Expressionist Paintings

Acrylic on press-prepared canvas.

MANE KATZ [Katz Emmanuel] 1894-1962 Kremenchug, Ukraine 1894-1962 Tel Aviv (Russian / Ukrainian / French / Israeli) Title: Fishermen by the Boats, circa 1941 Techinique: Original Signed Oil Painting on Canvas Size: 51 x 61 cm / 20.1 x 24 in Additional Information: The work is signed "Mane Katz" on the right hand side. This work was painted circa 1941. Provenance: Graham Gallery...

Oil on canvas, 1940 by Walter Wellenstein, Germany. Signed and dated lover right: Wellenstein 40. Verso by hand described ( title, name and date ). Framed. Height: 11.02 in ( 28 cm ...

Oil on cardboard, 1979 by Heinrich Richter-Berlin ( 1884-1981 ), Germany. Signed and dated lower left: Richter-Berlin, Nov. 79. Signed, dated and inscribed verso. Framed. Height: 21...

Angel's language is a painting made by Evelyne Ballestra, a French contemporary artist. In this sign series, the artist explores a world of signs, symbols and spirituality. Her disti...

Nadezhda "Nadya" Yakustidi, is a Russian artist, currently residing and working in Athens, Greece. Nadya was born in 1967 in Stavropol, Russia. She is a distinguished awardee of the ...

The Fighters. Signed and dated lower left, also signed and titled on reverse. Erwin Guillermo was born in Guatemala City in 1951. He is one of the best representatives of Guatemalan Art...

Nadezhda "Nadya" Yakustidi, is a Russian artist, currently residing and working in Athens, Greece. Nadya was born in 1967 in Stavropol, Russia. She is a distinguished awardee of the ...

Lotus is a painting made by Evelyne Ballestra, a French contemporary artist. This piece is a part of a flower series, defined by their distinct bright colors, satiny, silky, vibratin...

Concert is a colorful painting made by Evelyne Ballestra, a French contemporary artist. The artist uses bright colors in this expressionist painting to show how she feels the musical...

acrylic on linen Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the, n...

original Acrylic on Linen Image size: H:60 cm x W:60 cm Complete Size of Unframed Work: H:60 cm x W:60 cm x D:1.5cm Sold Unframed Please note that insitu images are purely an in...

Signed expressionist oil on canvas portrait circa 1942 by French painter Jean Albert Pougny. The work depicts a violinist in an interior. Signatur...

French Expressionist Provençal landscape, oil on board, by French artist Jean Arène (1929 - 2020), depicting a Provençal, South of France landscape. The painting is signed bottom rig...

