Portrait Paintings

In continuing with representing fine artists that are connected to the music industry we are please to announce that we are the only gallery in the United States representing the wor...

02 / 10 / 2023 I signed a book contract for Egg Island; it will now go through the publishing process and will be in print next year. I was overwhelmed by the editorial board's fee...

Welcome to my world of Monkeys and Lions smoking cigars, the Egg family, my Lovers Jazz Conspirators and Ladies in Red. Someone once said of my work. 'I often wonder why people worl...

I paint people; I want my paintings to have character to tell a story but without words as if using mime. To be dramatic, emotional, sometimes theatrical but always with feelings and...

I am an accomplished fine portrait artist, but my real passion is in colour and how the arrangement of colour can produce a different emotional experience of art. I want original and...

Alex Tschernjawski Self Portrait Oil on Canvas 1960s Size: 37.5x25.5in Framed: 39x27xin Signed by hand COA provided Ref.: 924802-1826 *Condition: G...

02 / 10 / 2023 I signed a book contract for Egg Island; it will now go through the publishing process and will be in print next year. I was overwhelmed by the editorial board's fee...

Ta has a vibrant personality and loves nothing more than a happy toe-tapping audience appreciating melodic jazz. Jazz and lady in red oozes musical finesse and sultry song. Ta is ...

John Baker’s “The Two Dummies” is an acrylic painting on canvas with collage 32 x 24 x 1.5 inches wide in browns, tans and greys with red and yellow accents. The wooden neck lever of the ventriloquist suggests that he is in reality the dummy of the young boy; and yet, impossibly, both seem to be the dummies of one another! Regardless, the brightness of the props on the prop table...

LOOK FOR FREE SHIPPING AT CHECKOUT OR GALLERY RATE A Boy and His Dog shows the hyperrealism of modern Cuban art that is now available to the world...

Welcome to my world of Monkeys and Lions smoking cigars, the Egg family, my Lovers Jazz Conspirators and Ladies in Red. Someone once said of my work. 'I often wonder why people worl...

John Baker’s “A Family of Means” is an acrylic painting on canvas with collage 38 x 50 inches in blues, reds, and pinks. Depicted in their commodious library, the wealthy family exudes a sense of arrogant privilege and shameless materialism. The matriarch displays her rings to the spectator as though their monetary value was proof of her worth as a person, while her son, in his prep school blazer...

Beneath my sturdiness is a puddle surrounded by the moistness of fresh mud- soft and mushy- and it’s how I learned to nurture and love flowers. I’ve been told my best trait has to b...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Frame is 12 X 10. Canvas is 9.5 X 7.5 Calogero was born August 20, 1922 in Catania, Sicily. Self-taught Surreal Artist First exhibitions in 1945 in Sicily and Rome were very successful. He arrived in Paris in 1947 and studied at the Ecole des Beaux Arts. He is best known for his Surrealism and genre works. His paintings are dreamlike and visionary. They travel to an infinite space created by the artist through his memories, the sky and the sea so dear to him. In his paintings there are a few common themes: the masks with their dual dimensions that hide or shows only what you want, the profiles of the women, and the horsemen, drawn as the Sicilian tradition requires. He exhibited at the Gallery Hervé in 1951 and the following year he went to New York to present his show, then in 1953 he was invited to Los Angeles, where he returned two years later, and from where he regularly exhibited his works, and San Francisco. In 1954, Maximilien Gauthier devoted a book to him published by "The Gemini." The first exhibition in Japan was in 1965. He was awarded the Grand Silver Medal by the City of Paris in 1957. Calogero had countless exhibitions in Paris, in the fifties, plus the American exhibitions in New York (Associated American Artists, 1952), Los Angeles (James Vigevano Galleries, 1953) and then later in Japan and in major galleries in Italy. He lived and worked for many years in Paris and Italy. He died in 2001. Galerie Hervè, Parigi 1950. Associated American Artists - New York 1952. James Vigevano Galleries, Los Angeles 1953. Galerie Madsen, Parigi 1954/1960. Antologica, Tokyo 1965. Galleria La Robinia, Palermo 1969. Florida Gallery, Chicago 1970. Galleria Il Cavalletto, Catania 1971. Galleria De Rosa, Milano 1972. Galleria Pinacoteca, Roma; L'Incontro, Taranto 1973. Galleria Idea-Bellini, Firenze; David Galleries, Bari; Palazzo Melloni, L'incontro, Bologna; Galleria Schettini, Milano; Galleria Pinacoteca, Roma; Galleria La Meridiana, Verona; Pier della Francesca, Arezzo 1974. Galleria L'isolotto, Napoli; Pinacoteca, Roma; Galleria del Corso, Latina 1975. Galleria Michelangelo, Firenze; Pinacoteca, Roma 1977. Galleria Robert...

