Ceramic Paintings

Depicting a shoulder-length portrait of a long haired beauty with green drapery about her shoulders Origin: Germany Date: 19th century Signed: KPM in ver...

oil and gold leaf on porcelain tile Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create mysterious, veiled landscapes illuminated with flashes of li...

oil and gold leaf on porcelain tile Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create mysterious, veiled landscapes illuminated with flashes of li...

oil and gold leaf on porcelain tile Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create mysterious, veiled landscapes illuminated with flashes of li...

Frank Olt finds most of his creative images in the landscape. The suggestion of a late night sky with a silhouette on the Arboretum like property that he lives on. The vivid deep blues surround the golden tree with sprays of moonlight coming from the edges. A ceramic and encaustic on panel, mounted for hanging installation.

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-politica...

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-politica...

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-politica...

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-politica...

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-politica...

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-politica...

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-politica...

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-politica...

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-politica...

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-political events, daily occurrences, as well as private intuitions that are made concrete through creative action. My objects are places of remembrance where multiplicities of associations take place. Most recently these have been concerned with issues of the human condition. “In recent ceramic Fire Paintings...

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-politica...

Berlin Porcelain Allegorical Plaque of Admiration KPM, Late 19th CENTURY The three-quarter-length portrait depicting a brunette woman with blue eyes in light ecclesiastical robes supporting palms crossed over chest and looking up over right shoulder - in a landscape immersed in powder blue sea holly...

Medium: Oil on Porcelain Dimensions: 20.00" x 16.00" Signature: Signed Lower Left

"TRAVELLER" Abstract Mixed Media Painting 27.5" x 35.5" inch by Masha Iv Medium: Mixed Media. Canvas, acrylic, ceramic paint, paper. ABOUT: Masha Iv is a Russian artist, perform...

"WHEN YOU FOCUS ON THE GOOD" Painting 47" x 59" inch by Masha Iv ABOUT: Masha Iv is a Russian artist, performer and fashion designer who works in various ...

Leign Wen’s works reflect her personal and cultural histories. Having grown up on the island of Taiwan, she has a deep affinity for the elemental power of water and the forces of nat...

Leign Wen’s works reflect her personal and cultural histories. Having grown up on the island of Taiwan, she has a deep affinity for the elemental power of water and the forces of nat...

"Time to Dream" Abstract Mixed Media Painting D39" inch by Masha Iv Medium: Mixed Media. Acrylic on canvas ABOUT: Masha Iv is a Russian artist, performer...