Adolphe Aizik Feder (Ukrainian, 1886-1943), alternate spelling Adolf Feder "Portrait of a Rabbi" Oil painting mounted to board. Signed (upper left). Sight size, 6 3/4 by 5 1/8 inches; overall as framed, 8 3/8 by 6 3/4 inches. Adolphe Féder (1886 – 1943) was a Jewish-Ukrainian painter and illustrator. He moved to France in 1908, where he remained until his deportation and subsequent murder at the hands of the Vichy regime. Adolphe Feder is best-known today for the artwork he produced of those interned with him in the Drancy internment camp. Born to Jewish Ukrainian merchant parents, in 1905 Féder found himself involved in the revolutionary Bund Labor Movement. His involvement in the organization would force him to flee to Berlin, Germany at the age of 19. Following his time in Berlin, Féder moved to Geneva, Switzerland before moving to Paris, France in 1908 to study at the Académie Julian. At the Académie he studied painting and worked closely with the French Impressionist, Henri Matisse in his workshop. In 1926, Féder made a trip to British Mandate Palestine (Israel). On his trip he encountered many Judaic elements, which he painted. The trip's impact on him yielded many of his most notable paintings such as "Juif à barbe tenant un plateau" ("Bearded Jew holding a tray"). When Féder returned to Paris, he brought many of these paintings back with him, which garnered him recognition in the Parisian artistic community. Before Féder was sent to Auschwitz he painted prisoners and guards in the Drancy internment camp. When Nazi troops marched across France in 1942, Féder, aged 52, tried to get in contact with the French Resistance but was caught by the Pétain militia. He and his wife were arrested on 10 June 1942 and imprisoned in Cherche-Midi prison; he was transferred to the Drancy internment camp in September 1942. In Drancy, Féder continued to paint, creating portraits of those around him such as the other prisoners and guards. His paintings stopped with his deportation to the Auschwitz concentration camp on 13 December 1943 where he was murdered. Féder's wife, Sima Féder, donated Féder's works from inside Drancy to the Ghetto Fighters' House upon her death in 1967. Féder's success came in 1912 when his landscape works were displayed at the Salon d'Automne. He continued to paint following this including a series of 45 illustrations created for a book of poetry by French poet Arthur Rimbaud. The book received a limited run of 350 copies in 1924, but was commended for its watercolor illustrations. When Féder's work appeared in the Fearon Galleries in 1923, his work received great praise. A monograph on Féder was written in 1929 by Gustave Kahn. (also known as Aizik Féder or Айзик Федер) He was associated with The School of Paris, Ecole de Paris, which was not a single art movement or institution, but refers to the importance of Paris as a center of Western art in the early decades of the 20th century. Between 1900 and 1940 the city drew artists from all over the world and became a centre for artistic activity. School of Paris was used to describe this loose community, particularly of non-French artists, centered in the cafes, salons and shared workspaces and galleries of Montparnasse. Before World War I, a group of expatriates in Paris created art in the styles of Post-Impressionism, Cubism and Fauvism. The group included artists like Pablo Picasso, Marc Chagall, Amedeo Modigliani and Piet Mondrian. Associated French artists included Pierre Bonnard, Henri Matisse, Jean Metzinger and Albert Gleizes. The term "School of Paris" was used in 1925 by André Warnod to refer to the many foreign-born artists who had migrated to Paris. The term soon gained currency, often as a derogatory label by critics who saw the foreign artists—many of whom were Jewish—as a threat to the purity of French art. Art critic Louis Vauxcelles, noted for coining the terms "Fauvism" and "Cubism", Waldemar George, himself a French Jew, in 1931 lamented that the Ecole de paris, School of Paris name "allows any artist to pretend he is French. it refers to French tradition but instead annihilates it. The artists working in Paris between World War I and World War II experimented with various styles including Cubism, Orphism, Surrealism and Dada. Foreign and French artists working in Paris included Jean Arp, Joan Miro, Constantin Brancusi, Raoul Dufy, Tsuguharu Foujita, artists from Belarus like Michel Kikoine, Pinchus Kremegne, and Jacques Lipchitz, the Polish artist Marek Szwarc and others such as Russian-born prince Alexis Arapoff. A significant subset, the Jewish artists, came to be known as the Jewish School of Paris...

Elin Siân Blake. Welsh ( b.1981). Iron Puddlers. Oil on box canvas. Signed lower right. Image size 19.7 inches x 15.6 inches ( 50cm x 39.5cm ). Frame size 20.9 inches x 16.9 inches ...

Paul Manes was born May 4, 1948 in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has been widely exhibited in America and Europe and hi...

Untitled Turq Rain Oil On Canvas 60" x 66" Paul Manes was born May 4, 1948, in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has bee...

Untitled Sunflower Oil On Canvas 60" x 66" Paul Manes was born May 4, 1948, in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has bee...

“Catching the Train” by Catherine Picard-Gibbs is an evocative railroad scene, painted with a heightened color palette of orange, gray, and blue. Dynamic and gestural brushstrokes ad...

A beautiful still-life of yellow and red tulips in a vase by Karl Nordström (1855-1923), signed 'KN' and dated a tergo 1917. The vibrant flowers are standing in a vase which is place...

Sir Jacob Epstein (1880-1959) Little Monk Wood Signed Watercolour and touches of gouache 22 x 17 inches Please note, for international buyers, the glass will be removed to avoid any...

During the artists carrier he only painted 2 Picador's of this size for the exhibition at Galerie Maurice Garnier, in Paris France, who was his dealer at the time. Shortly after the ...

Le Tennis is a beautiful large painting by the artist and painted painted in 1981. The artist has one of the paintings in his own collection and was happy to hear when we acquired t...