Bulb of Africa was not just a hairstyle; it was a celebration of African heritage and a testament to the resilience of its people. Passed down through generations, it represented strength, beauty, and the rich tapestry of African traditions. The Bulb showcased the natural texture and volume of African hair, transforming it into an intricate masterpiece of braids, twists, and coils. The Bulb of Africa became a symbol of empowerment, reminding people of their strength, resilience, and the beauty of their shared heritage. It served as a reminder that hair was more than a physical attribute; it was a connection to something greater—a connection to their ancestors, their community, and celebrating the beauty within themselves. Beyond their physical beauty, African women possess an immeasurable inner strength that resonates through "Bulb of Africa." Odunayo masterfully captures this strength, highlighting the resilience and determination that have defined African women throughout history. The women depicted in the artwork emanate confidence, wisdom, and a sense of purpose. Their gaze speaks volumes, embodying the stories of countless African women who have overcome adversity, shattered barriers, and carved out their own paths to success. In "Bulb of Africa," Iyiola Odunayo...

This Piece was inspired by the story of the Bride of a King. She was so loved by the King because of her great beauty, but the people of the Land loved her so much, not just for her ...

Miquel Torner de Semir (1938) - Surrealist figure - Oil on canvas Oil measures 46x38 cm. Frameless. Miquel Torner de Semir (1938) Catalan painter attracted by the Middle Ages and I...

Bulb of Africa was not just a hairstyle; it was a celebration of African heritage and a testament to the resilience of its people. Passed down through generations, it represented strength, beauty, and the rich tapestry of African traditions. The Bulb showcased the natural texture and volume of African hair, transforming it into an intricate masterpiece of braids, twists, and coils. The Bulb of Africa became a symbol of empowerment, reminding people of their strength, resilience, and the beauty of their shared heritage. It served as a reminder that hair was more than a physical attribute; it was a connection to something greater—a connection to their ancestors, their community, and celebrating the beauty within themselves. Beyond their physical beauty, African women possess an immeasurable inner strength that resonates through "Bulb of Africa." Odunayo masterfully captures this strength, highlighting the resilience and determination that have defined African women throughout history. The women depicted in the artwork emanate confidence, wisdom, and a sense of purpose. Their gaze speaks volumes, embodying the stories of countless African women who have overcome adversity, shattered barriers, and carved out their own paths to success. In "Bulb of Africa," Iyiola Odunayo...

The inspiration behind "Beauty of the Bride" stems from the age-old practice of African kings selecting brides of great beauty to grace their courts. This tradition, often intertwine...

The canvas comes alive with "African Princess," a painting that serves as a tribute to the elegance and allure of the African woman. The portrayal of ...

"Elizabeth's Hat" by Oleg Turchin is a Figurative Surrealism original oil on canvas painting measuring 58x63 in. This painting is of the Late Queen Elizabeth's life. The queen is bea...

Chantal Jentien is a contemporary Swiss artist who want to make colors and fun in her life. Completely self-taught, she paints according to her inspiration almost with closed eyes. S...

Antique American school modernist landscape with male figures. Really well painted and a very interesting composition. Impressive giltwood frame as well! Signed and dated lower ri...

Galina Vasilevna Pshenitsina was born in 1940 in the town of Gorky (now Nizhny Novgorod). She began her studies at the Art School named after Johanson in St. Petersburg. In 1959, she...

I don't know why I keep believing That one day they'll bring us together When they've shown, in more ways than one That all they care about is the money You belong to the one politic...

