Symbolist Interior Paintings

This painting will come to you stretched on a wooden stretcher and completely ready to be placed in the interior. ABOUT THE ARTWORK "Play for Me," as part of the PERICHORESIS SERIES...

This painting will come to you stretched on a wooden stretcher and completely ready to be placed in the interior. ABOUT THE ARTWORK "The 'Garden Guardian' serves as the keeper of our...

L'image est pleine de significations et de messages cachés ! et seul un collectionneur attentif découvrira son sens secret Je te tisser...

ROGELIO DE EGUSQUIZA Spanish, 1845 - 1915 A REVERIE DURING THE BALL signed and dated "Rogelio Egusquiza, 1879" (lower right) oil on canvas 21-3/4 X 3...

Artist/ School: French School, mid 20th century, artists details to reverse. Title: St. Francis of Assisi, painted in a Symbolist style. Medium: oil on board, framed Framed: 27...

"A counter courant" abstract on linen canvas 100x100 cm 2022 Filled with all that we hear, all the information, I felt the need for an immersion in the protective blue, that of the i...

"They were very great winds on the earth of men" abstract on aluminium canvas 100x100 cm I believe it is increasingly necessary to rise above the mediocity of men: barbarism, vulgari...

"Warning" abstract acrylic paint on linen panel 95x62cm 2022 Looking at the peaceful sky of Brittany came to me the need to paint a possible threat that could fall on us. Something ...

"Fascination" abstract acrylic paint on bristol paper linen panel 54x81cm 2014 The title is enough on its own… tonic color chords.

Framed 21.2 X 25.5 Unframed 17 X 21 Signed and dated 1920. Nina Karasek (Joële) born 1883 Kuttenberg, Czech Lands, Austro-Hungarian Empire, died in 1952 (I have also seen the date recorded as 1933) Vienna, Austria. Nina Karasek was an Austrian Impressionist & Modern artist who was born in 1883. Her work was featured in exhibitions at the Es Baluard, Museum of Modern & Contemporary Art and the Bildraum Bodensee. Little is known of Nina Karasek's life. She was born in 1883 in Kuttenberg (Kutná Hora) in Bohemia, studied art at the Kunstschule für Frauen und Mädchen (Art School for Women and Girls) in Vienna, Austria, under Adalbert Seligmann and Tina Blau. She studied at the Frauenakademie in Vienna and Munich. In the 1920's she worked first as a landscape painter and an illustrator, later turning toward symbolism, painting mystical subjects after her interest in spiritualism. Her conventional works were shown at various exhibitions. At the age of 44, while she was copying a work by Rembrandt in an Italian museum, she fell into an altered state of consciousness. Rembrandt appeared to her, took possession of her arm, and immediately her hand started to draw something quite different from what she had intended. From then on, for the rest of her life Nina Karasek was in “supernatural” contact with a series of great masters like Rembrandt, Albrecht Dürer, Goya, Raphael, Leonardo da Vinci, Gustav Klimt and others. Under their guidance and inspiration, she drew and painted works "in the style" of the masters. But very soon her works became stylistically more and more unrestricted and Symbolist, showing an enormous range of creative expression, ranging from symbolic and allegorical motifs to bewildering images with a fantastic arsenal of figures and private characters, signs, and symbols, and to frantic, gestural sketches and abstract compositions. From then on, she often signed her works with her esoteric “primordial name” Joële. (Nina Karasik-Joel) Almost everything we know about her life was from what she noted on the reverse of her drawings: sometimes diary-like notes of her horrible living conditions during World War II, but often strangely impenetrable explanations of the depicted motifs – often as fascinating and mysterious as the drawings themselves. In her works and notes, an exciting private cosmology and mythology unfolds, a drama of hidden powers and principles that flow through macrocosm as well as microcosm. Shortly after their discovery, Nina Karasek's Spiritualist, mediumistic works have found their way into galleries and major international collections. SELECT EXHIBITIONS 2019 The Medium’s Medium: Spiritualist Art Practices From the Turn of the Century and Beyond. The Gallery of Everything, London, (she showed with Madge Gill...

Born in Queens, NY to a family of artists, inventors and actors, Lizbeth Mitty grew up painting and writing. Her work has been exhibited in galleries and museums in both the United States and abroad and is held in public and private collections including the The Metropolitan Museum of Art, The New York State Museum, The Orlando Museum of Art, The Zimmerli Archive, The U.S. State Department, and Trierenberg Holding AG (Austria). My studio is located in Brooklyn, NY. Described by New York Times critic Ken Johnson as a combination of “painterly verve and hellish beauty” — Mitty's work has long been concerned with examining and amplifying the intrinsic abstract beauty of deteriorating or overlooked corners of urban architecture and interiors. In 2015, one object, the chandelier, rose up from detritus to dominate her body of work. Spectacular, illuminated and intricate, the chandelier is evocative of grandeur. In contrast, for much of Mitty's career, scrap yards and other sites of urban devastation, locations of organized chaos, formally beautiful, yet apocalyptic and terrifying. Similarly, the chandeliers speak of decadence, sadness, elegance, death and hope. By 2017, the chandeliers began to open and morph into architecture in the round. Gazebos and scrap dominate a verdant post-apocalyptic landscape...

ISMAEL GONZÁLEZ DE LA SERNA Spanish, 1898 - 1968 HARLEQUIN AND HIS DOG Signed and dated I. de la Serna, 1955 Oil on cardboard 42 X 27-1/2 i...

Born in Queens, NY to a family of artists, inventors and actors, Lizbeth Mitty grew up painting and writing. Her work has been exhibited in galleries and museums in both the United States and abroad and is held in public and private collections including the The Metropolitan Museum of Art, The New York State Museum, The Orlando Museum of Art, The Zimmerli Archive, The U.S. State Department, and Trierenberg Holding AG (Austria). My studio is located in Brooklyn, NY. Described by New York Times critic Ken Johnson as a combination of “painterly verve and hellish beauty” — Mitty's work has long been concerned with examining and amplifying the intrinsic abstract beauty of deteriorating or overlooked corners of urban architecture and interiors. In 2015, one object, the chandelier, rose up from detritus to dominate her body of work. Spectacular, illuminated and intricate, the chandelier is evocative of grandeur. In contrast, for much of Mitty's career, scrap yards and other sites of urban devastation, locations of organized chaos, formally beautiful, yet apocalyptic and terrifying. Similarly, the chandeliers speak of decadence, sadness, elegance, death and hope. By 2017, the chandeliers began to open and morph into architecture in the round. Gazebos and scrap dominate a verdant post-apocalyptic landscape...

Belgian Symbolist artist Jan Frans DeBoever (1872 - 1948), created symbolist/allegorical paintings throughout his lifetime. He centralized on allegorical and literary subjects, gener...

An original oil on canvas by Hungarian artist Gertrude Klaris. Klaris worked in oils but pramrily in mixed media works on paper, much of her style is akin to her love of stained glas...