Antonio Feltrinelli

La Dea Io - Oil on Canvas by Antonio Feltrinelli - 1930

1930

Portrait of Woman if a beautiful oil on wooden panel realized by Antonio Feltrinelli in 1930s. Very good conditions. Antonio Feltrinelli (Milan, 1887 – Gargnano, 1942) Antonio Felt...

Laying Nude with Blue Lace is an artwork realized by the Italian artist Antonio Feltrinelli in the 1930s. Oil on canvas. Beautiful original frame included...

Nude woman is an artwork attribuited to Edgar Stoebel (1909-2001).  81 x 45 cm; no frame. Oil painting on canvas. Good conditions. 

Woman in the wood is an original modern artwork realized by Antonio Feltrinelli in 1930s Mixed colored oil painting on canvas. Not signed. Antonio Feltrinelli (Milan, 1887 – Gargna...

Beautiful Rare Art Nouveau painting by Joseph Tomanek (1889-1974), depicting a child prancing around for several semi-nude woman in field. Highly Decor...

Reclining Nude Carl Rudolph Krafft (American, 1884-1938) Oil on Canvas Signed Lower Left 38 x 40.25 inches Born in Reading, Ohio, Carl Krafft became a prolific regionalist painter o...

Nude bathers, fine early 20th century impressionist painting by David Humphrey (American 1872-1950.) Pastel on paper. Humphrey was born in Elkhorn, Wiscons...

A painting by Nathan Oliveira. "Untitled" is a Bay Area Figurative Painting, oil on canvas in a brown and tan palette by American artist Nathan Oliveira. The artwork is signed in the lower right, "Oliveira 64". A Californian whose work is of preeminent importance during the post war period, Oliveira is most often associated with Park, Diebenkorn and the other artists with whom he sketched early in his career. Yet it was not an oversight when Oakland Museum director Paul Mills chose not to include Oliveira in the 1957 exhibition “Contemporary Bay Area Figurative Painting.” All came to figuration by initiating a sophisticated dialogue with abstraction, yet it is Oliveira, the often characterized ambivalent loner among Bay Area artists whose work is most often compared to Alberto Giacometti, Francis Bacon, or Willem de Kooning with whom he shared walls and space at The Images of Man exhibition held in New York at the Museum of Modern Art in 1959. During the early years, Oliveira’s lone figures often suggested an existential angst similar to that of Giacometti, but there was also a weightlessness and a transcendent aura that envelopes these figures; they appear as elemental, universal and eternal projections of selfless consciousness better understood within the bodiless realm of metaphysics. These qualities would remain in his work throughout his long career, yet he would find other themes to explore — the natural world where the essential nature of birds and animals exist in equal profundity with their human counterparts, the transient world of evanescent perception when memory must reconstruct momentary experience, and later, the ‘site’ paintings and monoprints that suggest the abandoned remnants of a long-lost civilization or tribe uncovered at an archeological dig. Through and through, flesh to bones, and bones to dust Nathan Oliveira has left us with a legacy of art that will surely remain untarnished by time or changing trends. His work exists within a realm rarely achieved by artists striving in a similar mode of expression. Unclouded by ego or wayward sentiment, it is also in the warmth and humble nature...