This was a very peaceful time for the artist and he painted very few paintings in 1982. he loved the sea, Saint Tropez where he had a home and loved to go. A painting of the Port of ...

This is a very calm period for the artist (1982) as he painted very few paintings at this time and date. One can see the transition from portraits of 1979 and the difference of 1982...

Grand Bouquet was painted with in one year before his death and one can notice the difference as he neared that final day, October 4, 1999, mid day, at his Chateau in Tourtour Fran...

Evelyne Ballestra's work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged....

‘Arms Crossed’ is a medium size vertical expressionist figurative oil on canvas painting created by Vietnamese artist La Ba Quan in 2011. Featuring a palette made of grey, soft blue, green and pink, the painting brings to mind the fascinating aura of a Chaim Soutine. This expressionist painting is dominated by the tortuous lines of the man’s silhouette...

‘Emotional’ is a large expressionist figurative oil on canvas painting of vertical format created by Vietnamese artist La Ba Quan in 2011. Featuring a palette made of grey, brown, bl...

Bernard Lorjou has painting this subject "Harlequins" many times in watercolors, drawing , oil paintings and later on in the late 60's in acrylic, both on canvas, paper and some on m...

Oluwafemi Akanmu is a Nigerian artist known for his exceptional talent in creating striking artworks that reflect the beauty and complexity of African culture. "Soul Gazing" is one o...

This piece is intense and vibrant, and painting this was a real emotional sanctuary for me. The wild and rich crimson and orange hues blend well with the flowing teals and blues. A t...

Paul Manes was born May 4, 1948, in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has been widely exhibited in America and Europe and h...

Paul Manes was born May 4, 1948, in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has been widely exhibited in America and Europe and h...

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret (these are generally hand signed Awret Safed on the verso. I just have not opened the frame to check) the actual glazed ceramic is 10.25 X 14.75 inches. It depicts a girl or woman with potted plants, birds, pomegranates and other fruits and flowers in a naif, folk art style. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret - who would later become her husband. Among the other artists in the workshop were Herbert von Ledermann-Vütemberg, a sculptor from an aristocratic family with Jewish roots, Léon Landau, and Smilowitz, who perished in the camps in the East. Irène and Azriel tried to bribe a German officer to prevent Smilowitz's deportation. Not only were they unsuccessful, but they were almost put onto the same train. Jacques Ochs was another artist with whom they became friends in the camp. Ochs, a French-born Protestant who lived in Belgium, was interned as a political prisoner. He remained in Belgium after liberation. After the war the Awrets immigrated to Israel and made their home in Safed. They continued to work, and were instrumental in founding Safed's artists' quarter. The Beit Lohamei Haghetaot (Ghetto Fighters' House Museum) art collection holds works donated by Awret. These date from her time in Malines camp and from her stay in Brussels after the war, when she was in the company of orphans who had hidden while their parents were sent to Auschwitz. Her highly expressive works have made their way to exhibitions at theTel Aviv Museum, the Haifa Museum of Modern Art and the Modern Art Gallery in Washington, D.C., as well as into the private collections of such individuals as Dr. Jonas Salk...

A crayon and chalk drawing of a band by French artist Jean Arène. The work is signed and dated top left. Presented in plain metal frame under glass. A charming coloured drawing of a Provencal musical band. The French equivalent of a 'mariachi band'. Two trumpet players, a tuba and a drum. The musicians are all wearing straw 'boater' hats and striped blazers. In the background is the terrace of a café with its green tables. Arene has captured, with a lightness of touch, all the excitement and animation of the scene. Jean Arène was a student of August Chabaud, a highly sought after French artist in Provence who in turn took his inspiration from Cezanne. After a stint in 1949 at the School of Fine Arts in Marseille, then a year in Paris in 1950 with the poster artist Paul Colin, Jean Arène returned to Marseille the following year where he founded the "Group of under 30' with Trofimoff, Trabuc, Zutter and Mela and began painting as an autodidact, while earning a living in advertising and decoration. His first exhibition dates from 1956. Then, from 1957, Jean Arène left the city for the countryside, which served as his base for many trips, often hitchhiking and backpacking, but always accompanied by a pencil and a sketchbook: Spain, Morocco in 1957, West Africa in 1960, (followed by an exhibition in Dakar), Northern Europe (Germany, Denmark, Sweden, Norway, Lapland , Lofoten, Netherlands and Belgium) In 1963 a trip to Tunisia. Then in 1966 his first retrospective in Toulon. In 1970 Arène left for the United States and Mexico, followed two years later by West Africa again: Tassili, the Sahara and Algeria. He exhibited extensively in Provence and the Gard: Aix-en-Provence, Uzès, Avignon, La Ciotat...

