Unknown

French Marina Mediterranean Sea Night Landscape Painting by R. Mugler, 1940's

1944

Charming French 1930's Post Impressionist landscape Oil on canvas painting in a Post Impressionist style signed by Gaboriau representing a life scene by the Seine River banks ( wri...

Beautiful oil on panel post-Impressionist style of the 50s representing a view of Paris in the 5th district of Mouffetard. The painting is signed J Baloue at the bottom right. It is ...

Beautiful oil on canvas of the 50’s figuring a peaceful view of the Rialto on the Grand Canal in Venezia. The oil is in good condition with some old réfections visible in the back. The painting is signed on the bottom right Delall and countersigned on the back. It comes with a charming old gilted and ornamented in Barocco style...

Charming impressionist oil on canvas from the late 19th century representing a view of a quay in Rouen on the Seine with a herd on pasture and Rouen Cathedral...

Charming 1940's Claude Bouteur landscape Oil on a wood panel painting in a Post Impressionist style representing the banks of Seine River and the Pont Marie Bridge, a lovely composit...

Very beautiful oil on wood panel from the 1950's representing an autumnal view with the Parisian animation of the grand boulevards at the level of the Porte Saint Denis at the time o...

"No Escape from Nature" depicts an early morning walk through the woods. Dappled sunlight makes this scene quite tranquil. As a painter, I examine how the depiction of light contributes to our experience of paintings. The portrayal of light helps a painting to convey the atmosphere and mood of a scene, and is much of what enables a painting to convey depth and realism. Our perception of lighting features occurs largely through pathways in the brain that carry only black and white information, pathways which are distinct from areas that encode the colors and details we use to delineate specific objects. By painting in grayscale, I try to interact specifically with this region of our visual system, with the hope of conveying some of the spaciousness and emotional significance that light can imbue on scenes. Light, whether as the crisp contrast of a back-lit forest or the gray haze of an industrial landscape, is what defines a scene. Its power to communicate the feel of a place is the principle subject of my paintings. The Blue Azul Collection...

"Cast Away From The Mainland" depicts a city near a waterway. These small paintings beckon viewers to draw closer and observe all that artist has been able to convey on such a small ...

"Undersky" depicts flashes of city lights. These small paintings have so much to say and we can say they beckon viewers to draw closer and observe all that artist has been able to co...

"Clones of Clones" depicts a a city at the foot of a mountain ranged. This painting is rendered in about nine variations of gray, the darkest in the foreground is a few steps from bl...

"One Of The Ways" depicts a densely populated grove. As with other of Carpenter's paintings, this scene invites viewers to look closer and also to go out to explore nature. As a painter, I examine how the depiction of light contributes to our experience of paintings. The portrayal of light helps a painting to convey the atmosphere and mood of a scene, and is much of what enables a painting to convey depth and realism. Our perception of lighting features occurs largely through pathways in the brain that carry only black and white information, pathways which are distinct from areas that encode the colors and details we use to delineate specific objects. By painting in grayscale, I try to interact specifically with this region of our visual system, with the hope of conveying some of the spaciousness and emotional significance that light can imbue on scenes. Light, whether as the crisp contrast of a back-lit forest or the gray haze of an industrial landscape, is what defines a scene. Its power to communicate the feel of a place is the principle subject of my paintings. The Blue Azul Collection...

"The Factory Builds Eternally East" depicts a open skies and city lights. This scene is of no particular place, but rather Carpenter's interpretation and compilation of various places he has visited. As a painter, I examine how the depiction of light contributes to our experience of paintings. The portrayal of light helps a painting to convey the atmosphere and mood of a scene, and is much of what enables a painting to convey depth and realism. Our perception of lighting features occurs largely through pathways in the brain that carry only black and white information, pathways which are distinct from areas that encode the colors and details we use to delineate specific objects. By painting in grayscale, I try to interact specifically with this region of our visual system, with the hope of conveying some of the spaciousness and emotional significance that light can imbue on scenes. Light, whether as the crisp contrast of a back-lit forest or the gray haze of an industrial landscape, is what defines a scene. Its power to communicate the feel of a place is the principle subject of my paintings. The Blue Azul...