Umetaro Azechi

Stand On The Snow Gorge

1956

Surrealist style painting painted with casein paint. Titled and dated by the artist as well as signed. Painting was shown in many exhibits around Texas. Framed in a rustic wooden fra...

Textured abstract painting of what appears to be a serpent or venus fly traps. The painting is signed by the artist on the back of the canvas with the date. Canvas is not framed. Artist Biography: Robert Del Rio is a Mexican artist who has a very distinct abstract style. His solo exhibits include: 2019 Art Palm beach by Marcel Katz 2018 The art plug...

Surrealist portrait of a man with multiple shades of black, grey, and white. The painting is signed and dated in the bottom right corner. The painting is framed in a black frame with...

Colorful, pastel-toned painting by contemporary artist Henry David Potwin. This work features a woman driving a yellow car driving through a group of rabbits. Signed in the front low...

This woodcut black and white is part of my private collection. It is in very good condition. It is artists signed in the lower right and numbered o the left. Atelier Othon-Friesz

Raoul Dufy was an important multifaceted French artist who worked in a variety of media including painting, print making, mural design, theatre and costume design, upholstery, wall paper, ceramics, and fabric. In his paintings he often depicted the circus, equestrian scenes, Parisian cafe life, yachting scenes, colorful views of the French Riviera, and musical events in a distinctive style that combined the various artistic trends of the day, most notably Fauvism. Born in 1877 in Le Havre France, and after a year of military service in 1900, Dufy won a scholarship to the Ecole Nationale superieure des Beaux-Arts, in Paris, studying under Othon Friesz. He exhibited extensively throughout Paris and France at the various salons, including the Salon des Tuileries. For the 1937 Exposition Internationale in Paris, Dufy completed one of the largest paintings ever conceived, a 250...

Haren Das - Untitled Woodcut on Paper 12.28 x 9 inches, 1991 ( Unframed & Delivered ) Born in Dinajpur in present day Bangladesh on 1 February 1921, Das took a diploma in fine art, ...

As Florence Ingersoll-Smouse wrote in 1921 in her book devoted to Jean-Baptiste Pater, "a painter of the Fête galante, Pater is interesting both by his intimacy with Watteau, to whom many of his works are still attributed, and by his own value as an artist.” This sanguine, full of life and spontaneity, is typical of the preparatory studies made by the painter to be used later in the composition of his paintings. 1. Jean-Baptiste Pater, pupil and disciple of Antoine Watteau Antoine Pater, Jean-Baptiste's father, belonged to the petty bourgeoisie of Valenciennes where he worked as a merchant-sculptor. His brother Jacques was a local painter who was probably involved in his nephew's training. Born on December 29, 1695, Jean-Baptiste Pater was first trained with Jean-Baptiste Guider, a local painter whose death in 1711 was probably the reason for Jean-Baptiste’s departure alongside Watteau, who was visiting Valenciennes. Watteau's difficult character led to their separation in 1713. Back in Valenciennes, Jean-Baptiste Pater encountered difficulties with the powerful Corporation of Saint-Luke (to which he refused to belong) which forced him to return to Paris in 1718. He reconciled with Watteau shortly before his death (on July 18th 1721), inherited the commissions that Watteau had been unable to fulfil and completed some of his paintings. Pater was accepted by the Académie Royale in 1725 but did not produce his reception painting The soldier’s revels until three years later. Throughout his brief career (he died at the age of forty on July 25th 1736), he mainly had a clientele of amateurs and received only one royal commission, shortly before his death. 2. Description of the drawing and related artworks Pater had adopted his master Watteau's method of composition. His study drawings were carefully glued in a notebook and were used to animate his compositions. His paintings sometimes suffer from a somewhat artificial composition, since the figures seem to be pasted one next to the other. This point has also been made about Watteau’s. The theme of military scenes (which was at the time included in the genre of Fêtes galantes!) was one of Pater’s favourite subjects. Together with the Bathing Women...