Expressionist Art

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

Heading into the crowd we see what lies ahead and where the crowd in front of us has been. It's a memory, a blur for them for us there is time to take notice, see things clearly, not...

Il disegno, penna con inchiostri di diversi colori su carta, è firmato e datato L. NOCENTINI 91. La carta si presenta di un bel color marrone nocciola, anche se con la luce del video...

Original oil on canvas on wooden stretchers, signed on the front. Certificate of authenticity included. :: Painting :: Expressionism :: This piece comes with an official certificate ...

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 Gal...

The way that light weaves between buildings and casts long shadows fascinates me. It's a subject I've returned to again and again over the years. Couple that with motion and people.....

, , , blossom, , g,, flower, lotus flowers Flowers in the morning dew The most beautiful flowers are in the early morning. When the dawn just dawned, the petals began to g...

Grim man is an original offset and lithograph realized by George Grosz. The artwork is the plate n. 4 from the portfolio Ecce Homo published between 1922/1923, edition of Der Malik-...

Bold, bright and earthy colors all play a role in this figurative abstract by Michael William Eggleston (American, 20th c.). Signed with monogram and dated "MWE '01" lower right. Unframed. Image, 42"H x 42"W. A musician is serenading a woman in her bath with the San Francisco cityscape...

23" x 22.75" Unframed Hand Embellished Giclée on Paper of 14 Hand Signed by Todd White COA Included Todd white captures restaurant, night and Hollywood scenes with contrasting color...

Ledebour from Ecce Homo is an original offset and lithograph, realized by George Grosz. The artwork is the plate n. 54 from the porfolio Ecce Homo published between 1922/1923, edit...

Old lad glory is an original offset and lithograph print, realized by George Grosz. The artwork is the plate n. 52 from the porfolio Ecce Homo published between 1922/1923,edition of...

Men from Ecce Homo is an original offset and lithograph realized by George Grosz. The artwork is the plate n. 80 from the porfolio Ecce Homo published between 1922/1923,edition of D...

Big head from Ecce Homo is an original offset lithograph, realized by George Grosz. The artwork is the plate n. 15 from the porfolio Ecce Homo published between 1922/1923,edition of...

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 Gal...

Black and white print of an upper class women in a carriage. There are other figures in the back riding in a carriage as well. Edition 17 of 58. Painting is signed by the artist and ...

This original lithograph is hand signed in pencil b artist "Ulrich Hubner" at the lower left cotner. It is also signed and dated in the plate. The work is hand numbered in pencil No...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

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 Gal...

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 Gal...

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 Gal...

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 Gal...

"Adam and Eve in Space" - original large art by Paula Craioveanu part of Myths of the Future new project. Original, large, unique painting, oil on canvas, 31.5x31.5in / 80x80cm. Sh...

This exquisite lithograph by Marc Chagall (1887–1985), titled La Tour Eiffel Verte (The Green Eiffel Tower), from the album Chagall, originates from the 1957 edition published by Mae...

Woven Identities is a body of work that explores the intersection of indigenous African heritage and modern global culture. In these paintings, I focus on hairstyle, tribal marks, dr...

17" x 40" Unframed Limited Edition Giclee with Hand Embellishment of 195 Hand Signed by Todd White Todd white captures restaurant, night and Hollywood scenes with contrasting colors...

“Dog Sparkle” is a contemporary acrylic dog painting by French artist Natalya Mougenot, part of her expressive ongoing series dedicated to dogs. Executed in Mougenot’s unique blend o...

'The Colonial Governor' by Georges Rouault. Etching on paper, 10.5 x 6.5 in. / Frame: 19.5 x 14.5 in. This work is an exceptional example of Rouault's work, depicting the colonial go...

Soft pastel on toned on toned Archival heavyweight paper.signed and dated on.bottom. part on an ongoing series by the artist Nudes With Attitude . ABOUT Stephen Basso Stephen Basso'...

This exquisite lithograph after Kathe Kollwitz (1867–1945), titled Arbeiterfrau mit schlafendem Jungen (Working Woman with Sleeping Boy), 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 maternal care, hardship, and human resilience, 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; 15 x 13 inches (38.10 x 33.02 cm), image. Unsigned and unnumbered as issued. Artwork Details: Artist: After Kathe Kollwitz (1867–1945) Title: Arbeiterfrau mit schlafendem Jungen (Working Woman with Sleeping Boy), from Kathe Kollwitz, Ten Lithographs Medium: Lithograph on velin paper Dimensions: 19 x 16 inches (48.26 x 40.64 cm), overall; 15 x 13 inches (38.10 x 33.02 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 Arbeiterfrau mit schlafendem Jungen 1941 lithograph German Expressionism social realism print.

Dream Mystique Artist signed and titled, new frame canvas 24x20 Wallace Bassford was an American painter and illustrator, born in 1900 in St. Louis Missouri, he attended the St. Loui...

Available at Madelyn Jordon Fine Art. 'Colors in the Breeze IV' 2023 by American artist, Ken Elliott. Oil on canvas, 36 x 36 in. / Frame: 37.75 x 37.75 in. This painting of a forest incorporates a palette of colors in green, purple, yellow, pink, and blue. Framed in a gold painted frame. Colorado based artist Ken Elliott, focuses on the western landscape and its rich store of ideas and inspiration. Painting rural scenery, the artist does not try to recreate nature or attempt storytelling but instead, wields color boldly, creating vibrant, contemporary landscapes that are both animated and peaceful. Early in his career, he was a student of Wolf Kahn, who inspired his work. Since 1988, Elliott’s work has been exhibited in numerous galleries nationwide. His work is collected in corporate art collections such as Hewlett Packard...