Gustavo Úbeda (1930-1994) - Surrealist scene, Brazil - Oil on panel Oil measures 61x91 cm. Frameless. The painting by Gustavo Úbeda Romero (Herencia, 1930 – Sao Paulo, 1994) comes from a family of painters by aesthetics and by kinship. Brother of the painter Agustín Úbeda and the photographer Ángel...

Art is and has always been at the very center of my life. In creating I find communication and connection with others that surpasses any barrier or boundary. Through imagery, I can c...

Tristan Fabris 1970's French surrealist artist signed oil on canvas, framed framed: 19 x 16 inches canvas: 18 x 15 inches private collection, France The painting is in overall sound ...

"Villageoise II" Pastel on Paper 12" x 20" inch (1987) by Inji Efflatoun Signed and dated Inji Eflatoun pursued free studies in art. Since 1942, she has participated in the exhibi...

Galina Vasilevna Pshenitsina was born in 1940 in the town of Gorky (now Nizhny Novgorod). She began her studies at the Art School named after Johanson in St. Petersburg. In 1959, she...

Vintage modernist artist studio. Oil on canvas. Framed. Image size, 24H x 20L.

Galina Vasilevna Pshenitsina was born in 1940 in the town of Gorky (now Nizhny Novgorod). She began her studies at the Art School named after Johanson in St. Petersburg. In 1959, she...

Bulb of Africa was not just a hairstyle; it was a celebration of African heritage and a testament to the resilience of its people. Passed down through generations, it represented strength, beauty, and the rich tapestry of African traditions. The Bulb showcased the natural texture and volume of African hair, transforming it into an intricate masterpiece of braids, twists, and coils. The Bulb of Africa became a symbol of empowerment, reminding people of their strength, resilience, and the beauty of their shared heritage. It served as a reminder that hair was more than a physical attribute; it was a connection to something greater—a connection to their ancestors, their community, and celebrating the beauty within themselves. Beyond their physical beauty, African women possess an immeasurable inner strength that resonates through "Bulb of Africa." Odunayo masterfully captures this strength, highlighting the resilience and determination that have defined African women throughout history. The women depicted in the artwork emanate confidence, wisdom, and a sense of purpose. Their gaze speaks volumes, embodying the stories of countless African women who have overcome adversity, shattered barriers, and carved out their own paths to success. In "Bulb of Africa," Iyiola Odunayo...