"WATERFALL" Mixed Media Painting 31.5" x 47" inch by Masha Iv Medium: Mixed Media. Canvas, acrylic, ceramic paint, liquid bronzes ABOUT: Masha Iv is a Russian artist, performer and fashion designer who works in various techniques (painting, graphics, collage, installation, etc.). Masha Iv was born on May 23, 1986. In 2006, she graduated from the Carl Faberge College of Arts and Crafts (Moscow), in 2007 - from the school "Free Workshops" at the Moscow Museum of Modern Art. In 2010, she received an additional education at the Russian Correspondence Institute of Textile and Light Industry. Since 2007, Masha Iv has actively participated in group exhibitions and realized a large number of art projects in Russia and abroad, including such major events as the Moscow Biennial of Young Art (2008) and the Moscow Biennial of Contemporary Art (2009, 2011 and 2013). Cooperates with the State Tretyakov Gallery, the Moscow Museum of Modern Art, the State Darwin Museum. In 2013, Masha Iv creates a special project "Malevich Space" for the "Night of Museums" campaign at the State Tretyakov Gallery, and in the fall of 2014, she works in collaboration with the Tretyakov Gallery on an interactive installation "From Grief to Happiness" based on the works of artist Dmitry Prigov (shown as part of the "Night of Art" campaign). In 2015, Masha took part in large group exhibitions in Moscow: Workshop'15 "SUB OBSERVATIONEM" at the Moscow Museum of Modern Art and the Bartenev Factory project within the exhibition "Say: I love you", also at MMOMA. In February 2017, the artist's first solo exhibition "Mountains: Colorful Music" was held at the A.N. Scriabin House Museum. Among Masha Iv's foreign projects and exhibitions are the performance "Cyclicity", shown at the Women in Paradise festival in Amsterdam, Netherlands (2015), the creation of costumes for the theatrical production "Iphis and Ianthe", shown in Paris, France (2015). In May 2017, Masha Iv's solo exhibition "Adventures in the Mountains" was held in Paris. Since 2012, Masha Iv is a member of the Union of Artists of Russia. Artists statement: The key themes of my works are the study of the natural landscape of our planet, drawing attention to environmental issues and the harmonious coexistence of man and nature. I work in mixed techniques, as I like to experiment with paints on different bases and observe how they interact with each other. Such experiments often lead me to surprising results. I most often find the phrases and captions integrated into my works in in-flight magazines, glossies, advertising campaigns and other print media. More precisely, the right phrases find me on their own at the right time when I'm working on a particular painting. Glimpsed phrases are often stored in our subconscious and sometimes serve as a trigger or set a vector of movement. Motivational phrases in paintings are like beacons that point in the right direction so as not to veer off course. Education 1993-2003 Art school 2003-2006 College of Art and Crafts of the Carl Faberge 2006-2010 Russian Correspondence Institute of Textile and Light Industry 2007 "Free Workshops" at the Moscow Museum of Modern Art Group Exhibitions 2023 «Gift under the tree» «Zdes na Taganke». Moscow. Russia 2022 «Starfall» Gallery «Zdes na Taganke». Moscow. Russia 2021 « House inside out» Rakov Gallery. Saint Petersburg. Russia 2021 «Observers of earthlings» Gallery «Zdes na Taganke». Moscow. Russia 2021 «Mask mode». Gallery «Our artists». Moscow. Russia 2017 «HaHaHa Moscow». Museum Art 4. Moscow. Russia 2017 «START in Art».Gallery K-35. Moscow. Russia 2016 «Legs in water, head's in the clouds» Gallery «Zdes na Taganke».Moscow. 2015 Project « Bartenev's factory» during the exhibition « Say: I love you» Moscow Museum of Modern Art. Moscow, Russia 2015 Workshop’15«SUB OBSERVATIONEM».Moscow Museum of Modern Art. Moscow, 2014 Project «Zu-Zu». State Darwin Museum. 2013 5 Moscow Biennale of contemporary art. Special project “ Book-Art- Botany” 2012 «Original fake...

"PEACE & LOVE" Mixed Media Painting 42.5" x 76" inch by Masha Iv Medium: Mixed Media. Canvas, acrylic, ceramic paint, liquid bronzes ABOUT: Masha Iv is a...

"JUST RELAXING NOW" Mixed Media Painting 79" x 39" inch by Masha Iv Medium: Mixed Media. Canvas, acrylic, ceramic paint, liquid bronzes ABOUT: Masha Iv i...

"FEEL THE LOVE" Painting 37" x 53" inch by Masha Iv ABOUT: Masha Iv is a Russian artist, performer and fashion designer who works in various techniqu...

A very rare technique used by the Artist, for one of his closest friends, the scholar Lamberto Vitali. With the ancient frame of 19th Century. Ref. Ca...

Artist Statement: With this sculpture I represented how every day man lives trying to outdo himself, almost in competition with himself and with others, in some cases feeling omnipot...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 32.5 in. x 48.75 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be s...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5in. x 5.5in.

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in.

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be se...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be se...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

KPM Porcelain After Angelo Asti (French, 1847-1903) "Épanouissement" c. 1900 With Original Gold Gilded Frame Image Size: approx. 6 x 4 inches Framed Size: approx. 9 x 6 inches Eve...

KPM Style German "Napoleon" c. late 19th c. Signed "Bock" Original Hand-Painted Porcelain Marked Verso approx 7 x 5 inches/approx 10 x 8 framed

KPM Porcelain "Queen Louise" c. late 19th century Original Hand-Painted Porcelain Signed "R. Dittrich" Since 250 years, the royal sceptre brand stands fo...

