Found Objects Still-life Paintings

Botanical watercolour and gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts flowers in red, blue and green. This work was executed by Dufy as a fabric design. Dimensions: Framed: 19.5"x19.5" Unframed: 12"x12" Provenance: Private collection of works by Raoul Dufy for Bianchini Ferier Bianchini Ferrier Collection - Christie's London - July 2001 SF Fall Show Raoul Dufy was one of a family of nine children, including five sisters and a younger brother, Jean Dufy, also destined to become a painter. Their father was an accountant in the employ of a major company in Le Havre. The Dufy family was musically gifted: his father was an organist, as was his brother Léon, and his youngest brother Gaston was an accomplished flautist who later worked as a music critic in Paris. Raoul Dufy's studies were interrupted at the age of 14, when he had to contribute to the family income. He took a job with an importer of Brazilian coffee, but still found time from 1892 to attend evening courses in drawing and composition at the local college of fine arts under Charles Marie Lhullier, former teacher of Othon Friesz and Georges Braque. He spent his free time in museums, admiring the paintings of Eugène Boudin in Le Havre and The Justice of Trajan in Rouen. A municipal scholarship enabled him to leave for Paris in 1900, where he lodged initially with Othon Friesz. He was accepted by the École des Beaux-Arts, where he studied under Léon Bonnat, whose innate conservatism prompted Dufy to remark later that it was 'good to be at the Beaux-Arts providing one knew one could leave'. And leave he did, four years later, embarking with friends and fellow students on the rounds of the major Paris galleries - Ambroise Vollard, Durand-Ruel, Eugène Blot and Berheim-Jeune. For Dufy and his contemporaries, Impressionism represented a rejection of sterile academism in favour of the open-air canvases of Manet, the light and bright colours of the Impressionists, and, beyond them, the daringly innovative work of Gauguin and Van Gogh, Seurat, Cézanne, Toulouse-Lautrec and others. Dufy was an out-and-out individualist, however, and was not tempted to imitate any of these artists. He produced, between 1935 and 1937, Fée Electricité (Spirit of Electricity), the emblem for the French utilities company Electricité de France (EDF). Dufy visited the USA for the first time in 1937, as a member of the Carnegie Prize jury. In 1940, the outbreak of war (and his increasingly rheumatic condition) persuaded him to settle in Nice. When he eventually returned to Paris 10 years later, his rheumatism had become so debilitating that he immediately left for Boston to follow a course of pioneering anti-cortisone treatment. He continued working, however, spending time first in Harvard and then in New York City before moving to the drier climate of Tucson, Arizona. The cortisone treatment was by and large unsuccessful, although he did recover the use of his fingers. He returned to Paris in 1951 and decided to settle in Forcalquier, where the climate was more clement. Within a short time, however, he was wheelchair-bound. He died in Forcalquier in March 1953 and was buried in Cimiez. Between 1895 and 1898, Raoul Dufy painted watercolours of landscapes near his native Le Havre and around Honfleur and Falaise. By the turn of the century, however, he was already painting certain subjects that were to become hallmarks of his work - flag-decked Parisian cityscapes, Normandy beaches teeming with visitors, regattas and the like, including one of his better-known early works, Landing Stage at Ste-Adresse. By 1905-1906 Friesz, Braque, Matisse, Derain, Vlaminck, Van Dongen and Rouault were described collectively as Fauves (the wild beasts). What they had in common was a desire to innovate, but they felt constrained nonetheless to meet formally to set out the guiding principles of what promised to be a new 'movement'. Dufy quickly established that those principles were acceptable; moreover, he was most impressed by one particular painting by Henri Matisse ( Luxury, Calm and Voluptuousness) which, to Dufy, embodied both novelty and a sense of artistic freedom. Dufy promptly aligned himself with the Fauves. Together with Albert Marquet in particular, he spent his time travelling the Normandy coast and painting views similar...

A set of three fine hand painted botanical watercolour studies on silk of tulips by La Roche Laffitte. The works are signed bottom right. Some are titled and numbered (see photos) Th...

This painting features an abundant bouquet of blooming summer flowers in a spherical vase. Each brushstroke is my testament to the artistry and charm of summer flowers. This pa...

A pair of fine hand painted botanical watercolour studies on silk of anemones by La Roche Laffitte. The works are signed bottom right. Both are titled. The silk has been mounted on h...

Title" Freedom Flowers Painting Flowers Freedom Contemporary Modern Bold Original Nature Statement Joy Whilst creating Freedom Flowers, I connected to the gift of nature, the abund...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

Georgia-based artist Kellie Newsome specializes in dynamic and abstracted still-life artworks. Her expressive style emphasizes line structure, creating vibrant paintings that celebra...

Elisabeth Condon’s Memorial Flowers series reimagines the still life as a meditation on memory, impermanence, and renewal. Using gouache and ink, she stages vibrant floral arrangemen...

In her latest series, "The Weaver," Shizico explores forms, layers, and time onto canvases. Applying the format of diptychs and triptychs, she creates lyrical narratives, capturing t...

This contemporary abstract Impressionist painting, infused with elements of Expressionism and Art Brut, was created by French artist Natalya Mougenot as part of her ongoing series de...

In this floral artwork "Vibrant bloom" I experience the world of nature through the bright colors of a summer period. While painting, I sought to capture the beauty of summer flower...

Unorthodox; yet effective, Suki treats us to a series of works that tantalizes the imagination with bold strokes of dark and light, hinting at shapes both human and ethereal and pulling us through the two-dimensional surface of the canvas into the mysterious depths of a multidimensional world. Her works resonate with strong, masculine strokes, vibrant colors, and passionate themes. The common factor is that when looking at her pieces you can spend some time letting your mind play within each painting and you'll come away with a much richer understanding of what Suki Maguire's art has to show at a simple glance. This painting is signed by the artist lower right, and titled and dated on verso. Art measures 28.5 x 35.75 inches There is a great potential for discovery in Maguire's world of symbols, but a passing glance will not do, you have to allow your gaze to linger on this part and that of each painting so that your subconscious will have the opportunity to retrieve the elusive forms that seem to be hiding within the more obvious shapes. This holds true even in those works that incorporate letters of the Korean or Latin alphabet, which serve as glyphs bearing some symbolic meaning that goes beyond the mere representation of sound. She has exhibited internationally in Seoul, Nantucket, New York and Italy. Her styles and materials have ranged from realism to abstract, from water and oil colors to acrylics and coffee grounds. Suki Maguire (Kim Jong...