Antoine Blanchard

Parisian Street Scene. Oil on canvas, 32x46 cm

Winter landscape. 1984, canvas, oil, 60x80 cm Slepyshev Anatoly Stepanovich (1932 - 2016) - Soviet and Russian painter, sculptor, graphic artist. Anatoly Slepyshev was a distinguished Russian artist and a recognised master who had a great talent and a distinctly recognisable style that cannot be confused with anyone. The most characteristic feature of his paintings is a swirl, maelstrom of colourful formations, vigorously, rapidly, almost frantically put on canvas in a burst of sudden emotion, of spontaneous sensuality. The artist brilliantly managed to blend the subjects of the Russian hinterland, simple village life with horse-driven carriages, small humble churches and familiar landscapes with refined, pompous images of French Rococo, the atmosphere inherent in the works of Jean-Antoine Watteau. This liberal, highly personal interpretation of the sophisticated French motifs of the XVIII century, processed by means of dashing Russian folklore, sometimes even containing vulgar, staggering elements, is very typical for many works by Slepyshev. Solo exhibitions 1967 Exhibition of watercolors by Anatoly Slepyshev. Central House of Artist, Moscow 1970 Anatoly Slepyshev. Drawing. Central House of architect, Moscow 1971 Anatoly Slepyshev. Print workshop, Moscow 1976 Exhibition in the flat of art historian Leonid Bazhanov, Moscow 1981 Anatoly Slepyshev. Painting. House of scientists of the Scientific Center of the USSR Academy, Troitsk 1982–1983 Ausstelung Anatoli Slepyschev, Nicolai Grizjuk. Kleine Galerie Hoger Sweda, Berlin, Germany 1983 Anatoly Slepyshev. Puskin Museum of Fine Arts, Moscow 1984 Anatoly Slepyshev. Historical-Architectural and Art Museum of the New Jerusalem, Istra 1987 Anatoly Slepyshev. Exhibition of one picture. Dramatic theatre named after M. Ermolova, Moscow Anatoly Slepyshev. Drawing. Central House of Artist, Moscow 1989 Anatoly Slepyshev. Painting. AZLK Palace, Moscow Anatoly Slepyshev. MARS Gallery, Moscow Anatoly Slepyshev. Drawing. Moscow Gallery, Moscow Anatoly Slepyshev. Painting. Vadim Sidur...

The roofs of Tukums Paper, watercolor, 47x62 cm Dzidra Bauma (1930) Dzidra Bauma works in watercolor technique. She paint figural compositions, portraits, landscapes, flowers and s...

A sawah landscape, Sumatra Signed and dated 'Sonnega '54' (lower right), and annotated 'Voor Jan de Bas 1-1-1970 / R de Bas' (on the reverse) oil on canvas, 50,5x60,5 cm Provenance: - Collection Pieter de Bas (1909-1979) Mr de Bas was head of the MULO school and acting head of the HBS school in Medan. Thence by descent to the present owner. Exhibited: - Hotel de Boer, Medan 1954, where acquired by the first owner. The light I observed everywhere was of a special quality, fluorescent blue, shone from nowhere but radiated from every point, oddly with great depth and intensity. The light in an entirely different dimension came from nowhere and went nowhere shimmering with the glow of a bright blue jewel. The most important thing I discovered was of being omnipresent and able to understand everything at the same time, yes I could fathom creation completely. Auke Sonnega, born March 9, 1910 in Leeuwarden, known as the painter, primarily of young Balinese men and women. Originally raised in the reformed denomination, the parents of Auke apparently practised theosophy and their children, including Auke were taught these principles. The talent for drawing revealed itself at an early stage which in 1926 lead to a 4-year study of textile design at the Academy for Art and Craft in Amsterdam. He completed the academy in 1930 and worked in a carpet factory in Twente until 1934 and then followed in his sister Aafje’s footsteps leaving the Netherlands to go to the Dutch East Indies where in 1935 he started working as a graphic designer with an advertising bureau in Batavia. He was able to travel through Java and Bali on the motorbike that he brought with him from Europe, and was paid for his travelogue, enhanced with his own photo’s which appeared in several Dutch newspapers and magazines. In the 1930’s two Europeans, Walter Spies and Rudolf Bonnet...

Her work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged. Her work creates a commentary about “beginnings” and the transmission of signs and emotions through visual elements evoking a spiritual essence to our scientific notion of etymology. After studying under Rolf Dürig...