Large Abstract portrait Painting, black&White on canvas ,work by Dimitris Pavlopoulos Painting created with acrylic . Colors: Black &White , Abstract Canvas Collection 2021 Size:...

Seated woman in a pink suit strong yet warm color consistent with the artist's palette. It is painted on jute a coarse type of burlap mounted on a cradled wood board . Framing recomm...

This long horizontal landscape is inspired by the fresh green color of spring fields and the blooming sunflowers in early June. The painting has high contrast for a dramatic effect. ...

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This painting captures a tranquil scene where a body of water reflects the sky. The muted, distant horizon suggests an endless expanse, inviting contemplation...

Georges Braque (French, 1882-1963) - Nature Morte au Pot Signed ‘G Braque' (underlined) bottom right Oil on canvas Canvas: 18 x 21.75 in. (45.7 x 55.2cm) Framed: 26 x 30 inches Executed circa 1959 Provenance: Galerie Beyeler, Basel, Switzerland. Galerie de l'Élysée (Alex Maguy...

“Grades of solitude” is an oil painting from Alter Ego series, inspired by Carl Jung’s analytical psychology. The series explores the inner world of the self — the tension between op...

In this vibrant triptych, Romina Milano explores the delicate vitality of fragile ecosystems through coral-like formations that pulse with chromatic intensity. Each panel exists as a...

This exquisite etching by Marc Chagall (1887–1985), titled Tchitchikov couchait au bureau (Tchitchikov Slept at the Office), originates from the celebrated folio Nicolas Gogol, Les A...

JACQUES CHAPIRO 1887-1972 Dvinsk, Belarus 1887-1972 Paris (Russian / French) Title: Vase of Flowers / Woman by the Mirror, circa 1930's Technique: Original Signed Double Sided Oil Painting on...

Exotic birds"tropical landscape of the Volsky Lily.The landscape is made with a palette knife, dense color strokes give the composition a special sound and structure. The dialogue be...

This exquisite etching by Marc Chagall (1887–1985), titled A l'eglise (At the Church), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de ...

Hydro-Genesis: The Transcendental Dive In this 100x70 cm masterpiece from the Hydro-Genesis collection, the artist explores the physical and metaphysical boundary where the human bod...

Soft pastel and charcoal on toned archival toned paper signed and dated bottom left . On view at the table Rasa Gallery in Brooklyn NY. Mounted on white archival foam board suitable...

Collectible Piece. Dance Me To The End Of Love The painting is oil on canvas and painted with a pallet knife. Gallery Stretching & Wrap SIZE: 12 x 12" Maya Green, is a Ukrainian-Jewish contemporary...

Caribbean waves at noon - Impressionism oil. acr. CANVAS,, 70CM x 80CM, 27.5" x 31.5" in. 2023 No wonder they say - you can look at the water endlessly. And sitting by the s...

Mid century Expressionist oil portrait on canvas by Lirondo. The painting is signed and dated bottom right. This artwork presents a striking, expressionist portrait of a contemplati...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le cirque (The Circus), from Chagall Lithographe I (Chagall Lithographer I), originates from the October 1960 issue publ...

Oil on wood with a rough texture surface. Signed and dated on reverse. Part ot an ongoing series if still life by the artist which is the artist refers...

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 Gal...

The emotional intensity of this portrait of a woman by Menachem Gueffen recalls the Expressionist movement. Contrasts are strong, and the outlines are bold. The hands of the woman ar...

Expressionist interior corner that has an orchid as its protagonist. Predominant chromaticism between fuchsia-pink and yellow. Oil on linen by Spanish artist Chico Montilla. Beautifu...

A strong modernist oil painting depicted in the Mid Centruy by Russian painter Michael Baxte. Mostly known for his abstracted figures on canvas or street scenes, this piece is a wonderful representation of his interior scenes with expressive use of color, shape, and form. Later in his career, Baxte explores Expressionism, infusing both European and North American stylistic trends. This painting measures 32 x 25.5 inches Michael Posner Baxte was born in 1890 in the small town of Staroselje Belarus, Russia. For the first half of the 19th century, it was a center of the Chabad movement of Hasidic Jews, but this group was gone by the middle of the 19th century. By the time the Baxte family immigrated to the United States at the beginning of the 20th century, the Jewish population numbered only on the hundreds. The native language of the Baxte family was Yiddish. It is likely that the death of Michael Baxte’s father triggered the family’s immigration. Three older brothers arrived in New York between 1903 and 1905. Michael and his mother, Rebecca, arrived in 1907. By 1910 Michael, his mother, and brother, Joseph, were living in New Orleans and may have spent some time on a Louisiana plantation...

A monotype created with oil based etching inks and oil paint printed from a plexiglass matrix. Expressive, Figurative image with stark light and shadow.

"As I Waste Time on Earth" is an original oil pastel drawing on rag board by Reginald K. Gee. The artist signed it on the back. This piece depictts two faces in the lower left, two f...

Lambda c-print on acrylic glass; ready to hang. This is a combination of wet- and digital painting and photography.. I do have a name for my new works: Abstract Symbolic and mystica...

Expressionist Clown with Dog Oil Painting 1978, Surreal Figurative Character Scene, Spanish Modern Art Artist: Antoni Mut Torroja (Barcelona, 1921–1990) Title: Inspiración Year: 1...

As a child, I really loved dogs. I liked that I could play with them, stroke them, hug them.. I also loved lying on the grass and watching the birds fly. But I was very sorry that I ...

one of a series of people and their pets painted on wood panel suitable for framed smooth texture