Unknown

Romulus and Remus 18th century Origin of Rome oil painting

c.1800

Oskar D'Amico (1923-2003). Fisherman at Dusk, c.1960. Oil on linen canvas, 16 x 30 inches; 18 x 32 inches (frame). Signed lower right. Excellent condition with no damage or conservation. Biography: Oskar Maria D'Amico (February 22, 1923 – May 3, 2003) was an active Italian artist in Rome, Naples, Lanciano, Cisterna, Milan, Gallarate, Torino, Zagabria, Paris, Toulouse, Melun, Carenac, Maubeuge, Madrid, Barcelona, Zaragoza, Budapest, Győr, Mexico City, Cuernavaca, Morelia, Toronto, New York City, Philadelphia, Los Angeles, San Francisco, Miami, Denver, Santa Fe, Albuquerque and Socorro, between 1943 and 2003. He is considered a Nomad artist because of his ability to work in various styles. He had three major periods in his artistic life: Figurative, Materic and Geometric. [1]He also was an outstanding art director for more than 75 epic movies. D'Amico had a very outgoing personality. He was a non-conformist, which was reflected in his work throughout his life. D'Amico was born in CastelFrentano, Italy, a small village in Abruzzo. At a young age, he felt he had to leave and dive into the big world. After being a seminarist with the Salesiani during World War II, he left Naples, where he studied architecture, and began a great adventure in Rome. He specialized at the time in decorating nightclubs and bars, and invented a special type of double ceiling to hide the lights. D'Amico, who was self-taught as a teenager in drawing and painting, burst onto the filmmaking scene in Rome when an art director asked him to do a perspective of a set design. Soon other moviemakers were calling him.[2] D'Amico was an art director on 75 films including two by Orson Welles. D’Amico was able to create a real marble floor in the set of the palace of the King Saul, in "David and Goliath" directed by Orson Welles. Art directors previously painted a simulated marble on top of concrete due to the cost of the real thing. D'Amico became an associate of Jadran Films in ex-Yugoslavia, which specialized in Roman and Egyptian constructions. While an art director, he never stopped painting. His faceless clowns, reflecting the people who had no identity after World War II, were a big success. In the early 1960s, D'Amico moved with his family to Toronto, Canada, another place he felt was too small. He left for Philadelphia and New York City, which affected his work. He turned his focus to abstract, and for more than a decade created abstract Expressionist paintings "on the plane of all matter" that he called "Materic". The Materic style, which he invented, was done in several media and could not be changed once on the canvas. The paintings were very well received. D’Amico sold more than 400 in Philadelphia and New York City. Unfortunately he had to stop doing the Materics because the colors he used were harmful to his liver. In the mid 1970s, he returned to his architectural roots and developed a new vision for Abstract Constructivism using just acrylic colors. Presented in Paris by his French Art dealer, Francoise Tournier, at the Grand Palais de Paris, and in Mexico City, D'Amico's interpretation of the "New Geometry" was widely admired. In 1983, when he presented the work at the Bodley Gallery, people whispered that he had the potential to be the new Picasso because of his eclecticism and the Nomad nature of his styles. In 1987, D'Amico abandoned the gypsy life and settled in New Mexico. Albuquerque was the perfect place to dedicate himself 100 percent to his work.[3] There were no distractions and a good climate that reminded him of his beloved Cuernavaca in Mexico. Staying in close contact with his French art dealer Tournier, D’Amico had several shows in Denver at the Helen Karsh Gallery and in Albuquerque at the Black Swan and Café Galleries. At least once a year, D’Amico went to Europe to immerse himself in the antique world and visit museums and galleries. In 1992, visiting Tournier at the Castle of Saint Cirq Lapopie, he met the man who founded the MADI movement in 1940, Carmelo Arden Quin...

Beautiful ca. 1960 portrait by American artist, Vito Tomasello. Oil on line canvas, 20 x 24 inches, 28 x 32 inches in period frame. Signed lower right. A lifetime NYC resident, T...

George Henry Hall (1825-1913). Cupids, 1875. Oil on canvas, 6 x 9.25 inches; 10 x 13.25 inches framed. Original frame with label verso. Excellent condition with no damage or restoration. Signed and dated lower right. Price on request Biography: Birth place: Manchester, NH Addresses: Primarily in NYC from 1852 Profession: Still-life, genre, portrait painter Studied: between 1849-52 in Paris and Rome; and Düsseldorf Royal Acad. with Eastman Johnson Exhibited: PAFA, 1853-68; Royal Acad., British Inst., Suffolk Street Gal., all in London, 1858-74; Brooklyn AA, 1861-81; NAD, 1862-1900; AIC, 1888; Boston AC, 1881, 1889 Member: ANA, 1853; NA, 1868; Century Assn. Work: MMA; BM; BMFA Comments: Best known for his still-lifes, he specialized in detailed and vividly colored fruit and flower...

Beautiful cubist portrait of a woman by unknown Russian artist. Oil on canvas measures 17 x 25 inches. Signed and dated lower right. Label fragments affixed on verso.

Provenance: Private Collection, Paraguay. This unpublished Head of the Virgin is a new addition to the rich corpus of paintings by Giovanni Battista Tiepolo. While the artist freque...

Provenance: Private Collection, South America Antonio Tempesta began his career in Florence, working on the decoration of the Palazzo Vecchio under the direction of Giorgio Vasari. He was a pupil first of Santi di Tito...

Giuseppe Assereto (Genova - 1626 ca – Genova 1656/57) Title: Portrait of an elderly woman, possible portrait of Maddalena Massone, wife of Gioacchino Assereto Medium: Oil on canvas D...

Juan Alfonso Abril (active in the 17th century in Valladolid, Spain) Title: Head of Saint Paul Medium: Oil on canvas Dimensions: without frame 48.5 x 62 ...