Dorothea Sharp

A Still Life of Flowers

Henri Lucien Joseph BURON This is potentially Henri Buron's premier work of art. It was exhibited in the Salon des Artistes Française in 1934 having been painted in 1933. The revers...

Jean Baptiste Olive This premiere piece shows his work and influence which he had with Antoine Vollon. It is in its museum quality gold leaf frame. The piece has been exhibited in many shows with the exhibition labels on the reverse testimony. Artwork Size: 22 x 18" (56 x 46cm) Artwork Size with Frame: 31 x 27" (79 x 69cm) Free Shipping French, 1848-1936 Jean-Baptiste Olive was undoubtedly one of the greatest masters of the Marseille school at the end of the 19th century, along with Paul Guigou...

Marcel DYF 1899 - 1985 Oil on canvas Canvas Size 28 x 23" (72 x 60cm) Outside Frame Size: 36 x 31" (92 x 80cm) Free Shipping Dyf’s family lived in Paris, but he spent his childhood holidays in Normandy at Ault, Deauville, and Trouville. The artistic climate to which he was exposed in Paris and in Normandy was crucial during his youth, as innovative ideas and new thinking, born of the Impressionist and Post-Impressionist movements, formed ever widening circles of influence in Europe. Swept up in the atmosphere, Dyf decided in his early twenties to give up his career in engineering and become an artist. He moved to Arles in 1922 to pursue his calling and he kept a studio there until 1942. He had little formal artistic training but owed much of his inspiration to the great masters of the past such as Rembrandt, whom he particularly admired, Vermeer and Tiepolo. In Provence, challenged by a new range of colours and light, by new landscapes and images and under the same intense sky that lent its brilliance to Van Gogh’s art, Dyf graduated from painter to artist. Whilst living in Arles, Dyf was commissioned to paint a number of large historical and decorative works, mostly frescoes, in the town halls of Saint Martin-de-Crau and Les Saintes Maries-de-la-Mer, in Arles, in the Museon Arlaten and in the dining hall of the Collège Ampère. He also designed windows for the church of Saint Louis in Marseille. In 1935 Dyf took on Maximilien Luce’s old studio in the Avenue du Maine on the left bank. His partial return to Paris meant that he could work with many whose names became renowned for their highly original contributions to art, music, and literature. Paris hummed with creative vitality in the 1930s and Dyf was both participant and recipient in the atmosphere. Paris was shattered by the invasion of 1940. Like many others, Dyf left the city and returned to Arles, but he quickly had to abandon his home in the south and he took to the Maquis, entering the Résistance in Corrèze and the Dordogne. After the Liberation he returned to Arles to find the studio reduced to rubble in the fighting. He retreated, heavy-hearted, to Paris but the pull of the Midi was deep-rooted, so in time he returned and made a new base in Saint Paul-de-Vence. Thereafter he divided his time between Paris and the south. His pictures began to sell through galleries in Cannes, Nice, Marseille and Strasbourg. In Paris he exhibited and sold his paintings through the Salon d’Automne, the Salon des Tuileries and the Salon des Artistes Français. In the first half of the 50s Dyf worked in Paris throughout the winter and spent the summer in Cannes, where he set up a studio-gallery and established a regular following among American visitors to the Riviera. In 1955 the first paintings were bought from Dyf by Frost & Reed to be sold in London, thus heralding the formation of a remarkable and enduring relationship between artist and gallery. In the summer of 1954, Dyf met Claudine Godat. Aged 19, she was thirty-six years younger than Dyf and with her long fair hair, clear skin, vivacity and patience, she was what the artist felt to be his perfect model. It was simply love at first sight. There was an instant rapport between them and her arrival in his life acted as a catalyst, bringing Dyf’s art forward to the threshold of its most mature phase. In 1956, they married and bought a 16th century hunting lodge at Bois d’Arcy, near Versailles. This became their main home, but each winter they returned to Provence on painting trips, staying in Saint-Rémy or in the small village of Eygalières. The olive trees, the cane windbreaks and the grey-white crags of the Alpilles provided countless motifs for Dyf’s paintings of Provence, and his artistic and emotional attachment to the area endured to the end of his life. In 1960, at Claudine’s insistence, they first visited Brittany. They explored widely and finally came upon the Golfe du Morbihan. Dyf was enchanted with this remote, beautiful region. He immediately saw the potential for new subjects, in the still waters of the huge lagoon surrounded by rolling fields of wheat and tiny clusters of slate-roofed cottages, and he knew he must return to paint there. From that time on the seasons of the year followed the same pattern: autumn was spent at home near Versailles and in the late autumn or early spring Dyf and Claudine drove south and spent six or eight weeks in Provence. In May they left for Brittany, where they spent the summer in a house they had bought opposite the church in the village of Arzon. Two or three times a year Frost & Reed would visit Dyf and buy all the best of his works for their stock. Dyf could never work in an empty studio, he said that it deadens an artist’s inspiration, so immediately the paintings had left for London, he and Claudine would set off to the west or to the south in search of new inspiration. This annual round having been established, there followed many years of great fulfilment. The artist, free from the burden of running the more mundane side of his life, was now able to devote all his time to painting and through Frost & Reed, his sole world agent, he was guaranteed an outlet for his work. To watch Dyf paint was entrancing. Even as an old man, he would stand rather than sit before the easel, working with extraordinary vigour and intense concentration. His palette was a rainbow of fresh colours and his hand continually darted back and forth from the canvas. At intervals he would step back or consider briefly another picture before returning to the easel, his eye refreshed. Usually he sketched straight onto the canvas, which he set up on his travelling easel...

