Expressionist Art

"2Pac and Snoop" by James Ogamba Tochukwu is a striking artwork that pays homage to the iconic figures of 2Pac and Snoop Dogg, two influential fi...

This exquisite lithograph by Marc Chagall (1887–1985), titled L'Ange (The Angel), from The Lithographs of Chagall I, originates from the October 1960 issue published by Andre Sauret,...

In this oil painting, infused with expressionism and realism, I captured the vivid essence and delicate poise of a small bird perched on a branch. The soft, blended background in gre...

In this vibrant oil painting, I've poured my zest for nature and renewal. Brushstrokes blossom across the canvas, capturing the essence of a serene pond, where time seems suspended. ...

This exquisite silkscreen by Faith Ringgold (1930–2024), titled The Right to Vote, from the folio Letter from Birmingham City Jail, originates from the 2007 edition published by The ...

Edvard Munch (1863 - 1944) (after) Young and Old Woman Poster printed in offset lithograph (from Munch's original woodcut "Women on the Shore" of 1898) Printed in Mourlot workshop, Paris 76 x 53 cm (30 x 21") INFORMATION : Realised for the exhibition in the Los Angeles County Museum...

Painted plein air in Boulder, Colorado. Kirsten Savage is one of Colorado’s top representational artists. As an avid world traveler and experienced mountaineer, Kirsten spends her t...

Framed 20.5 x 18 image 14.5 x 12 Heinz Hugo Erich Elsas, (German-Brazilian 1925-1994) later known as Harry Elsas. Muralist, writer, designer best known as a painter. Born in 1925 in Stuttgart, Germany, 1n 1936 At the age of 14 he moved with his family to Sao Paulo, Brazil fleeing from World War II and of the persecution of the Jews. A self taught artist he was influenced by the Flemish artists, his work reveals remarkable influence of Brueghel and Hieronymus Bosch. He worked in the workshop of Portinari, participating in the Tiradentes mural. His work went through a post-Expressionist phase, culminating in the adoption of cubism and is characterized by the habit of creating a three-dimensional structure before painting a picture. In 1945, he was working with Lasar Segall...

This lithograph is immediately identifiable as the work of Lester Johnson (1919-2010) . The print is titled “Frontal Street Scene.” It was published in 1970 by Collector’s Press. Th...

"Fantasy with Flowers" (series of 200+ pictures)   paper 59x42cm  On the paper acrylic, oil pastel, felt-tip pen, ink, gold leaf, pencils, silver,mixed media. Flowers are a smile of ...

In this painting, I've melded vibrant acrylic and oil hues to craft an imaginative dreamscape. Embracing naive charm and pop art vibrancy with a touch of impressionism, it captures t...

In a fervent dance of color and texture, I've brought to life the serene beauty of nature's gentle floaters, the water lilies. Through energetic brush strokes in acrylics, my vision ...