Marguerite Hand Painted Porcelain w/crown stamp #107 Signed "Wagner" Original Gilded Florentine Frame approx 6 x 4 inches /approx 14 x 8 inches framed Since 250 years, the royal sc...

Sevres 19th C. Original Hand Painted Porcelain Signed "G Poitevin" approx 9 x 5 inches/15 x 12 framed The vast and diverse production of the Sèvres factory in the nineteenth century resists easy characterization, and its history during this period reflects many of the changes affecting French society in the years between 1800 and 1900. Among the remarkable accomplishments of the factory was the ability to stay continuously in the forefront of European ceramic production despite the myriad changes in technology, taste, and patronage that occurred during this tumultuous century. The factory, which had been founded in the town of Vincennes in 1740 and then reestablished in larger quarters at Sèvres in 1756, became the preeminent porcelain manufacturer in Europe in the second half of the eighteenth century. Louis XV had been an early investor in the fledgling ceramic enterprise and became its sole owner in 1759. However, due to the upheavals of the French Revolution, its financial position at the beginning of the nineteenth century was extremely precarious. No longer a royal enterprise, the factory also had lost much of its clientele, and its funding reflected the ruinous state of the French economy. However, the appointment in 1800 of Alexandre Brongniart (1770–1847) as the administrator of the factory marked a profound shift in its fortunes. Trained as both an engineer and a scientist, Brongniart was both brilliant and immensely capable, and he brought all of his prodigious talents to the running of the troubled porcelain factory. He directed the Sèvres factory as administrator until his death in 1847, and during those five decades influenced every aspect of its organization and production. Much of the factory’s old, undecorated stock was immediately sold off, and new forms—largely in the fashionable, more severe Neoclassical style—were designed to replace out-of-date models. The composition for hard-paste porcelain was improved, and the production of soft paste, for which the factory had been famous in the previous century, was abandoned in 1804. New enamels colors were devised, and Brongniart oversaw the development of a new type of kiln that was both more efficient and cost-effective. Much of the factory’s output during Brongniart’s first decade reflected the prevailing Empire taste, which favored extensive gilding, rich border designs, and elaborate figural scenes (56.29.1–.8). Backgrounds simulating marble or a variety of hardstones were employed with greater frequency (1987.224); the new range of enamel colors developed under Brongniart made it easier to achieve these imitation surfaces, and it is thought that his interest in mineralogy provided the impetus for this type of decoration. For objects produced in sets, such as dinner, tea, and coffee services, and even garnitures of vases, Brongniart preferred decorative schemes that linked the objects in terms of subject matter as well as stylistically. Dinner services were given coherence by the use of an overall theme, in addition to shared border patterns and ground colors. One of the best examples of this can be found in the “Service des Départements,” which was conceived by Brongniart in 1824 (2002.57). Each of the plates in the service was decorated with a famous topographical view of the département (administrative unit) of France that it represented, and its border was painted with small cameo portraits of figures from the region, as well as symbols of the major arts, industries, and products of the area. This same type of thematic unity is found on a coffee service produced in 1836 (1986.281.1ab–4). All of the pieces of the service are decorated with scenes depicting the cultivation of cacao, from which chocolate is made, or various stages in the preparation of chocolate as a beverage. The compositions were conceived and executed by Jean Charles Develly, a painter at Sèvres who was responsible for many of the most ambitious dinner services produced at the factory during Brongniart’s tenure. The range of objects produced in the first half of the nineteenth century was enormous, as were the types of decoration that they employed. A recent exhibition catalogue devoted to Brongniart’s years at Sèvres indicates that ninety-two new designs for vases were introduced, as were eighty-nine different cup models, and the types of objects produced by the factory included every sort of form required by a dinner or dessert service, coffee and tea wares, decorative objects such as vases, and functional objects such as water jugs, basins, and toiletry articles. A new form rarely