Piet Lippens

"The Farmhouse" Piet Lippens (Belgian, 1890-1981) circa 1920s

1920s

"View in Gent" Piet Lippens (Belgian, 1890-1981) Circa 1920s Oil on canvas, signed lower left 23 3/8 x 19 3/8 (24 x 28 frame) inches Piet Lippens was a...

"Still Life of Mushrooms in Undergrowth" French circa 1830's-1840's Oil on canvas Illegibly initialed lower right 17 3/4 x 13 1/4 (25 1/2 x 21 frame) inches This deftly painted depi...

“Herd of Horses in a Marshy Landscape” Frances Mabel Hollams (England 1877-1963) Oil on canvas on board 14 x 20 (24 x 30 frame) inches Signed “FM Hollams Private Collection Durham, E...

"Venice, Petit Pont sur le Rio di San Aponal, 1959” Jacques Martin-Ferrières (French, 1893-1972) Signed "Martin Ferrieres" lower right Oil on canvas 31 ½ x 20 ¾ (35 ½ x 24 ¾ frame) i...

Vintage Oil Painting of a River Landscape with Rain Clouds in Ireland by 20th Century Modern Irish Artist, John S Haggan (1946-2021) Art measures 20 x ...

Oil Painting of River Landscape in Ireland Countryside by Modern Irish Artist. This original oil painting is an early example of the more traditional...

Rural Mountain Scene with Sheep in Ireland by Post War Modern Irish Artist, David Overend. Art measures 16 x 12 inches Frame measures 25 x 21 inches ...

"In the series “This is a real place!” I was fascinated by how the underside of the pier at Saint Simons Island, GA was like a readymade collage. The way the pilings and rails divide and frame the spaces between them looks artificially imposed on the scene until you notice the way the waves bounce off the pilings and the railings cast shadows on the water. In some iterations, I chose to simplify the structures of the pier and lighten the values so that it would emphasize the detail in the water. Likewise, I omitted a family of starlings and their droppings in favor of highlighting the geometry of the architecture and the colors and patterns of the water. Making paintings in a series allows me to investigate the results of making different decisions about an image. How I crop or stylize it, the manner in which I apply the paint, what gets included or excluded all add shades of meaning to each piece. Additionally, depictions of the same subject in different weather, seasons, times of day, and tides allows me a deeper understanding. I notice more relationships, colors, and details every time I paint the subject. Every painting is a pile of decisions. Playing with removing more and more details to see what is truly important sometimes improves the painting. The fewer elements you include in an image, the more each one means, and the more important it is to get each thing perfect. At times I like to paint every single detail I can find in a scene, and other times I feel like the unadorned components are sufficient to hold each other in a satisfying composition. I often add simplified shapes to my paintings to highlight the presence of absence or to heighten the importance of each area by creating stark visual contrasts. ⁠The physicality of the paint also plays a role. I used highly textured, thickly applied paint to construct the solid structural elements, and luminous layers of thinly glazed paint for the delicate linework and subtle blending of the water." - Brooke Lanier...