In "Black Elegance," Odetomi skillfully brings forth the allure of a woman wearing a striking traditional Ankara head tie. The Ankara fabric, renowned for its vibrant patterns and bold colors, holds deep cultural significance in many African countries. The artist's meticulous strokes and rich palette draw attention to the intricate patterns and textures of the head tie, which gracefully wraps around the woman's head, exuding elegance and confidence. Enhancing the artwork's magnificence are the subtle nuances captured in the woman's expression and posture. Her gaze reflects strength and determination, while her regal pose embodies the grace and resilience often associated with African women. Through his artistry, Odetomi captures not only the physical beauty of the subject but also her inner strength and cultural heritage. "Black Elegance" by Abayomi Odetomi...

The painting was painted Plein Air, in Artist's own garden of the memorial roses she planted. This is Rosa Albertine, the first Old English variety Artist Shizico Yi planted in her garden in 2016, before her late dog died. Old English Roses...

A rare chance to collect an original oil painting by Shizico Yi at the lowest price possible. We offer the original artwork with a artist’s lifetime Warranty too! Taking on the inspiration of the legendary poet, Dylan Thomas, the poem, Do not go gentle into that good night, is a painting celebrates life in its ageing; as Rosa Albertine only flowers once in early Summer with the most festive blooms and heavenly scents, a symbol of a fully lived life. About the Painting : Painted Plein Air, in Artist's own garden of her very own planted memorial roses. This is Rosa Albertine, the first Old English variety Artist Shizico Yi planted in 2016 in her garden before her late dog died; Old English Roses...

