20th Century Interior Paintings

Signed lower right, 'Di Gesu' for Victor Di Gesu (American, 1914-1988) and dated, lower left, 'Feb 1, 1986'. A lyrical, late still-life by this well-listed and exhibited California Fauve...

A wonderful pastel on board by French Nabis painter Edouard Vuillard depicting an interior scene with a yellow lamp amongst several other trinkets on a table and paintings and a cupboard on the wall behind. This piece is a study for the portrait of Madame Adrien Benard. Signature: Signed lower right and dated 1924 Dimensions: Framed: 15.5"x118" Unframed: 9.5"x12" Provenance: With thanks to Mathias Chivot who kindly confirmed the authenticity of this work. This work is catalogued in the archives of Roussel-Vuillard. Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...

Orange tonal interior painting looking out or through an open window. The work is on three different canvases. It is signed by the artist in the bottom corner. The canvases are frame...

Illustrated in "Joseph Barrett, The Prime Years 1970s - 1990s", pg. 34, plate #038. Jim’s of Lambertville is proud to offer this artwork by: Joseph Barrett (1936 – ) Joseph B...

Mid Century Atomic Abstract Oil Painting, Signed By British artist, Mid Century Initialled and dated '66 by the artist on the lower right ha...

Impressionist Portrait, Stylised Orange Colour, Oil Painting, Signed By French artist Claude Benard, (1926 - 2016) Signed on the lower right hand corner Oil painting on canvas, unfra...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

French 1927 - 2015 Guy Bardone was born in Saint Claude, in eastern France. He is one of the important members of the French New Figurative Art. He studied under the master Maurice Brianchon, Jules Cavailles and François Desnoyer in the Ecole National Supérieure des Arts Decoratifs in Paris, where he befriended René Genis. In 1953, Bardone was invited to participate in a group exhibitions at the Musée Galleria in Paris titled “Celebrities and Revelations of Contemporary Painting.” In 1954, he was exhibited in the Ecole de Paris Exhibition in Galerie Charpentier. Some of the award he had won includes the price of Félix Fénéon in 1952 and the price of the Greenshields Foundation in 1957. Bardone’s work was collected by National Museum of Modern Art in Paris, National Library of France, Centre Georges Pompidou, Neuchâtel Art Museum in Switzerland, Yamagata Museum of Art in Japan, and Chimei Museum in Taiwan.From the School of Post war french artists that include Rene Genis, Rene Lesieur, Pierre Guiramand, Paul Cathelin...

Very fine original French oil painting dating to the 1950's period. The work is oil on board and measures 18 x 22 inches. Painted with incrediblely vibrant colors - from striking o...

Absolutely stunning original oil painting on canvas, dating to the mid 20th century. The painting is unsigned but is very similar in style to the colourful later period of Henri Mati...

Charming vintage French oil painting depicting this elegant arrangement of anemone flowers in a vase. Delightfully simple yet sophisticated. Painted with a warm palette of pastel...

Victor Di Gesu estate stamp verso and painted circa 1955. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Chouinard Art School before moving to Paris where he s...