowed fields fall away gently down the hillside to a farmstead and small lake below. Beyond the lake, patches of field and forest rise and fall into the distance, and eventually give way to blue hills. Here, Curry has subverted the traditional artist’s self-portrait by portraying himself as a farmer first and an artist second. He rejects what he sees as an elitist art world of the East Coast and Europe. In this self-portrait he depicts himself without any pretense or the instruments of his profession and with a red tractor standing in the field behind him as if he was taking a break from the field work. Here, Curry’s wife symbolizes John Steuart Curry’s identity as an artist. Compared with a self-portrait of the artist completed a decade earlier, this work shows a marked departure from how the artist previously presented and viewed himself. In the earlier portrait, Curry depicted himself in the studio with brushes in hand, and with some of his more recognizable and successful canvases behind him. But in Sketching Wisconsin, Curry has taken himself out of the studio and into the field, indicating a shift in the artist’s self-conception. Sketching Wisconsin’s rural subject also expresses Curry’s populist ideals, that art could be relevant to anyone. This followed the broad educational objectives of UW’s artist-in-residence program. Curry was appointed to his position at the University of Wisconsin in 1937 and was the first person to hold any such position in the country, the purpose of which was to serve as an educational resource to the people of the state. He embraced his role at the University with zeal and not only opened the doors of his campus studio in the School of Agriculture to the community, but also spent a great deal of time traveling around the state of Wisconsin to visit rural artists who could benefit from his expertise. It was during his ten years in the program that Curry was able to put into practice his belief that art should be meaningful to the rural populace. However, during this time he also struggled with public criticism, as the dominant forces of the art market were moving away from representation. Perhaps it was Curry’s desire for public acceptance during the latter part of his career that caused him to portray himself as an Everyman in Sketching Wisconsin. Beyond its importance as a portrait of the artist, Sketching Wisconsin is also a detailed and sensitive landscape that shows us Curry’s deep personal connection to his environment. The landscape here can be compared to Wisconsin Landscape of 1938-39 (the Metropolitan Museum of Art), which presents a similar tableau of rolling hills with a patchwork of fields. Like Wisconsin Landscape, this is an incredibly detailed and expressive depiction of a place close to the artist’s heart. This expressive landscape is certainly the result of many hours spent sketching people, animals, weather conditions and topography of Wisconsin as Curry traveled around the state. The backdrop of undulating hills and the sweeping horizon, and the emotions evoked by it, are emphatically recognizable as the ‘driftless’ area of south-central Wisconsin. But while the Metropolitan’s Wisconsin Landscape conveys a sense of uncertainty or foreboding with its dramatic spring cloudscape and alternating bands of light and dark, Sketching Wisconsin has a warm and reflective mood. The colors of the foliage indicate that it is late summer and Curry seems to look out at the viewer approvingly, as if satisfied with the fertile ground surrounding him. The landscape in Sketching Wisconsin is also revealing of what became one of Curry’s passions while artist-in-residence at UW’s School of Agriculture – soil conservation. When Curry was a child in Kansas, he saw his father almost lose his farm and its soil to the erosion of The Dust Bowl. Therefore, he was very enthusiastic about ideas from UW’s School of Agriculture on soil conservation methods being used on Wisconsin farms. In Sketching Wisconsin, we see evidence of crop rotation methods in the terraced stripes of fields leading down the hillside away from the Curry’s and in how they alternate between cultivated and fallow fields. Overall, Sketching Wisconsin has a warm, reflective, and comfortably pastoral atmosphere, and the perceived shift in Curry’s self-image that is evident in the portrait is a positive one. After his rise to favor in the art world in the 1930’s, and then rejection from it due to the strong beliefs presented in his art, Curry is satisfied and proud to be farmer in this self-portrait. Curry suffered from high blood...

At first glance, simple, banal things are visible but something is clearly strange here, what is going on here? And where did a piece of cake disappear? keywords; surrealism, food, ...

Sin firmar, es de autor anónimo Se presenta enmarcada la obra con un marco del siglo xviii (el marco presenta algunas leves faltas) Medidas obra: 104 cm. de altura x 80 cm. de anch...

INSIDE SCENE - Italian figurative oil on carboard painting, cm.17x29, Carlo Passarelli, 1900s

19th century interior of women at spinning wheel Oil on canvas Restored 25.75×28.25 framed 19.25×20.5

Innocent Chikezie (Nigerian, born 1982) "Big Sister" 2021 Acrylic Paint, Canvas, Stretcher Bars The artist signed the bottom right of the painting. ...

This evocative Veronese School painting captures the moment in the Garden of Gethsemane when Christ, overwhelmed with sorrow, prays to God before his arrest and crucifixion. Supporte...

Xenia Ostrovskaya, born in 1989, is a visual artist from Saint Petersburg. She studied ceramics and porcelain painting at Saint Petersburg State University. This was followed in 2015...

This early work by American artist Sylvia Spicuzza is an excellent example of Regionalism: in the foreground, a farmer in blue stands before a herd of cattle. Beyond the fence of the...

There is no one alive that can paint and draw like Dean Cornwell. How can that be? They do not train artist the way they did. He was Normal Rockwell's ...

Oil on Canvas. Roman school of the 17th century. In classical mythology, the goddess Venus, wife of Vulcan, had him forge weapons for her son Aeneas. In the scene, set in the cave wh...

Arthur Smith (American, 1897-1972) Untitled (Circus Performers), 20th century Oil on board 21 x 18 7/8 in. Framed: 26 3/4 x 35 3/4 in. Signed lower right: A Smith Arthur Smith is a...

At the Beach is an original artwork realized by Ivan Mosca in 1950. Original oil painting on canvas. Hand-signed and dated on the back. The artwork represents a group of people at...

Mid Century Modern Fisherman w/ Pipe Oil Painting c.1950 Signed in the lower right corner "Horiger" Canvas dimensions 20" x 16". Frame dimensions 29" x 25". Very good condition. F...

Hero And Leander, 17th Century Studio of DAVID II TENIERS (1610-1690) Large 17th century Dutch Old Master classical scene of Hero and Leander, oil on canvas. Excellent quality an...

America Martin "Song For The Animals" Oil & Acrylic on Canvas 61.5 x 41.5 in. Framed Exploring the identity of both her namesake and country, LA-based America Martin draws inspirati...

John Ferneley Jnr British, (1815-1862) Horse & Groom in a Stable Oil on canvas, indistinctly signed Image size: 18.75 inches x 23.25 inches Size including frame: 23.5 inches x 28 inches Provenance: The Parker Gallery, Berkeley St., London A mid-19th century sporting painting of a horse and groom in a stable by John Ferneley Jnr. A stable hand is depicted in the middle of a stall grooming a bay horse. Nearby, a tabby cat can be seen resting on table whilst a small black and tan dog wanders by a door to the left. John Ferneley Junior was born in 1815, at Melton Mowbray, the son of the sporting artist John E Ferneley (1782-1869) and his first wife Sarah. His brother Claude Lorraine Ferneley (1822-1892) and sister Sarah Ferneley...

Edouard Dumoulin (1898 - 1973) Lady Chatterley Oil on canvas 100 x 65 cm (110 x 75 cm with frame) 39.37 x 25.59 in (43.31 x 29.53 in with frame) Inscription from left to right : L...

A fine oil on canvas portrait of Captain George Buckman, identified lower center, indiscernibly signed and dated 1860 lower right, with a tall ship with an American flag in the backg...