Nudes By. Salcia Bahnc (Polish, American, 1898-1976) Signed Lower Middle Unframed: 14 x 18 inches Framed: 23 x 26 inches Painter, illustrator, printmaker, teacher. Born in Dukla, Poland. Though she was born in Dukla, a town in south-eastern Poland, she moved to Prsemysl, one of the largest and most ancient cities of southern Poland, at a young age. Her mother was reportedly descended from the "Van Ast" family, a Dutch dynasty that produced several artists, including Balthasar van der Ast (1593/4 - 1657). According to one art historian she came to New York at the age of five (c. 1903), and another, at the age of eight (c. 1906). Her family was Jewish and reportedly quite wealthy. Why they would have left imperial Austria, under whose sovereignty either of her proposed birth cities were under, is unknown. However, while these areas did not suffer the pogroms typical in neighboring imperial Russia, the Austro-Hungarian empire had become much more anti-Semetic, which may have hasten there departure. How, according to one source, they ended up living in the Jewish ghetto of New York is extremely puzzling. Did they loose their wealth to some business disaster? Where they forced to leave it behind? Was there some familial tragedy? We may never know. In her youth she lived first in New York City and then in Boston, Massachusetts, where her family had relatives. It is reported that when she was in fourth grade she was found to be so competent in drawing that for the next two years she taught a drawing class after school for the other children. In Boston, Bahnc's mother eventually remarried and moved the family to Chicago where the young artist was primarily raised. In Chicago she worked during the days as a sales clerk in a department store. At night she put herself through school at the School of the Art Institute of Chicago (SAIC) and taught at her former alma mater after her graduation during the years 1923-1929. She also studied at the Chicago Academy of Fine Art. She took up design work and began exhibiting painted silk creations at a private Chicago gallery (probably Thurber, see below). The first museum exhibitions she is known to have participated in were held at the Art Institute of Chicago. During this period she became known for her portraits. Originally a resident alien, she was naturalized at the district court of Chicago, Illinois in July of 1913. In 1920 she lived on East Ontario Street in Chicago in a neighborhood filled with art studios and artists, including James Allen Saint-John (1872-1957), Paul Bartlett (1881-1965), Pauline Palmer (1867-1938), and George Ames Aldrich (1872-1941). It is in Chicago that she saw her greatest success as an artist. In 1927, Chicago art dealer Chester H. Johnson said of her work: "The Art of Salcia Bahnc is a sincere manifestation of the spirit we know as 'Modernism' . . . . . . She is the spirit of the Age, not its Fashion." Local reviewers agreed, one going as far to say that her exhibition was " . . . the most interesting one man show by a young artist that has ever been presented to Chicago, and I keep telling myself that New York will get her if we don't watch out." She was apparently a favorite and friend of art critic Clarence Joseph Bulliet (1883-1952), who authored a number of books and articles that praised Bahnc's work. Bulliet was central in introducing and popularizing modern art in the mid-western United States. In his book Apples and Madonnas: Emotional Expression in Modern Art (1935) he called Bahnc a "A thorough Expressionist." A year later in his book The Significant Moderns and Their Pictures (1936) he noted that one of her paintings of a nude was ". . . powerful in its elemental brutality." During this period other critics reported positively on the work she was producing. Ida Ethelwyn Wing reported in a volume of the Delphian Text (1930) that Bahnc, was without doubt, ". . . the most vigorous and intensively original of the American Expressionists." Paul Masserman and Maxwell Baker said of her in their work The Jews come to America (1932) that she was part of a group of artists that were "Chief among modern Jewish painters. . . " Salcia Bahnc traveled back and forth to Europe during the late 1920s and into the 1930s, a period when she faced the rise of totalitarianism. She wrote about this fact to a fellow artist to whom she commented " . . . about the difficult art scene in Paris . . . . . . and the growing power of fascism." In 1930 she was maintaining a studio in New York City at 1218 East 53rd Street and a residence in Brooklyn, Long Island. She returned to France where she married a French citizen and writer named Eugene Petit (b. 1901) and bore a son there named Alain Petit (b. 1934). She again returned to the United States in November of 1937 and traveled back to France after a brief stay in America. During her stay she continued to exhibit in Chicago, where Quest Galleries gave her a solo show. Like so many ex-patriot authors and artists who were living in Paris, she found herself trapped in France (first in Paris, then in Mayenne) following the German invasion in 1940. Being of Jewish extraction the situation could prove to be quite dangerous if she were reported or discovered by German authorities. She and her husband were able to obtain passports and escape to Portugal where in August of 1941 they boarded the S. S. Escambion to return to America. In 1940, American Export Lines, owners of the Escambion, discontinued its normal Mediterranean routes and placed their ships into service sailing from Lisbon, Portugal to New York City. Over the next two years (1940 - 1941) their ships played an important role in transporting thousands of people who were trying to escape the Nazi regime before America's own entry into World War II. One survivor, Ludwig Lowenberg, who sailed on the Escambion on the same day that Bahnc did, reported the ordeal his family endured getting to Lisbon to his own descendants: "[The family] received their American visa on May 28, 1941, only three days before the U.S. consulate in Stuttgart closed for the duration of World War II. They left Berlin on June 23, 1941, traveling for 27 hours on a locked train to Paris. There they were forced to spend an additional night in the locked train until their coach was attached to a train headed for San Sebastian in Spain. After an overnight hotel stay in San Sebastian, the train (now no longer locked) continued to Lisbon. All in all it took six days from Berlin to Lisbon. They remained for four weeks in Lisbon until they embarked on the Excambion for New York." Bahnc had given up her citizenship during her time in France and was forced to reapply for naturalization once again upon her return. She was living in New York City at 101 West 85th Street when she was re-naturalized in April of 1947. Exactly how much of her artwork was lost in Europe is not known. Clearly, she would not have been able to bring much, if anything, with her during her escape. One writer had noted that between 1930 and 1934 she had worked hard to prepare a large group of new works for a show in Paris. Between those, and what she would have produced during the next six years, the actual amount of the loss might have been staggering. Bahnc's 1942 exhibition with Julio de Diego included works recalling the suffering going on in Europe. One work in the exhibition was a portrait of the painter Katherine Dudley, who, at the time, was reportedly interned near Paris. In the later years of her career she worked extensively as a teacher and illustrator of children's books. In 1950 she taught at the Evanston Art Center, where she lead a demonstration in portrait painting. She authored or illustrated a number of works during and after World War II, including: The House in the Tree and Other Stories of Places, People and Things (1941); Claude Of France: The Story Of Debussy For Young People (1948); Time for Poetry (1951); Hidden Silver (1952); From Many Lands - The Children's Hour, Volume 9 (1969); and That Boy (no date). She returned to teach at the School of the Art Institute of Chicago during 1943-44 and 1947-53; and taught later at the Garrison Forest School in Garrison, Maryland, from 1955-57. Bahnc was known to have exhibited widely, both in Europe and in America. Her known lifetime exhibitions include: The Art Institute of Chicago, Chicago, IL, 1919-29, 1942 (The 53rd Annual; and Room of Chicago Art: Exhibition of Paintings by Salcia Bahnc and Julio de Diego), 1943; Chicago Architectural...

