Hughes Claude Pissarro

Dimanche au Champ de Course (Deauville) (Sunday at the Racetrack)

1919 - Present

The fifth and youngest son of Camille Pissarro, the great Paul-Émile Pissarro painted this vivid oil on canvas. His unique blend of breathtaking color and a highly modern technique ...

André Brasilier B. 1929 | French Le miroir Vénitien Signed "André Brasilier" (lower right) Oil and pencil on canvas Quiet and contemplative, French ...

The Visit of the English Squadron to Le Havre Signed "Raoul Dufy" (lower center) Watercolor and gouache on paper Growing up along the coastline of the English Channel in Le Havre i...

Jean-Pierre Cassigneul b.1935 | French La terrasse devant la mer (The Terrace by the Sea) Signed “Cassigneul” (lower left) Oil on canvas laid on panel This monumental, three-panel...

George Hughes 1907-1990 American Learning to Ride a Bike Oil on board The great illustrator George Hughes found his place in the hearts and homes of families nationwide with his humorous and nostalgic renderings of American life. American illustrators like Hughes had the challenge of creating an image that expressed an entire story without any written description. They were a narrative that unfolded on a single canvas and clearly expressed the everyday human experience that almost all could relate to. This oil on masonite, entitled Learning to Ride a Bike, was created for the July 12, 1954 cover of the Saturday Evening Post. Hughes’s composition captures both the simple joys of childhood and of parenting. On a quiet suburban street, a father runs alongside his young son’s accelerating bike, bearing a focused and startled expression as he guides the handlebars. In stark contrast to the father’s trepidation, his son could not be more delighted; he grins from ear to ear with widened eyes, and his feet are no longer resting on the pedals. In the background, a woman in a long red dress...

This thoroughly modern Parisian scene was composed by the celebrated French painter Jean François Raffaëlli. The delicate oil captures a familiar subject from late 19th-century life in the city: a busy avenue at the edge of a park on a cool autumn day. Exploring the climate of the city, Raffaëlli's mature works capture the energy of the grand parks and boulevards of the new Paris that emerged at the turn of the century. His legacy documents the realities of urban life during his age, all chronicled in his distinctive brushwork and sophisticated palette. While Raffaëlli was never fully accepted as a member of the Impressionist group, his works display a similar affinity for capturing the transient moments of modern life. His figures exude a sense of being suspended in time, as though they are part of some subtle narrative that is both restless and harmonious. Perhaps more aligned with Naturalism than Impressionism, the visual effect of Raffaëlli's composition is one of carefully composed spontaneity that makes manifest the joie de vivre of the age. Raffaëlli was not the only artist of his era to devote his canvases to the urban landscape. Camille Pissarro, Claude Monet, Gustave Caillebotte and others composed significant works on the subject of the urban milieu. On the whole, it was an entirely new kind of painting, and it was largely influenced by the work of social engineer Baron Haussmann beginning in the 1850s. At the request of Emperor Napoleon III, Haussmann designed and carried out a large-scale urban renewal program, erecting landmarks and tree-lined thoroughfares throughout the city to create a unified and socially-centered urban aesthetic. The city became a glittering stage for modern advancements and bourgeois pleasure, which paved the way for a new kind of subject that was eagerly adopted by the Impressionists and artistic avant-garde. Born in Paris in 1850, Raffaëlli first studied theater and music before turning to painting in 1870. That same year, he submitted a landscape painting to the Salon and was accepted. Aside from just three months studying with the Academic great Jean-Léon Gérôme, Raffaëlli was self-trained, developing his own unique style that brought together Realism, Naturalism and Impressionism. While he managed to exhibit works at both the Salon and the Impressionist exhibitions...

Mid-century figurative seascape with boats by Henryk Dzienczarski, (Poland, b-1917). Signed "H. Dzienczarski" lower right. Displayed in a wood fra...

Joan Joseph Garí (1922) - landscape with bell tower - Oil on cardboard Oil measures 33x45 cm. Frame siza 46x59 cm. Painter born in Granollers in 1922. Trained in his hometown and at...

In the market square. cardboard, oil, 41x81 cm Biruta Baumane (1922-2017) Born in Kalnamuizha in Tervetes school, in the teachers family. Since 1941, she studied at the Latvian State Academy of Arts, where she graduated painting department in 1948. In 1951 married with sculptor Karlis Baumanis. Daughter Laine Kainaze also is an artist. Since 1959, member of the Union of Artists, Biruta repeatedly was a manager of the union. In 1986 she became the honored worker of arts of the Latvian SSR. She has been involved in television and radio programs, movies, and has published articles in periodicals. In 1976 she received a diploma of the Union of Latvian SSR for the best creative work. One of the most important Latvian artists...

Bellissimo paesaggio della Francia del nord Campo di grano,cielo azzurro e blu Splendida cornice artigianale Italiana in legno

Oil on canvas glued to cardboard. Oil measures 30x40 cm. Frameless. Vladimir Ksieski studied art at the Whitechapel School of Art in his native Londo...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Calèche sur le chemin d'Ashford le soir by Ludovic-Rodo Pissarro (1878-1952) Oil on cardboard 34 x 46 cm (13 ³/₈...