Rudolf Heinz Keppel

Akt in Blau

Starke Farbkontraste und ein freier, aber exakter Pinselstrich sind typisch für seine gegenständlichen Darstellungen. Seine Werken stellen die menschliche Figur ins Zentrum der Darst...

Alfred Kornberger wurde 1933 in Wien geboren. Er absolvierte ein Studium der Malerei bei Professor Robin Christian Andersen an der Akademie der bildenden Künste in Wien. 1956 schloss...

Between light and line, stillness and movement, the visual worlds of Walter Strobl unfold – quiet, powerful, and full of inner tension. His nudes depict people in transition, in mom...

The painterly work of Helga Scholler includes works from a period of more than 40 years and shows a range of uncompromising expressive works of all genres, which represents a further...

André LEMAITRE (1909-1995) Nu de dos, 1980 Oil on canvas Size : 73 x 60 cm Signed lower right Tille and dated on reserve Painting in very good condition. Gilded frame offered. Size...

A charming nude study of a seated female model leaning against a blue backdrop. The bold background colours juxtapose the soft colours used to represent the model giving the piece a ...

JACOB GILDOR b. 1948 (German / Israeli) Title: Nude I, 1996 Technique: Original Hand Signed and Numbered Colour Etching and Aquatint on Arches Wove Paper Paper size: 65 x 50 cm /...

Signed lower right, 'H. Lauer' for Hans Lauer, (Argentine-German, 1902-1989) and dated 1965. Hans Lauer emerges as a sympathetic chronicler of Patagonian light, a German-born landscapist who made Argentina his country and Bariloche his enduring motif. Born in Nuremberg in 1902, he emigrated to Argentina in 1920 and fixed his practice in the Nahuel Huapi region, painting the blue-white atmospheres of the lake basin and the sheltering stands of native forest with a direct, self-taught hand; he remained rooted there until his death in Bariloche in 1989. Contemporary reports place him working across northern Patagonia—San Martín de los Andes among his circuits—where he translated the temperate Andean palette into sober oils and watercolors keyed to weather and season rather than to metropolitan fashions. Autodidact by formation, he belongs to that émigré cohort who stitched European discipline to local terrain, and by the 1950s–60s his production reflects an assured, observational plein-air habit that privileges structure over effect. While Bariloche provided the studio and the subject, his name also circulates in Buenos Aires contexts through collectors and dealers who sought Patagonian views during the mid-century tourism boom, an afterlife that helped keep his vistas in the market even as he remained geographically anchored to the south. Within the regional history of Argentine painting...