Pink flower field. Summer landscape: a pink field, a celebration of bright flowers and herbs on a summer day creates an atmosphere of relaxation, harmony and bliss. Abstract expressi...

It is imperative to say that one cannot separate the African culture and the use of proverbs. Prof. Chinua Achebe who was a novelist, poet, and one of the dominant figures of modern...

Hitherto we are constantly being reminded of how imperative it is to get inquisitive and learn more about our history and heritage as a people. Having a strong understanding of what ...

This painting was completed at his home in the South of France between 1953-1955. There is no in painting, relining or cracks in the paiting and original stretcher.

The Other Side is an original painting by Bright Toh. Bright created Other Side Acrylic on a 47.2W by 47.2H inches primed canvas. The world of art is filled with countless masterpieces that have captivated audiences for generations. Each piece carries with it its own unique story and message, conveyed through a wide range of styles, colors, and techniques. One such artwork that has recently caught the attention of many art lovers is "The Other Side", a bright and colorful piece featuring an elephant head with its long tusk on a human body. At first glance, "The Other Side" appears to be a whimsical and playful piece, bursting with vibrant colors and patterns. The elephant head, with its long trunk and tusks, is instantly recognizable, and yet it is placed on top of a human body, creating an unusual and surreal image. The elephant's expressive eyes and playful smile add to the overall sense of joy and wonder that the artwork evokes. But there is much more to "The Other Side" than meets the eye. Upon closer inspection, it becomes clear that the piece is imbued with deep symbolism and meaning. The fusion of human and animal forms represents the interconnectedness of all living beings, reminding us that we are all part of the same great tapestry of life. The elephant, with its reputation for wisdom and strength, represents the power and potential of the human spirit. The bright colors and intricate patterns of "The Other Side" are also laden with meaning. The bold hues of orange evoke feelings of joy, energy, and vitality, while the swirling patterns suggest movement and flow. The use of color and pattern is also a nod to the rich cultural traditions of the artist's homeland, imbuing the piece with a sense of cultural identity and heritage. But perhaps the most striking aspect of "The Other Side" is the way in which it challenges our perceptions of reality. By merging the form of an elephant with that of a human, the artwork invites us to question our preconceived notions of what is possible and to embrace the infinite potential of the human imagination. It encourages us to explore the boundaries of our own creativity and embrace the unexpected. In conclusion, "The Other Side" is a remarkable piece of art that manages to be both playful and profound. Through its use of color, pattern, and form, it conveys a deep sense of interconnectedness and the power of the human spirit. At the same time, it challenges us to question our own perceptions of reality and to embrace the limitless potential of the human imagination. As such, it is a masterpiece that is sure to captivate and inspire art lovers for generations to come. Bright Toh work portrays the exquisite synergy that exists between the evolving African man, wildlife, and their common environment, through the possession of totems as a liaison to his ancestries, which is a core aspect of his identity and cultural heritage. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Born on the 6th of august 1994 in Buea, Bright Toh holds a Bachelor’s degree in Engineering Electrical and Electronics Engineering from the University of Buea. Notwithstanding his Engineering academic background, Toh is a self-taught visual artist. Bright Toh is a visual artist with artistry portraying the exquisite synergy that exists between the evolving African man, wildlife, and their common environment, through the possession of totems as a liaison to his ancestries, which is a core aspect of his identity and cultural heritage. He is a 2022 ‘Last Picture Show’ Lagos Edition (Collective exhibition) Participant. He also won the UNHCR global Youth With Refugee Art...