Aiden Kringen's (US based) "Opulence 12" is an original handmade oil painting that is unframed, but ready to hang. About the Artist: A kaleidoscopic fantasia—crystalline planes floating in space, nestling together like immaculate puzzle pieces—abstract nebulae, human figures and faces enveloped in swirling fields or particles of energy—these number among the images evoked by the hauntingly enigmatic paintings of artist Aiden Kringen. Within this worldview a mysterious network of interlocking planes becomes visible to the beholder: mystical fields of unknown substance revealed as the building blocks of our bodies and semblances, surrounding, cocooning, perhaps even protecting us. It is a vision verging on the mystical, which Kringen portrays through a distinctive style: a fractured, cubistic mode of conscious- ness in which multiple dimensions or perspectives assimilate into an ecstatic whole. The artist deploys this style in opulent and seductive portraits as well as abstract tableaux whose optical signature is magnified by compositional dynamism and deeply layered surfaces. Born in Los Angeles in 1992, Kringen lived variously in the American West and Mexico—Sebastopol, Jalisco, Portland, Flagstaff—before settling in the hill- and vineyard-dotted environs of Sonoma, County, where he is now based. In these very different environments, each of which possesses a uniquely picturesque natural beauty, the artist began from an early age to develop his aesthetic approach. He has always had a keen eye for detail, grounded in a gift for looking closely at the human experience. “I’ve always been interested in observing people,” he recalls, “and in the details of how we interact with one another.” He put this natural ability to task when he began working on illustration and graphic-design projects while in high school. From his mother, an artist and graphic designer, he learned the fundamentals of composition and typography, the nuances of positive and negative space and the relationships between them. Using sheets of Letracet—a system for transfer- ring typeface—proved particularly instrumental in developing a methodology for layering and collage, which continue to inform his works on canvas and paper. He learned old-school tech- niques, hands-on and mechanical, in keeping with a Bauhaus-like appreciation for perfectionism, integrity, and hard work. Kringen began painting at 14. Then as now, drawing was central to his approach. He studied vintage anatomy atlases and drew meticulously in his journals, working through myriad permutations of bones and skin, angle and pose, muscles in motion. Honing his natural talent for figuration through long and exhaustive study, he arrived at an understanding of the figure that is both intuitive and virtuosic. On acrylic and mixed media on canvas, Kringen lays down linework with a Micron pen in ever-more-complex compositions, often with the addition of gloss mediums to bring out the layers’ reflectivity and prismatic character. In some pieces he incorporates gold and silver leaf to heighten drama and luxuriance, recalling the mosaic-like work of Gustav Klimt—who, along with fellow Austri- an Expressionist Egon Schiele, stands among Kringen’s most prominent influences. It was in 2011 that he began painting in the style with which he is now most associated: a technique fusing drawing and painting, line and brushstroke, with fragmented shapes undergirding the imag- ery. Notably, this is not simply a stylistic conceit, but more a way of perceiving reality. “Ever since I was young,” Kringen notes, “I’ve spent most of my time observing people: trying to break people down, in a visual sense, into small categorizations of their features, their mannerisms, the way they twitch their nose...” His hypersensitivity to likeness and gesture is key, for this is what distinguishes his portraits from those by artists who strive to depict idealized beauty as an end in itself. Yes, there is an undeniable beauty to Kringen’s subjects, but it does not follow strictly conventional paradigms. There is an individuality, a capturing of idiosyncracies and eccentricities, of optimism and fatalism, light and dark, in his work. He is not painting archetypes, but rather illuminating the essential charac- ters of real people in a highly refined genre of psychological portraiture. The fragmented linework, the grids of planes he uses as lenses to focus these characteristics, is sui generis but never gimmicky; above all it is a tool for defining and refining the features of the face, adding depth and definition. In his abstract work he uses similar techniques, paring the fabric of perception itself down to bare essentials of form, color, and texture. The abstract pieces are simultaneously elegant and complex, combining the sweeping gesturalism of Abstract Expressionism with the rigorous structure of geomet- ric painting. Across the breadth of his output Kringen balances technical and thematic polarities into bracing integrations of sensuality and grittiness, inviting contemplation into the nature of opticality and the infinite possibilities of the seen and unseen. —Richard Speer is a contributor to ARTnews, Artpulse, Visual Art Source, and Surface Design. His essays and reviews have appeared in The Los Angeles Times, The Chicago Tribune, The New York Post, The Oregonian, Salon, Newsweek, and Opera News. He is the author of “Matt Lamb...