This exquisite lithograph after Kathe Kollwitz (1867–1945), titled Selbstbildnis (Self-Portrait), from the folio Kathe Kollwitz, Ten Lithographs, originates from the 1941 edition published by Henry C. Kleemann, New York, and Curt Valentin, New York; printed by Duenewald Printing Corporation, New York. The composition reflects Kollwitz’s profound engagement with themes of identity, introspection, and human vulnerability, rendered with stark emotional intensity and a powerful graphic economy that underscores her enduring social message. Executed as a lithograph on velin paper, this work measures 19 x 16 inches (48.26 x 40.64 cm), overall; 10.5 x 9 inches (26.67 x 22.86 cm), image. Unsigned and unnumbered as issued. Artwork Details: Artist: After Kathe Kollwitz (1867–1945) Title: Selbstbildnis (Self-Portrait), from Kathe Kollwitz, Ten Lithographs Medium: Lithograph on velin paper Dimensions: 19 x 16 inches (48.26 x 40.64 cm), overall; 10.5 x 9 inches (26.67 x 22.86 cm), image Inscription: Unsigned and unnumbered as issued Date: 1941 Publisher: Henry C. Kleemann, New York, and Curt Valentin, New York Printer: Duenewald Printing Corporation, New York Condition: Well preserved, consistent with age and medium Provenance: From the folio Kathe Kollwitz, Ten Lithographs, 1941 About the Publication: Kathe Kollwitz, Ten Lithographs, published in New York in 1941 by Henry C. Kleemann in collaboration with Curt Valentin, represents an important early American presentation of Kollwitz’s graphic work at a time when her reputation was expanding internationally. Issued during the turbulence of the Second World War and following the suppression of her work in Germany under the Nazi regime, the folio played a crucial role in introducing her imagery to a broader audience outside Europe. The publication gathers a selection of her most powerful lithographic compositions, emphasizing her mastery of tonal contrast, expressive line, and psychological depth. Produced with careful attention to print quality by Duenewald Printing Corporation, the edition reflects the continued transmission of European modernist printmaking traditions into the American context, serving both as a document of artistic excellence and as a vehicle for the preservation and dissemination of Kollwitz’s humanistic vision. About the Artist: Kathe Kollwitz (1867–1945) was a German draughtsman, printmaker, and sculptor whose profoundly moving imagery, exceptional technical mastery, and unwavering social conscience established her as one of the most important and influential artists of the twentieth century, widely recognized as a master of modern printmaking and one of the most powerful visual chroniclers of human suffering, war, and social injustice. Born in Konigsberg, East Prussia, into a progressive and intellectually engaged family, Kollwitz was encouraged from an early age to pursue art and developed a deep awareness of social inequality that would shape her entire career, studying in Berlin and Munich at a time when women were largely excluded from formal academies while mastering drawing and graphic techniques with extraordinary discipline. Her breakthrough came with the monumental graphic cycle A Weavers’ Revolt (1893–1897), followed by The Peasants’ War (1901–1908), works that combined complex narrative structure with extraordinary technical command in etching, aquatint, and lithography, establishing her reputation as one of Europe’s leading graphic artists. Throughout her career, Kollwitz remained committed to portraying the lives of workers, mothers, and victims of poverty and conflict with unflinching honesty, creating compositions defined by bold, sculptural line, dense shadow, and unparalleled psychological depth that conveyed grief, resilience, and dignity. Working during a period transformed by the radical innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Kollwitz maintained a resolutely figurative and human-centered approach, aligning more closely with German Expressionism and artists such as Ernst Barlach, Max Liebermann, and Edvard Munch, whose emotional intensity and symbolic treatment of the human figure profoundly shaped her artistic language. Her later work, particularly the woodcut cycle War (1922–1923), stands among the most powerful anti-war statements in the history of art, reflecting both personal tragedy, including the death of her son in World War I, and a universal condemnation of violence and loss. In addition to her prints, Kollwitz created deeply moving sculptures that extended her exploration of grief and maternal protection into three dimensions, reinforcing her status as a multidisciplinary artist of exceptional range. She achieved significant recognition during her lifetime, becoming the first woman elected to the Prussian Academy of Arts, though her work was later condemned by the Nazi regime as degenerate, leading to her forced resignation and the removal of her works from public collections, yet her reputation expanded internationally after World War II and she is now regarded as a central figure in modern art. Her influence has been profound and far-reaching, shaping later artists including Francis Bacon, Anselm Kiefer, Leon Golub, Kiki Smith, and numerous contemporary figurative and socially engaged artists who continue to explore themes of trauma, memory, and human vulnerability. Today her works are held in major museum collections worldwide, including the Kathe Kollwitz Museum in Berlin, the Museum of Modern Art in New York, the British Museum in London, and the Art Institute of Chicago, and remain highly sought after by collectors for their emotional intensity and historical significance. The highest auction record for a work by Kathe Kollwitz is held by her sculpture Mutter mit totem Sohn (Mother with Dead Son), which achieved approximately 1.2 million EUR at auction, confirming her enduring importance. Kathe Kollwitz Selbstbildnis 1941 lithograph German Expressionism social realism print.

"In creating this painting, I infused my passion for nature's raw beauty and the tranquility of open meadows. The expressive strokes of oil paint capture the warmth of sunlight cares...

Lithograph on vélin d’Arches 300gm paper. Paper Size: 21.8125 x 18.3125 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, For My People, 1992. Published...

“Stylish Pup” is a contemporary acrylic dog painting by French artist Natalya Mougenot, part of her expressive ongoing series devoted to canine personalities. With her distinctive p...

