Lizbeth Mitty

Lizbeth Mitty, Melting Light, 2019, oil on canvas, 12 x 12, Still Life

Born in Queens, NY to a family of artists, inventors and actors, Lizbeth Mitty grew up painting and writing. Her work has been exhibited in galleries and museums in both the United States and abroad and is held in public and private collections including the The Metropolitan Museum of Art, The New York State Museum, The Orlando Museum of Art, The Zimmerli Archive, The U.S. State Department, and Trierenberg Holding AG (Austria). My studio is located in Brooklyn, NY. Described by New York Times critic Ken Johnson as a combination of “painterly verve and hellish beauty” — Mitty's work has long been concerned with examining and amplifying the intrinsic abstract beauty of deteriorating or overlooked corners of urban architecture and interiors. In 2015, one object, the chandelier, rose up from detritus to dominate her body of work. Spectacular, illuminated and intricate, the chandelier is evocative of grandeur. In contrast, for much of Mitty's career, scrap yards and other sites of urban devastation, locations of organized chaos, formally beautiful, yet apocalyptic and terrifying. Similarly, the chandeliers speak of decadence, sadness, elegance, death and hope. By 2017, the chandeliers began to open and morph into architecture in the round. Gazebos and scrap dominate a verdant post-apocalyptic landscape...

Born in Queens, NY to a family of artists, inventors and actors, Lizbeth Mitty grew up painting and writing. Her work has been exhibited in galleries and museums in both the United States and abroad and is held in public and private collections including the The Metropolitan Museum of Art, The New York State Museum, The Orlando Museum of Art, The Zimmerli Archive, The U.S. State Department, and Trierenberg Holding AG (Austria). My studio is located in Brooklyn, NY. Described by New York Times critic Ken Johnson as a combination of “painterly verve and hellish beauty” — Mitty's work has long been concerned with examining and amplifying the intrinsic abstract beauty of deteriorating or overlooked corners of urban architecture and interiors. In 2015, one object, the chandelier, rose up from detritus to dominate her body of work. Spectacular, illuminated and intricate, the chandelier is evocative of grandeur. In contrast, for much of Mitty's career, scrap yards and other sites of urban devastation, locations of organized chaos, formally beautiful, yet apocalyptic and terrifying. Similarly, the chandeliers speak of decadence, sadness, elegance, death and hope. By 2017, the chandeliers began to open and morph into architecture in the round. Gazebos and scrap dominate a verdant post-apocalyptic landscape...

The artworks in the series It’s Always Darkest Before the Dawn are an expression of feeling in dealing with personal issues and political events. These feelings stem from both reacti...

The artworks in the series It’s Always Darkest Before the Dawn are an expression of feeling in dealing with personal issues and political events. These feelings stem from both reacti...

The artworks in the series It’s Always Darkest Before the Dawn are an expression of feeling in dealing with personal issues and political events. These feelings stem from both reacti...

The artworks in the series It’s Always Darkest Before the Dawn are an expression of feeling in dealing with personal issues and political events. These feelings stem from both reacti...

This mid-20th-century oil painting by British artist Harry Keay (1914-1994) depicts a still life with a book, bonnet, teacup and sewing paraphernalia. It was shown at the Royal Socie...

Elegant still life with calla lilies and amaryllis by an unknown artist. Completed in a classical style, two calla lilies and two amaryllis flowers sit in a vase with Chinese designs...

Large early 20th century French oil on canvas of tulips displayed in a confit jar. Signed Jean Julien to the bottom left and presented in a period frame. A rather charming and romantic impression of a tulip display. The colour palette is soft and gentle, light and airy and the artist has managed to impart to the whole painting a chalky texture which gives the impression of soft focus. The tulips are delicately painted but with great precision and attention to detail. The artist has thought carefully about both the scale and the shape of the image. The elongated rectangle is a perfect fit for the long ranging tulip stems. A thoroughly charming painting. Jean Pierre Louis Joseph Julien was a French painter born in Marseille on the 12th of May 1888. Julien was a member of the Salon des Artistes Français, friend of Marcel Pagnol, Fernandel, Raimu and Tino Rossi. Guy Dornand called him “the ambassador of Provence in Paris”. Between the wars, he stayed in Italy, travelled to North Africa and designed posters for tourism, murals and theatre sets, while remaining faithful to his hometown. He was a member of the 'Association des Marseillais de Paris.' along with his colleague Auguste Durand-Rosé. In 1933 Emmanuel Pontremoli, director of the École nationale supérieure des beaux-arts proposed a design project for a school in Rue Saint-Martin, Paris. Several artists were given the chance to compete for this opportunity. Jean Julien impressed and was given the task. Julien taught at the School of Fine Arts in Paris and was also a drawing teacher at the Polytechnic School. Jean Julien died in Sanary-sur-Mer on the 5th of September 1974.

Early 20th Century oil on canvas still life of oranges, hops and flowers signed E Pritchard and dated 1904 bottom left, presented in period gilt ...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...