Aiden Kringen's (US based) "Onyx" is an original handmade oil painting that is unframed, but ready to hang. About the Artist: A kaleidoscopic fantasia—crystalline planes floating in space, nestling together like immaculate puzzle pieces—abstract nebulae, human figures and faces enveloped in swirling fields or particles of energy—these number among the images evoked by the hauntingly enigmatic paintings of artist Aiden Kringen. Within this worldview a mysterious network of interlocking planes becomes visible to the beholder: mystical fields of unknown substance revealed as the building blocks of our bodies and semblances, surrounding, cocooning, perhaps even protecting us. It is a vision verging on the mystical, which Kringen portrays through a distinctive style: a fractured, cubistic mode of conscious- ness in which multiple dimensions or perspectives assimilate into an ecstatic whole. The artist deploys this style in opulent and seductive portraits as well as abstract tableaux whose optical signature is magnified by compositional dynamism and deeply layered surfaces. Born in Los Angeles in 1992, Kringen lived variously in the American West and Mexico—Sebastopol, Jalisco, Portland, Flagstaff—before settling in the hill- and vineyard-dotted environs of Sonoma, County, where he is now based. In these very different environments, each of which possesses a uniquely picturesque natural beauty, the artist began from an early age to develop his aesthetic approach. He has always had a keen eye for detail, grounded in a gift for looking closely at the human experience. “I’ve always been interested in observing people,” he recalls, “and in the details of how we interact with one another.” He put this natural ability to task when he began working on illustration and graphic-design projects while in high school. From his mother, an artist and graphic designer, he learned the fundamentals of composition and typography, the nuances of positive and negative space and the relationships between them. Using sheets of Letracet—a system for transfer- ring typeface—proved particularly instrumental in developing a methodology for layering and collage, which continue to inform his works on canvas and paper. He learned old-school tech- niques, hands-on and mechanical, in keeping with a Bauhaus-like appreciation for perfectionism, integrity, and hard work. Kringen began painting at 14. Then as now, drawing was central to his approach. He studied vintage anatomy atlases and drew meticulously in his journals, working through myriad permutations of bones and skin, angle and pose, muscles in motion. Honing his natural talent for figuration through long and exhaustive study, he arrived at an understanding of the figure that is both intuitive and virtuosic. On acrylic and mixed media on canvas, Kringen lays down linework with a Micron pen in ever-more-complex compositions, often with the addition of gloss mediums to bring out the layers’ reflectivity and prismatic character. In some pieces he incorporates gold and silver leaf to heighten drama and luxuriance, recalling the mosaic-like work of Gustav Klimt—who, along with fellow Austri- an Expressionist Egon Schiele, stands among Kringen’s most prominent influences. It was in 2011 that he began painting in the style with which he is now most associated: a technique fusing drawing and painting, line and brushstroke, with fragmented shapes undergirding the imag- ery. Notably, this is not simply a stylistic conceit, but more a way of perceiving reality. “Ever since I was young,” Kringen notes, “I’ve spent most of my time observing people: trying to break people down, in a visual sense, into small categorizations of their features, their mannerisms, the way they twitch their nose...” His hypersensitivity to likeness and gesture is key, for this is what distinguishes his portraits from those by artists who strive to depict idealized beauty as an end in itself. Yes, there is an undeniable beauty to Kringen’s subjects, but it does not follow strictly conventional paradigms. There is an individuality, a capturing of idiosyncracies and eccentricities, of optimism and fatalism, light and dark, in his work. He is not painting archetypes, but rather illuminating the essential charac- ters of real people in a highly refined genre of psychological portraiture. The fragmented linework, the grids of planes he uses as lenses to focus these characteristics, is sui generis but never gimmicky; above all it is a tool for defining and refining the features of the face, adding depth and definition. In his abstract work he uses similar techniques, paring the fabric of perception itself down to bare essentials of form, color, and texture. The abstract pieces are simultaneously elegant and complex, combining the sweeping gesturalism of Abstract Expressionism with the rigorous structure of geomet- ric painting. Across the breadth of his output Kringen balances technical and thematic polarities into bracing integrations of sensuality and grittiness, inviting contemplation into the nature of opticality and the infinite possibilities of the seen and unseen. —Richard Speer is a contributor to ARTnews, Artpulse, Visual Art Source, and Surface Design. His essays and reviews have appeared in The Los Angeles Times, The Chicago Tribune, The New York Post, The Oregonian, Salon, Newsweek, and Opera News. He is the author of “Matt Lamb...

Rabbi Reading by Candlelight (9-F) Abraham Straski, Polish (1903–1987) Date: 1959 Oil on Canvas, signed and dated Size: 20 x 23 in. (50.8 x 58.42 cm) Fra...

Rabbi with Torah Abraham Straski, Polish (1903–1987) Date: 1950 Oil on Canvas on Wood, signed and dated Size: 16 x 12 in. (40.64 x 30.48 cm) Frame Size: 19.5 x 15.5 inches

Jewish Man Playing Viol (3-F) Abraham Straski, Polish (1903–1987) Date: 1952 Oil on Canvas, signed and dated Size: 16 x 11.5 in. (40.64 x 29.21 cm) Frame Si...

Rabbi Reading by Candlelight (6-F) Abraham Straski, Polish (1903–1987) Date: 1959 Oil on Canvas, signed and dated Size: 23 x 19 in. (58.42 x 48.26 cm) Fr...

Richard Joseph Ericson (American, 1922-2010) Untitled, 1950 Oil on canvas 36 x 25 in. Signed lower right: RJE '50 Richard Joseph Ericson (b. October 22, 1922-d. November 21, 2010), ...