Vincent Mazzocchini, French Landscape with Medieval Bridge – Oil on Wood This captivating original oil painting created by French artist Vincent Mazzocchini (20th Century) is a rare...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. A difficult time can be more...

Summer Bloom [2021] Original Flowers Mixed media on board Image size: H:45 cm x W:3 cm Complete Size of Unframed Work: H:45 cm x W:30 cm x D:30cm Framed Size: H:45 cm x W:45 cm x D:3cm Sold Framed Please note that insitu images are purely an indication of how a piece may look Summer Bloom is an original painting by Natalie Bird...

French Expressionist oil on canvas of a river and mountain landscape by Gisele Grant-Gapail. The painting is initialled bottom right, signed and dated to the back of the canvas and t...

KAREL APPEL (1921 - 2006) BLACK FACE, 1969 Lithograph in colors signed in pencil. Edition 26/75, Image: 19 3/4 x 25 1/4, sheet: 22 x 30 inches. Just hint of a mat line Appel was a member of the Cobra art movement

Kathe Kollwitz, German (1867 - 1945) - Kinder halten Essensschusseln (Children holding Food Bowls), Year: 1923, Medium: Lithograph, Image Size: 16 x 11 inches, Frame Size: 25.2...

"In this oil painting, I poured my soul into capturing the enchanting interplay of light and shadows, where blooms dance above tranquil waters. Merging realism with impressionistic t...

The landscape.Red mountains in the style of Paul Gauguin" original painting by Lilia Volskaya.Size:55x75 cm. Cotton canvas, mineral pigments, natural environmental paints. Painting i...

The artwork titled "Aláàárù Ajé" (Carrier of Wealth) features a lady with a head made of a Sekere, a traditional Yoruba percussion instrument made from dried gourds covered with beads. The lady is depicted wearing a blue dress with intricate details and patterns. Ayandare Adeniran, Ayanmuyiwa behind this intriguing piece of art has managed to capture the essence of the Yoruba culture, which is renowned for its rich cultural heritage and traditional beliefs. The use of the Sekere in the artwork is symbolic of the Yoruba people's deep-rooted love for music and the arts, which are considered an integral part of their daily lives. The lady in the artwork, with her head made of Sekere, is a representation of the Yoruba deity, Oshun, who is revered as the goddess of love, fertility, and prosperity. According to Yoruba mythology, Oshun is believed to be the owner of the Sekere and is often depicted carrying it around during festive celebrations and ceremonies. The blue dress worn by the lady in the artwork is also significant in Yoruba culture as it represents wealth, royalty, and nobility. The intricate details and patterns on the dress are a testament to the artist's attention to detail and skill, which are essential in Yoruba art. Overall, the artwork "Aláàárù Ajé" (Carrier of Wealth) is a beautiful representation of Yoruba culture, tradition, and mythology. The artist's use of the Sekere and the blue dress is a nod to the Yoruba people's love for music, art, and fashion, which are essential elements of their identity. The artwork is a reminder of the rich cultural heritage of the Yoruba people and the importance of preserving it for future generations. 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 Ayandare Adeniran, Ayanmuyiwa (born 1991) is an Artist who hails from Ogbomosho, Oyo state, Nigeria. At his early stage of life, his artistic talents sprang up and his parent helped in developing them by providing him with what they understood he needed by buying drawing books, crayons, and watercolors among others to help his creative skills. After his primary and secondary education, he received a Nigeria Certificate on Education (NCE) from a prestigious college; the Federal College of Education (SPECIAL), Oyo, where he studied Fine and Applied Arts. Musa Ibrahim was the first practicing Artist who helped Ayandare in his Artistic career which was during a compulsory Industrial Training program for students in the Fine Arts department. After College, yawning for knowledge and flare for artistic work dragged him to Arowolo Wasiu, a metal sculptor who trained him in sculpting metal. A thirst for one's zeal can only be quenched by following the path thus making him proceed to TOPE FATUNMBI...

In this oil painting, I sought to capture the delicate vibrancy of nature through the lens of expressionism and realism, portraying a small bird with a notably vivid plumage. The sof...

