Watercolor Portrait Paintings

"Don't Cry Long" is a self-portrait of the artist and an unusual one at that in which the artist portrays herself shedding tears. Perhaps it is an expression of some grief experienced by Ms. Woodlock, but it also admonishes her to not "Cry Long" while at the same time poking fun because of her elongated face and the one lone "long" tear tracing a pattern down her face. In addition to self-portraits, Ethelyn painted commissioned portraits. In this painting her head is cocked and her famous bangs hang down her forehead. Compare two self-portraits, “Up From Under”, and “M’Eyes" to "Don't Cry Long." The major differences are the close facial view and the brilliant blood red paint that fills the entire canvas. This painting is included in the book, "Dreams Have Wings: An Artist's Journey into Magic and Mystery" printed in the United States, 1985. She describes "Don't Cry Long" as showing how funny looking we are, if we cry too long. Ethelyn Woodlock...

Antique American modernist abstract painting. Oil on board, circa 1940. Signed. Image size 22L x 30H. Housed in a period modern frame.

Antique American modernist portrait oil painting. Oil on canvas, lain to board. Framed. Very finely painted and a rare fauvist palette. No signature found.

The work is mostly black and white to indicate that this is a night scene. On closer inspection, you will see areas of magenta and ivory throughout The publisher's label on verso ide...

framed 36 X 28 board 30 X 21.75 Sandu Liberman (Romanian-Israeli) was born in Yasi, Romania in 1923. between 1946 and 1953 he took part in the state art shows in Bucharest. in 1952 ...

Vintage American signed interior scene oil painting. Oil on canvasboard. Signed. Framed. Image size, 14L x 11H.

"Les Artistes du Cirque" is an original painting in ink, watercolor, and gouache on paper by leading Fauvist artist Kees Van Dongen, signed in the lower right. In the piece, two circus performers stand against against a wall. On the left, a pale woman in a blue leotard with red flowers on the shoulder stands with her arms crossed, looking out at the viewer. The painter fills in her tights with delicate white brushstrokes, lending them an almost iridescent appearance. Her strawberry blond hair is piled on top of her hair according to the fashion of the period. On the right, an African man stands in a vivid orange toga, looking somewhere off to the left. His feet are clad in bright white shoes...

"Abstract Cactus" is an acrylic painting from Ryan Rivadeneyra's series of imagined modernist sculptures. In this series, Rivadeneyra explores the possibilities of colorful sculptura...

Girl with text

Antique American school surreal composition painting. Oil on board, circa 1950. Unsigned. Image size, 8L x 12H. Housed in a period modern frame.

This portrait has a naïve and gentle charm to it. To my eye it looks like a woman but it could equally be any gender or age. Perhaps this is the beauty of Turner Durrant's abstraction. The materiality is more distinct when you see the piece in the flesh. There is something endearing about being able to see the edges of the paper, torn almost in haste as if the artist just had to get the image down. Maybe it was painted on the spot or an image from the artist's imagination. Whichever, the use of minimal line and a reduced palette adds to the simplicity and thus free nature of the painting. Roy Turner Durrant Untitled (Head) Medium: Watercolour on paper Signed bottom right 1977 Image size: 31 x 26 cm - Frame size: 50.5 x 44 cm Roy Turner Durrant (1925 - 1998) A Modern British artist, Roy Turner Durrant was born in Suffolk, England in 1925. His career was long and distinguished, culminating with work in major public galleries in the UK and internationally. After the war he secured a place at Camberwell College of Arts where he was taught by amongst others by Edward Ardizzone Michael Rothenstein Keith Vaughan and John Buckland Wright and was a contemporary of Theodore Mendez. Whilst at Camberwell he was already exhibiting his paintings in London galleries. His work moved from early landscape and architectural interest to abstraction but with a great variety of style and technique. A member of the New English Art Club, from the late 1940s he exhibited regularly at the Royal Academy and in numerous commercial galleries in London. From the 1950s, his early figurative style began to change, becoming more abstract. He said of his own work in 1951 that his abstract imagery were 'by-products of an inquisition primarily concerned not with what the eye sees but with what the intellect and emotion experience’. In 1963 he moved to Cambridge to take up the post of Art Gallery Manager at Heffers at the time a well known local artists' materials and book sellers...

"Subtle Pastel Curves" is a hand-painted acrylic painting on high-quality 300g paper by artist Ryan Rivadeneyra. These painting, influenced by modernist artists of the 50's, 60's, a...