Lazzaro Donati (Italian, 1926-1977) Oil on board. Colorful woman. La Signora, Vestita Di Giallo, 1969 Hand signed upper right. signed, titled on back of panel. Dimensions: (Frame) H 38" x W 30", (Panel) H 28" x W 20" Lazzaro Donati was born in Florence and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. His work is recalling the works of the french Raoul Dufy, Dunoyer de Segonzac, Francois Gall and Jean Jansem. This particular work is reminiscent of the work of Manolo Valdes. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d’art and antique furnishings...

The figurative surrealistic paintings of Carlos Gamez de Francisco are heavily influenced by his Cuban upbringing in a Russian governed academia setting. This presence exposed Franci...

The figurative surrealistic paintings of Carlos Gamez de Francisco are heavily influenced by his Cuban upbringing in a Russian governed academia setting. This presence exposed Franci...

Hand signed lower left canvas measures 24 X 18, framed it measures 34 X 28 Calogero was born August 20, 1922 in Catania, Sicily. Self-taught Surreal Artist First exhibitions in 1945 in Sicily and Rome were very successful. He arrived in Paris in 1947 and studied at the Ecole des Beaux Arts. He is best known for his Surrealism and genre works. His paintings are dreamlike and visionary. They travel to an infinite space created by the artist through his memories, the sky and the sea so dear to him. In his paintings there are a few common themes: the masks with their dual dimensions that hide or shows only what you want, the profiles of the women, and the horsemen, drawn as the Sicilian tradition requires. He exhibited at the Gallery Hervé in 1951 and the following year he went to New York to present his show, then in 1953 he was invited to Los Angeles, where he returned two years later, and from where he regularly exhibited his works, and San Francisco. In 1954, Maximilien Gauthier devoted a book to him published by "The Gemini." The first exhibition in Japan was in 1965. He was awarded the Grand Silver Medal by the City of Paris in 1957. Calogero had countless exhibitions in Paris, in the fifties, plus the American exhibitions in New York (Associated American Artists, 1952), Los Angeles (James Vigevano Galleries, 1953) and then later in Japan and in major galleries in Italy. He lived and worked for many years in Paris and Italy. He died in 2001. Galerie Hervè, Parigi 1950. Associated American Artists - New York 1952. James Vigevano Galleries, Los Angeles 1953. Galerie Madsen, Parigi 1954/1960. Antologica, Tokyo 1965. Galleria La Robinia, Palermo 1969. Florida Gallery, Chicago 1970. Galleria Il Cavalletto, Catania 1971. Galleria De Rosa, Milano 1972. Galleria Pinacoteca, Roma; L'Incontro, Taranto 1973. Galleria Idea-Bellini, Firenze; David Galleries, Bari; Palazzo Melloni, L'incontro, Bologna; Galleria Schettini, Milano; Galleria Pinacoteca, Roma; Galleria La Meridiana, Verona; Pier della Francesca, Arezzo 1974. Galleria L'isolotto, Napoli; Pinacoteca, Roma; Galleria del Corso, Latina 1975. Galleria Michelangelo, Firenze; Pinacoteca, Roma 1977. Galleria Robert Philip...

Heroins & magical creatures, in an elegant ,romantic approach, and a perfect technique all the way to the last detail. The female form, the female face is the muse in most paintings, although we can also find a gender neutral approach, an androgyny as a protagonist with the same always features, such as youth, sensualism, innocence and optimism. Inside these dream-like images overfilled with euphoria, these fragile figures are kind souls with rich inner beauty. Figures that we can relate with if we dig deeper into our souls. Sofia Fotiadou...

This is an original mixed media artwork by Southern California artist, Cheryl Tall. Its dimensions are 12" x 12" x .75". It is unframed. A certific...