Karl Michel, 'Mehr Sonne fur 1924. Viel Gluck Wunscht Karl Michel U. Frau', woodcut, 1924, edition 20. Signed, dated, and numbered 'op. 162' and '15/20' in pencil. Signed in the image, lower left. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in very good condition. Printed by the artist. Scarce. Matted to museum standards, unframed. New Year's Greeting – English translation: "More Sun for 1924. Good Luck Wishes from Karl Michel and his Wife." Image size 4 5/8 x 4 3/4 inches (118 x 121 mm); sheet size 7 3/4 x 10 inches (198 x 254 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat...

"Fantasy with Flowers" (series of 200+ pictures)   paper 59x42cm  On the paper acrylic, oil pastel, felt-tip pen, ink, gold leaf, pencils, silver,mixed media. Flowers are a smile of ...

In this piece, I sought to capture the serene dance between sky and sea, interspersed with the graceful ballet of a sailboat. Infused with the essence of expressionism and the delica...

In crafting this piece, I aimed to capture the ephemeral beauty and grace of a ballet dancer in motion. Employing oils, I layered vibrant colors and soft textures to celebrate the po...

Artist: Charles Levier, French (1920 - 2003) Title: Nudes in Fur II Year: circa 1970 Medium: Watercolor on Paper, signed Image Size: 22 x 16.5 inches Size: 28.5 in. x 22 in. (72.39 ...

In this acrylic canvas, I've poured my soul into capturing the dance of light on Venice's waters. The brushstrokes marry realism with a dreamy impressionism, expressing the city's he...

"Olympic Pattern on Cream" is an abstract painting diptych by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes combined with subtle tones and unique sh...

The paintings are drawn with oil on the hardboard (back side made of the double cardboard). Evening in purple. This dream scene uses hues of purple, pink, blue, and blue. A gorgeous...

Majorca II original watercolor paper expressionist painting. This Catalan painter, settled for years in Mallorca, offers a series of landscapes in which the natural is treated in th...

In this vivid painting, I unleashed a symphony of color through expressive brushstrokes, merging acrylic and oil to capture the ephemeral beauty of a dramatic sunset. It dances betwe...

"Collage" by Bernard Herzog (French, b.1935) signed and stamped verso with catalogue number photo collage cut outs on paper, unframed overall paper: 25.5 x 20 inches Highly unique ...

A vibrant painting depicting an avenue lined with poplar trees in fall colors, prominently featuring a very large, centrally placed yellow poplar. Possibly an American poplar. The artist, Agda Holst, has employed a diverse palette of colors to the poplars, creating a dynamic and colorful composition. This oil on panel is signed and dated by Holst in 1948. The work exemplifies her use of color and form, characteristics that defined her artistic practice throughout her career. Agda Holst was a Swedish modernist painter known for her precise study of form, stylized compositions, and ability to merge structured geometry with expressive color. Her works, often still lifes, portraits, and figure studies, reflect a balance between naturalistic representation and modernist influences such as Cubism and New Objectivity. Holst's artistic journey began in 1907 at the Académie Colarossi in Paris, where she studied under Christian Krohg. Seeking further refinement, she moved to Munich between 1910 and 1911, studying with Julius Exter, known for his teachings in portrait and genre painting. In 1911–1912, she returned to Paris to study under Kees van Dongen, whose bold use of color and strong contrasts left a lasting impression on her work. The early 1920s marked another period of study in Paris, this time under André Lhote, who instilled in her a structured approach to composition and geometric clarity. Holst’s first public exhibition took place in 1916, when she displayed paintings in a bookstore...

ARTIST: Georg Gunther (1886-1968) German TITLE: "Still Life Of Amaryllis Lilly In a Terracotta Vase" SIGNED: lower right MEDIUM: oil on canvas SIZE: 62cm x 56cm inclusive of fram...

Mid-century Israeli Modernist painting by Israeli artist Abraham Cohen

Artist Comments
A fox caught in mid-leap burst to life in dashes of red, gold, and violet. Built with layered washes and spontaneous shapes, the painting suggests the animal's ...

Work on canvas

In this piece, I poured my emotions into the delicate balance between tranquility and fleeting movement. The shimmering water lilies float gently, capturing the quiet moments of refl...

ONE WEEK ONLY SALE This woodcut print is an expressionist print on one of the poems from Max Weber's poetry collection "Primitives: Poems and Woodcuts". This work is signed in penci...