replaced an older one; the range of production simply increased. The same was true with types of decoration, as the factory was working in a wide variety of styles at any given time. From the earliest years of the Sèvres factory, its painters had copied not only contemporary compositions but also prints and paintings from earlier periods. However, under Brongniart, the factory sought to copy famous paintings with the specific intention of recording the “true” appearance of works increasingly perceived to be fragile. Works by a wide variety of artists were copied, but those by Raphael were especially popular. Raphael’s stature is reflected in a vase of 1834 in which a cameo-style portrait of the artist decorates the primary reserve, while on the back an artist’s palette is encircled by the names Titian, Poussin, and Rubens (1978.373). Just as works by earlier artists were copied, so too were decorative techniques of previous centuries. The interlace patterns of so-called Saint-Porchaire ceramic ware of the sixteenth century served as the inspiration for the decoration on a cup of 1837 (2003.153). The form of the cup itself derives from Renaissance silver forms made in Italy and France. However, the palette of vibrant reds, greens, blues, and yellows contrasts markedly with the muted browns and off whites of Saint-Porchaire wares and reflects the reinterpretation of historical styles that was characteristic of so much of nineteenth-century decorative arts. Interest in the Gothic style emerged early in Brongniart’s tenure at Sèvres and remained popular for much of the nineteenth century. Strict adherence to Gothic motifs was rarely observed, however, and the Gothic style was more evoked than faithfully copied. This tendency is reflected in a pair of vases (1992.23.1) for which the model was designated vase gothique Fragonard (named after the vase’s designer, Alexandre Evariste Fragonard [1780–1850]. The Gothic elements lie more in the painted decoration than in the form itself, and the style of the painting reflects a Renaissance technique rather than a medieval one. The palette of grays and whites on a blue ground instantly recalls the enamel-on-copper wares produced in Limoges, France, in the sixteenth century, and its use on these vases indicates the willingness to freely mix artistic styles and techniques of different periods in order to achieve new aesthetic effects. The eclecticism and historicism that characterized so much of the production during Brongniart’s tenure continued after his death in 1847. The factory’s output reflected an ongoing desire for technical innovation as well as a wide embrace of diverse decorative styles that were employed simultaneously. A tea and coffee service of 1855–61 (69.193.1–.11) embodies the selective borrowing of forms and motifs that is found so frequently in Sèvres production of the middle decades of the nineteenth century. The shapes used for the different components of the service evoke both China and the Near East, an obvious allusion to the origins of the two beverages. The openwork decoration refers directly to Chinese ceramics made in this technique, and the decoration employs a variety of Chinese emblems. However, the palette of pink and gold, entirely European in character, serves to neutralize the Asian aspects of the service. Perhaps the only thread that can be said to run through much Sèvres production of the nineteenth century is the proclivity to borrow freely from various historical styles and then to either reinterpret these styles or combine them in unprecedented ways. A standing cup of 1879 (1990.238a,b) draws upon silver cups of the Renaissance for its form, but in this instance the size of the porcelain cup dwarfs any of its metal prototypes. Its style of decoration derives from Limoges painted enamels of the sixteenth century, but the prominent use of gilding throughout reflects its wholly nineteenth-century character. This cup was presented by the French government to one of the first-prize winners at the 1878 Exposition Universelle. It was with the advent of the Art Nouveau style at the very end of the nineteenth century that historicism lost its grip at Sèvres, and indeed throughout the decorative arts, and forms inspired by nature and often characterized by asymmetry become dominant. This reliance upon natural forms is fully evident in a coffee service of 1900–1904 (1988.287.1a,b). The designer, Léon Kann...

KPM Porcelain "Ruth" c. 1900 Original hand-painted KPM Porcelain In Original Gilded Florentine Frame 7 x 4 (16 x 9 framed) Since 250 years, the royal sceptre brand stands for finest...

KPM Porcelain "Queen Louise" c. 1900 Original hand-painted KPM Porcelain approx. 14 x 11 inches approx. 21 x 15 inches framed Since 250 years, the royal ...