Marcel DYF 1899 - 1985 This piece has been confirmed by Claudine Dyf Picture Size: 18 x 22" (48 x 55cm) Outside Frame Size: 25 x 29" (63 x 73cm) A highly desirable still life with...

Kees TERLOW/ TERLOUW Panel Size: 24 x 48" (61 x 122cm) Outside Frame Size: 30 x 54" (76 x 137cm) Oil on panel A signature style piece with bold, beautifully painted roses and his ...

James Stuart Park Scottish School Oil Canvas Picture Size: 30 x 24" (76 x 60cm) Outside Frame Size: 40 x 34" (102 x 86cm) Park lived from 1862 – 1933 and was born in Kidderminst...

'Le Bouquet' Floral Still Life, Flower Oil Painting French School, mid 20th Century Oil painting on canvas, framed Framed size: 29 x 18 inches Beautiful oil painting of a lovingly c...

A beautiful floral oil painting by the French Impressionist artist Jacques-Emile Blanche. This stunning Impressionist painting, painted circa 1900 depicts a vast floral bouquet of wh...

Yellow Glads by Lu Haskew ​Oil on Canvas Floral Still Life 16x24" Image Size, 22x30" Framed ABOUT THE ARTIST: Lu Haskew 1921-2009 "Life is good to me. Being able to go to my studio five days weekly and paint for several hours, living in a supportive community, having family and friends who encourage me--all have contributed to helping me become an artist. Being fortunate to study with some of the artists I admire has kept me painting from the garden, people and my favorite things. With the support of galleries, teaching and doing demos, how could I do anything else? My goal is to try to be the best I can be by always being a student, looking for new ideas and stretching my horizons." Upon retirement from a 33-year teaching career, Lu rented a studio in Loveland and began concentrating on her oil and watercolor painting. Learning from artists she had followed and admired throughout the years her painting became a full time career. Since 1992, she has studied with renowned painters Richard Schmid, Clyde Aspevig, Joyce Pike, and others at the Scottsdale Art...

Small Bouquets by Lu Haskew Oil 16x16" image size Still Life of spring flowers, pansies, daffodil, in blue vases. This painting is unframed, canvas on gator board, the price reflects that it is unframed. ​Online Order Only, not in gallery display. ABOUT THE ARTIST: Lu Haskew 1921-2009 "Life is...

Colors of May by Lu Haskew Floral Still Life Oil painting 24x18" image size 28x22" framed size ABOUT THE ARTIST: Lu considered it a must to work with live models once or twice a ...

Mostly White by Lu Haskew Floral Still Life Oil painting 24x20" image size 28x24" framed size ABOUT THE ARTIST: Lu considered it a must to work with live models once or twice a w...