Signed verso, 'Ant McNaught', (American, 1952-2026), titled 'Camille VI', and dated 2020. A substantial and vibrant, Fauve study of the head of a young woman, composed in scumbled shades of coral, jade, azure and pink. and contrasted against a terracotta background. This California Post-Impressionist and Abstract Expressionist artist studied at the Esalen Institute with Erin Gafill and Tom Birmingham...

This is a mid 20th century mod abstract large bronze sculpture by Wolfgang Behl (German/American, 1918-1994). The sculptural group titled "The Family" features a mother and father with two children. Numbered 20/20. Signed. 21" H x 10 1/4" x 10 1/4 Wolfgang (Johann Wolfgang) Behl (1918 - 1994) was active/lived in Connecticut, Illinois / Germany. Known for Sculpture and as an architectural carver. A carver,designer, and teacher, Wolfgang Behl was born in Berlin, Germany where he studied at the Berlin Academy of Fine Arts. His teacher was otto Hitzberger, sculptor and architecture carver. I have seen some his work, particularly in carved wood compared to Constantin Brancusi although this one seems way more reminiscent of Alberto Giacometti. In 1939, Behl came to the United States and taught briefly in Pennsylvania at the Perkiomen School and in Rhode Island at the Rhode Island School of Design. There in 1943, he won the Joseph N. Eisendrath prize for sculpture. He also became a friend of Louis Mayer, sculptor from Milwaukee. In 1944, Behl took a job as Art Director at the Lake Forest Academy in Lake Forest, Illinois, and he also began a one-year teaching assignment at the Layton School of Art in Milwaukee. The last years of his life until his death were in Hartford, Connecticut. Source: Peter C. Merrill, "German-Immigrant Artists in Early Milwaukee" Originally from Berlin, Germany, Mr. Behl immigrated to the United States in 1939 and became a citizen in 1947. He studied with Waldemar Raemisch at the Academy of Fine Arts in Berlin, and later at the Rhode Island School of Design. He began teaching at the Hartford Art School in 1955, retiring in 1983 to devote his time to sculpting. Mr. Behl had exhibitions throughout the United States and Germany. Some of his solo exhibitions include the Arts Exclusive in Simsbury from 1976 to 1981, and the Bertha Schaefer Gallery in New York City from 1950 to 1973. He showed at the New Britain Museum of American Art, in New Britain, Connecticut in 1969. He also had several retrospectives, including one at the Greater Hartford Jewish Community Center in West Hartford until the end of this month. His works in bronze have a German Expressionist quality to them a pathos found in the works of Kathe Kollwitz and the Expressionist movement. He was known for his classically inspired, but often surrealist sculpture. Among his most-well known pieces are a series of sculptures done for the University of Connecticut Health Center. Several examples of Behl’s work are found on the campus of the University of Hartford. He was included in the show Monumentality in Modern Sculpture at the Contemporary Arts Museum Houston, Texas, 1957. Artists featured in the exhibition: Kenneth Armitage, Hans Arp, Ernst Barlach, Wolfgang Behl, Dorothy Dehner, Edgar Degas, José de Rivera, Max Ernst, Alberto Giacometti, Joseph Glasco, Julio González, Paul Granlund...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. In the heart of the 21st century, two young individuals proudly stand in their neon-hued attire a testament to their Igbo...

Pilgrims Waiting at the Gate shows that flowers, birds and snow are symbols for emotional states or story elements. Dogs sometimes accompany the pale bald “Everywoman” protagonist on her journeys that often take place beneath a starry moonlit sky. She has been called a mythic artist, telling ancient stories that never grow old. Pilgrims are beneath the Moon approaching the Gate as seen in Pilgrims at the Gate in the oil painting on canvas. LOOK FOR 1STDIBS DISCOUNT CODE ON SHIPPING OR GALLERY QUOTE The artists says: "I love to show the strength and optimistic attributes of women. Even when they are in a quandary or in danger, I always try to show a glimmer of hope and wisdom—that they will solve the riddle and make it through, stronger and with dignity. Being bald and shorn of any particular identity, they become all women.” She is also a published poet and her paintings have appeared as cover art for literary journals and poetry collections. Recently her painting “Thoreau’s Pumpkin” was included in the Hudson River Museum...

after Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Artist: (after) Edvard Munch (Norwegian, 1863-1944) Title: "Musée des Arts Décoratifs (The Scream)" Year: 1969 Medium: Original Lithograph, Exhibition Poster on light wove paper Limi...