Lazzaro Donati (Italian, 1926-1977) Oil on board. Colorful woman. Hand signed upper right. signed, titled on back of panel. Dimensions: (Frame) H 37" x W 29", (Panel) H 27.5" x W 20" Lazzaro Donati was born in Florence and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. His work i faucist recalling the works of the french Raoul Dufy, Dunoyer de Segonzac, Francois Gall and Jean Jansem. This particular work is reminiscent of the work of Manolo Valdes. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d’art and antique furnishings. Light poured in through the sloping glass wall on the north side. A dramatic stairway led to an overhanging balcony which served as a private gallery where the artist hung some of his favorite early works. To the left of the entrance was a smaller studio where Donati sculpted, with a window overlooking the famous old English cemetery where tourists laid flowers on the grave of Elizabeth Barrett Browning. In the main studio itself, where Donati received his clients in an atmosphere as polished as an office of a top executive, one hardly realized that it was here that the artist actually painted. His easel was covered with Persian blue velvet, the painting on the easel was already framed, his chair was upholstered in red velvet and on his palette the colors were arranged with the precision of a Byzantine mosaic. In a corner stand were his latest works, framed and ready to be sent off to his next exhibition in Europe or America. He spoke fluent French and English as well as some Spanish and German. “After all”, he said, “you've got to know how to sell...

Clean, surreal depiction of a Boy Scout by Robert Peluce (American, 1937-2004). Dressed in full uniform, a Boy Scout holds a pipe to his lips. Above the ...

The figurative surrealistic paintings of Carlos Gamez de Francisco are heavily influenced by his Cuban upbringing in a Russian governed academia setting. This presence exposed Franci...

Lazzaro Donati (Italian, 1926-1977) Oil on board. Colorful woman. La Regina (the Queen) Hand signed upper right. signed, titled on back of panel. Dimensions: (Frame) H 37" x W 29", (Panel) H 27.5" x W 20" Lazzaro Donati was born in Florence and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. His work is recalling the works of the french Raoul Dufy, Dunoyer de Segonzac, Francois Gall and Jean Jansem. This particular work is reminiscent of the work of Manolo Valdes. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d’art and antique furnishings. Light poured in through the sloping glass wall on the north side. A dramatic stairway led to an overhanging balcony which served as a private gallery where the artist hung some of his favorite early works. To the left of the entrance was a smaller studio where Donati sculpted, with a window overlooking the famous old English cemetery where tourists laid flowers on the grave of Elizabeth Barrett Browning. In the main studio itself, where Donati received his clients in an atmosphere as polished as an office of a top executive, one hardly realized that it was here that the artist actually painted. His easel was covered with Persian blue velvet, the painting on the easel was already framed, his chair was upholstered in red velvet and on his palette the colors were arranged with the precision of a Byzantine mosaic. In a corner stand were his latest works, framed and ready to be sent off to his next exhibition in Europe or America. He spoke fluent French and English as well as some Spanish and German. “After all”, he said, “you've got to know how to sell...

Ramón Llovet (1917-1987) - Angel - Oil on canvas Canvas measures 92x73 cm. Frame measures 94x75 cm. Ramon Llovet Miserol (Barcelona, ​​August 7, 1917 - Barcelona, ​​August 2, 1987...

Psychic Fallout is an original painting by Elisha Nyong. Elisha created Psychic Fallout with Oil on a 42W by 45H inches primed canvas. Psychic Fallout ac...

Inspired by the St Sebastian religious paintings, this double portrait is a dreamlike superimposed view of an expressive and sensual figure. St Sebastian, acrylic on canvas, 20in, r...

This earlier work depicts an unexpected multicolored cone extending from the subject's eye. It represents a field of vision for a young Haitian female who gazes up. It reminds me of something Man Ray or the Dadaists did. Duval-Carrié's work is more than eye-opening. Signed lower right Work is framed - Framed Size - 18 x 22 Edouard Duval...

’Ηeavenly Creatures’’ Heroins & magical creatures, in an elegant ,romantic approach, and a perfect technique all the way to the last detail. The female form, the female face is the muse in most paintings, although we can also find a gender neutral approach, an androgyny as a protagonist with the same always features, such as youth, sensualism, innocence and optimism. Inside these dream-like images overfilled with euphoria, these fragile figures are kind souls with rich inner beauty. Figures that we can relate with if we dig deeper into our souls. Sofia Fotiadou...

Atlas Served, Original Contemporary Playful Surrealist Narrative Painting 49" x 28" x 1.5" (HxWxD) Oil and Print on Canvas A humorous work by artist Sarah Jacobs...