Marcel Dyf

A Still Life of Roses in a Ceramic Vase. An oil on canvas

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...

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...

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...

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 ...

A wonderful example of Dorothea Sharp's still lifes. Full of vibrancy and effervescence this painting ,with her classic broad brush strokes, show her talent at its best. It is in a w...

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...

Katharine spent a long time mixing paint to reach the right level of smokiness and avoid any saccharine pink in these peonies. They seem to be quite solid but at the same time quite delicate, they are a joy to paint. Katharine Rowe is an English painter she graduated in Fine Art and History of Art at the University of Edinburgh in 1999 and spent a year studying at Université de la Sorbonne, Paris. Having spent a decade working in advertising Katharine felt the increasing need to be out of the office and with her paintbrush. The past 9 years have been dedicated to just that. Katharine is strongly motivated by colour and she often spends up to an hour mixing and preparing paints before turning to the canvas. Katharine is always inspired by her surroundings from the varied landscapes of London...

Jonquil Williamson is known for her vibrant still lifes and rich tonal landscapes. Although her work is mostly representational, she allows the mark-making and textures created as she layers the paint, to inform the image. Of her work she shares, “like many still life painters, I find inspiration from taking everyday things and elevating to something beautiful and positive. I strive to create an atmosphere with my works; from the calmness and serenity of Morandi-inspired clusters of pots and vessels...

This is an original Impressionist oil painting by American-Cuban Artist Jose Lima . He uses a wide spectrum of oil paint which captures the scene or object in a spontaneous vibrant I...

Belgium, 1866-1942 Herman Richir initially studied at the Art Academy of Sint-Joost-ten-Noode in Brussels, where he studied with Gustave Biot and Charles Hermans. He then went on to...

Original Oil on Canvas work by Russian-Canadian artist Anna Razumovskaya featuring impressionist style purple flowers and a vase. Razumovskaya's signature soft brushwork is on displa...

Classic Impressionist still-life oil painting by American artist George Oberteuffer. Tabletop Arrangement (c.1925) Oil on canvas 30" x 36" 39 ½" x 45 ¼" x 2 ½" framed Signed "Ober...