Luis Camnitzer and Martin Buber (1878-1965), New York: JMB Publishers Ltd, 1970. Printed at The New York Graphic Workshop. Hand signed on Arches paper. (Edition 24/100, numbered on...

Shipping Procedure FREE Shipping Worldwide 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) The painting depicts an old-fashioned barber shop, The background showcases the classic decor of the barber shop, including Vintage posters flaunting the hairstyles of yesteryear, showcasing the timeless Afro, the tailored flat-tops, and the meticulous parts — each style a statement of identity and pride. Off in the corner stands a vintage radio, the spiritual storyteller of the room, murmuring Jazz and Afrobeat rhythms — a harmonious time capsule that echoes the beat of African culture as much as the progression of its fashion. "Vintage Vibe" is a celebration of a proud heritage, marking the intersection of traditional grooming rituals and the timeless aesthetic of the African fashion legacy. It salutes the continuity of style, the evolution of self-care from the foundations laid out by ancestors to the modern interpretations we see today. In this room, history intertwines with the present, evoking a sense of nostalgia and the inclination to preserve the unique cultural threads woven through time. About Artist Oluwaseun Ojebiyi...

Artist: Pierre Alechinsky Title: "Untitled": Lithograph from One Cent Life Year: 1964 Medium: 2 page lithograph, as printed from One Cent Life As printed with Walasse Ting poem, fro...

"End of Fall" by Sandra Pratt is an original oil painting that depicts an autumn landscape with colorful leaves and a house in the distance. Artist Statement: My work is inspired b...

Shipping Procedure FREE Shipping Worldwide 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 Authent...

This exquisite lithograph after Marc Chagall (1887–1985), titled Odysseus macht sich bekannt (Odysseus Reveals Himself), from Homer, Die Odyssee (The Odyssey), originates from the 19...

There is no other love that’s as special as the love of a grandma. So warm and fuzzy, so calm and sweet, so cheerful and joyful. You never know the love of a grandparent until you become one. 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 Oluwaseun Ojebiyi is a promising young Nigerian visual artist who was born in the year 1996 into a family in Oyo state richly endowed with a unique artistic inclination. He is gifted with unusual energy and a future that sparkles with excellence. His works are at once artistic and realistic and laced with active energy with the characteristic of curiosity in figure study. He delivers his works through drawing and painting with mastery usage of charcoal, pastel, Oil paint, and acrylic. His expressive works bring back fond memories of childhood experiences. His works reveal the bond, teamwork, genuine love, selflessness, and other fine qualities in African culture. His palette which contains a variety of colors is a great asset for his delivery, with its rich Shade of hues. Oluwaseun inspiration is divine, He is also inspired by both past and everyday life experiences. Oluwaseun Ojebiyi had an HND in painting from The Polytechnic, Ibadan. He also served an apprenticeship under the renowned international artist Oluwole Omofemi...

Artist Comments
A figure stands with confidence, her hand resting on her waist as she leans to one side. The composition invites the viewer to get lost in the rips, gestural ma...

Jean Jansem (1920-2013) Peintre dans son atelier, 1969 Lithographie sur papier Rives Signée en bas à droite et justifiée en bas à gauche 39 x 52 cm / 56 x 76 cm D'une édition à 120 exemplaires Bibliographie: Jansem Lithographe, 1954-1983, de Francony Editeur, Nice, 1984, n. 211, reproduit p. 53, référencé p. 231. "Ma première lithographie date de 1954. Elle représente un enfant en haillons portant deux seaux d'eau, d'après un croquis rapporté de Cordoue lors de mon voyage en Espagne en 1952. Je l'exécutai sur pierre, au pinceau et à l'encre lithographique. Je fus déçu du résultat et n'en tirai qu'un essai et une épreuve. Quatre ans plus tard, je réalisai une dizaine de nouvelles lithographies, toujours sur pierre, la plupart en noir. Au lieu d'employer l'encre et le crayon...

Plate 12 From: 10 Origi, 1942 Signed in the block with the artist's initials lower left (printed) From: 10 Origin Not from the First edition 100, published by Allianz-Verlag, Zurich,...