year: 1968 poster was made of the painting p.130 full black & white image ( million copies) For the benefit "Freedom from Hunger" Campaign" under the auspices of Food and Agriculture Org. of the United Nations.

Still Life Painting of Green Plant by Cubist Fauvist British Artist, Steve Capper Art measures 20 x 30 inches Frame measures 26 x 36 inches Presented in a high quality black wooden moulding Steve Capper attended Manchester’s High School of Art in 1955, the Manchester College of Art in 1962 and Bretton Hall College in 1965. He taught painting for thirty years as head of a large art faculty in an Oldham comprehensive school, before taking early retirement in 1996 to concentrate on producing his own work. Capper produces on-the-spot sketches which are then taken into his studio where he re-works them into a painting. Both his landscapes and his still-life paintings reflect the influences of the cubists and the fauves. The work of Picasso, Braque and Matisse are amongst his major influences. Capper still lives and works near Oldham, in the Pennines...

Still Life Painting of Two Plants on an Orange Table by Fauvist British Artist, Steve Capper Art measures 20 x 28 inches Frame measures 25.5 x 33.5 inches Presented in a high quality black wooden moulding Steve Capper attended Manchester’s High School of Art in 1955, the Manchester College of Art in 1962 and Bretton Hall College in 1965. He taught painting for thirty years as head of a large art faculty in an Oldham comprehensive school, before taking early retirement in 1996 to concentrate on producing his own work. Capper produces on-the-spot sketches which are then taken into his studio where he re-works them into a painting. Both his landscapes and his still-life paintings reflect the influences of the cubists and the fauves. The work of Picasso, Braque and Matisse are amongst his major influences. Capper still lives and works near Oldham, in the Pennines...

Mid Century French oil on canvas of two couples enjoying a day at the beach by Jef Friboulet. Signed bottom right, titled, dated and signed dedication to the rear of the canvas, presented in fine hand decorated and gilt Florentine wood frame. With his characteristic charm Friboulet has captured a scene of two couples enjoying a trip to the beach. In the foreground a couple seem to be all bundled up and under an umbrella, the figures highlighted by the contrast in colours between the vibrant red and the black. In the background another couple, again in red and black, this time one lady has her bathing costume on and the other sitting on a foldable picnic...

Still Life with Tulips Size: 51 x 46 cm (including frame) Oil on board A vibrant and uplifting mid-century still life composition, painted in o...

Abstract Landscape Painting entitled Red Hills Cubist Fauvist British Artist, Steve Capper Art measures 16 x 20 inches Frame measures 25 x 29 inches Steve Capper attended Manche...

When over the many years being in the company of Annabel Buffet she always said, "You must not talk about the painting, it should talk too you". Words of a wise person. So.... One mu...

"The Kunafeh Merchant" Oil Painting 27" x 31" inch (1960) by Youssef Sida Signed and dated 1960 Youssef Sida 1922-1994 Born in 1922 in Damietta, and in ...

medium: oil on masonite size: 13 3/4" x 10 5/8" ( 46 x 38 cm.)

A very rare composition by the artist Jean-Pierre Cassigneul, the woman holds a beautiful Bouquet of Roses is rare by the artist, she is wearing a beautiful chapeau in front of a p...

Beautiful oil painting of Spanish dancers by Eduardo Pisano Circa 1950S-1960s Oil on canvas The painting measures 18" W x 24" H The frame measures 24.75"...

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret is signed Awret Safed on the verso. the actual glazed ceramic is 10X15 inches. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret...