Berlin - Art

"The work presents a fragmented view of a place that feels familiar yet difficult to fully locate. Architectural planes, water and distant fragments of landscape overlap, creating a ...

Sunset by the Sea What makes us feel happy and truly alive? Often, it is the simplest things: traveling, discovering beautiful places, being close to nature, and experiencing moments...

A summer place, reconstructed from fragments — water, architecture, colour, two empty chairs. Nothing quite follows the logic of a real location, yet everything feels strangely fami...

Golden Hour (The Meeting) is a luminous contemporary impressionist painting that explores the emotional power of human connection through expressive brushwork, radiant color, and atm...

shipped in roll “Where the Light Stays” captures the warmth of late summer — that moment when the sun grows softer, yet its radiance continues to live in everything it touches. The s...

Karin Hauke, Desert Goddess, 1976. Oil on wood, 70 x 50 cm (image size), 73 cm x 53 cm (frame), signed “K. HAUKE” lower right and dated “[19]76.” - Small flaking in the lower area, o...

Soft Morning in Venice from the Inner Landscapes series Abstract impressionist painting inspired by the quiet atmosphere of Venice in the early morning - a moment when the city app...

Anton Nelson (i.e. Antoine Joseph van den Kerckhoven) (1849 Brussels - after 1910 ibid.), Bust of a young woman, c. 1890. Patinated bronze on cast base, 30 cm (total height) x 20 cm ...

Johannes Boese (1856 Ostrog - 1917 Berlin), Mutterglück, um 1910. Goldbraun patinierte Bronze auf gegossener rechteckiger Plinthe, montiert auf zweifarbigem Marmorsockel (9,5 cm Höhe...

Franz Iffland (1862 Tempelhof - 1935 Berlin), Javelin thrower, after 1910. Olive-black patinated bronze with cast plinth mounted on a white-veined black marble base (7 cm high). Tota...

Presented at Bakerhouse Gallery, Graz, Austria, this work was exhibited alongside another painting from the same series, which became a finalist in the ScanArt Prize competition. Phi...

This work is part of the Inner Landscapes series, in which the landscape becomes part of a memory, a lived state, or emotions that cannot be expressed in words and can only be felt. ...

Ev Grüger (1928 Altenburg - 2017 Hofheim), Still Life with Bottles, 1956. Oil on canvas in gallery stretcher, 80 cm x 60 cm (image size), signed “Grü[ger]” lower left and dated “[19]...

This exquisitely painted late 19th-century oil on panel artwork depicts an idealized young woman dressed in classical antique drapery, seated quietly on a stone bench within a sun-dappled forest setting. With remarkable grace and contemplative poise, she crafts a delicate floral wreath woven with fresh pink roses, evoking timeless themes of youth, beauty, and spring. Created around 1890–1900, the painting is a fine example of late Neoclassicism and Academic Idealism. The artist exhibits exceptional skill in the soft rendering of flesh tones, the intricate folds of the luminous white robe, and the delicate handling of botanical details against the soft, atmospheric background. Authentically signed "Gustav Schrödter" along the left side of the stone bench. Gustav Schrödter (German, 1855–1908) was known for his mastery of academic figure painting and narrative genre scenes. Stylistically, this work shares striking parallels with the celebrated classical maiden paintings...

Freedom is always about pure energy and inner strength, and since ancient times, the horse has been its most powerful archetype. In this work, the image of the horse becomes a condui...

An expressive contemporary portrait of a red-haired woman where emotions and feelings, conveyed entirely through color, take center stage. The artwork focuses on capturing an inner s...

An abstract composition is presented on the canvas, created using the fluid acrylic technique. The painting is built on the flowing movement of paint, creating a sense of depth, text...

shipped in roll “Spring. Awakening” reflects the first quiet shift of the season — a moment when light, color, and space begin to open. Soft layers of pale tones, subtle pinks, and g...

shipped in roll A New Adventure She knows how to draw attention — red dress, stockings, veil. Too bold? Exactly as planned. Naivety is a carefully staged role, and mystery is part ...

Time to Bloom from the Inner Landscapes series Acrylic on canvas Contemporary Abstract Landscape Painting Time to Bloom is a contemporary abstract landscape acrylic painting from th...

Carl Friedrich Deiker (1838 Wetzlar - 1892 Düsseldorf). Vigilant fox. Pencil drawing on brown paper, 18 × 29.5 cm (inside measurement), 31.5 x 43.5 cm (mount), signed and dated "Deiker [18]54" at lower right. - a little bit stained, with a light water stain at lower right About the artwork Carl Friedrich Deiker's consummate ability to depict animals is already evident in this early work. He brought a whole new psychological dimension to animal painting, so that one could literally speak of animal portraits. The naturalistic appearance of the fox alone makes it seem alive. Every strand of muscle, even every hair, is captured, which requires an intensive artistic study of animal anatomy and physiology. But the fox's real liveliness comes not from its natural appearance, but from its internal movement: Stretched out, it has been brought out of rest. It turns around and, with its ears pricked up, looks intently in the direction from which it has seen something. His mouth is slightly open and his pointed teeth are bared, as if he were growling. Tension gradually takes hold of his whole body. While the hind legs were still in a relaxed position, closely observed by Deiker, one front leg was already raised, ready to begin a rising movement. The fox seems so alarmed with all its senses that one gets the impression that, at any moment, its tail will move jerkily and the animal will jump up. While wild animals have traditionally been portrayed as beasts or anthropomorphised, often for caricatural purposes, Deiker explores their inherent nature by attempting to capture their psychic impulses. The wild animal is neither bestial nor human, but a creature in its own right, valued by Deiker for its own sake. In this way, he brought the dignity of the animal into representation and raised animal painting to a whole new artistic level. About the artist Carl Friedrich Deiker was the son of the drawing teacher Christian Friedrich Deiker and the younger brother of the animal painter Johannes Deiker. In addition to the family art lessons, Christian Friedrich shared a studio with his brother Johannes at Braunfels Castle, Deiker attended the drawing academy in Hanau, and from 1858 he was a student at the Karlsruhe Art Academy, where he studied under the landscape painter Johann Wilhelm Schirmer. Carl Friedrich Deiker was already in demand as an artist during his first year: Grand Duke Frederick I of Baden, Margrave Max of Baden and Grand Duke Michael of Russia bought hunting scenes by him. In 1859 he went on a study trip to the Reinhardswald. Just as the Barbizon School had rediscovered the landscape, Deiker opened up the forest for animal painting. From 1861-64 Deiker had his own studio in Karlsruhe, then moved to Düsseldorf, where his brother Johannes followed four years later. Deiker married a daughter of the landscape painter Karl Hilger and remained in Düsseldorf until his death. In 1868 he finally achieved international fame with his painting 'Pursued Noble Deer' and was regarded as a virtuoso new founder of animal painting. "Deiker brought for the first time a truly great artistic quality to animal painting [...]". - Hans Vollmer From 1870 he participated in the academic art exhibitions in Berlin, Dresden, Munich and Hanover. He was also very busy as an illustrator. He drew for the Gartenlaube, the Salon, the Universum, and produced many of the finely illustrated hunting and animal books of the period. He also worked as a printmaker, while his oil paintings circulated as reprints by Franz Dinger. From 1865 to 1892 Deiker was a member of the artists' association Malkasten. Carl Friedrich Deiker's life's work was honoured with a large posthumous memorial exhibition at the Düsseldorf Kunsthalle in 1892. His son Carl Deiker, born in 1879, also became a painter. Selection of art museums that own works by Carl Friedrich Deiker: Hamburger Kunsthalle / Kunsthalle Karlsruhe / Kunstmuseum Düsseldorf / Wallraff Richartz Cologne. Selected Bibliography H. Schmidt: Johannes and...

Jan Hillebrand Wijsmuller (1855 Amsterdam - 1925 ibid.), Late Summer River Landscape, oil on canvas, relined, 34 x 56 cm (inside measurement), 43 x 64 cm (frame), signed J[an] H[illebrand] Wijsmuller at lower right. - in good condition, the frame with isolated bumped spots - Realistic Impression - About the artwork The panoramic landscape format shows a river landscape, with the course of the river, which curves to the right, leading the eye into the depths of the picture and tempting it to continue the landscape in the imagination beyond the visible area. At the same time, however, the fact that the landscape is not visible through the bend in the river focuses our gaze on the entirety of the landscape depicted, without prompting us to focus on distant details. Accordingly, the brushstroke is not designed to render details with realistic precision. In the front left area of the river there is even a completely free brushwork, trained by Impressionism, which nevertheless remains committed to representational and convincingly suggests the movement of the water. Regardless of the distance of the observer, the entire picture is painted with the same broad brushstroke, so that the landscape is given as an impression. And yet this impression is not ephemeral, as in the case of French Impressionism, to put it exaggeratedly, but reveals to us the essence of the landscape in all its richness. This is why the Dutch variant of Impressionism is always also a realism, although the pictures appear less progressive, but still contain a dimension of landscape painting that is lost with progress. In the impression, the reality of the landscape is revealed, and this happens as we experience the landscape in the visual impression. Wijsmuller does not depict houses or people in order to allow the experience of the landscape to fully unfold. The experience is determined first and foremost by the river, which does not flow into the picture from our point of view, but towards us. Where the river begins to bend, the water is churned by a rapids. Toward us, the riverbed widens and the water comes to rest, covering the entire width of the foreground like a mirror. The stillness of the water corresponds to the evening mood of the late summer landscape, in which the warm tones of the evening light blend with the yellow and brown tones of the plants. A gentle, almost idyllic reality, carried by the brushstroke, yet animated by a liveliness that is also made visible by the brushstroke. The broad, dynamically placed brushstrokes evoke the movement of the treetops and animate even the immobile reeds, while the trunks on the right bank, executed in virtuoso white strokes that seem like markings, make the sunlight shine. On the other bank, a carpet of light also spreads out, its energetic effect again expressed in the brushstroke. The dynamic of the landscape is further enhanced by the complementary color contrasts between the greens, yellows, and browns on the one hand and the blue of the all-encompassing sky on the other. A contrast that is intensified by the reflection in the water. The evening coming to rest of the landscape is thus at the same time an all-encompassing contrasting and yet in itself harmonious movement. This reality becomes accessible to us as an experience in the impression of the landscape. About the artist Jan Hillebrand Wijsmuller entered the Royal Academy of Arts in Amsterdam in 1876 and studied under the innovative Professor August Allebé, who was famous for the Amsterdam Impressionism, also known as the Allebé School. In 1877, Wijsmuller transferred to the Hague Academy of Art, and thus to the Hague School, and then completed his studies at the Brussels Academy of Art. Returning to the Netherlands, Wijsmuller opened his own studio in Amsterdam. In 1883 he won the prestigious Young Artist Award, donated by Willink van Collen, which made Wijsmuller a well-known and sought-after artist. Wijsmuller was a member of the Societät Arti et Amicitiae Amsterdam and the Pulchri Studio in The Hague. Wijsmuller belongs to the second generation of the Hague School. While Vincent van Gogh described the protagonists of the first generation to his brother Theo as "the great gray people," the second generation, and Wijsmuller in particular, used a much more colorful palette. His oeuvre makes him a major player in Dutch Impressionism...

Charles Edward Brittan Jr (1870 Plymouth - 1949). High moor landscape in the fog. Gouache, signed at lower left "Charles E. Brittan", 18 x 34.5 cm (passepartout), 45 x 62 cm (frame)....

Artist Name: Alfred Dubucand (1828–1894) Title / Subject: Two Hunting Dogs / Deux Chiens de Chasse / Two Hunting Dogs He regularly exhibited his bronze works at the **Paris Salon**. ...

Layers Object No. 16 is a unique ink drawings on Alu-Dibond painting by contemporary artist Doris Marten, dimensions are 41 × 91 cm (16.1 × 35.8 in). The artwork is signed, sold unfr...

shipped in roll “Spring Bloom II” captures a quiet moment of connection between two young women surrounded by blooming spring trees. Soft dresses, fresh greens, and gentle light crea...

Karl-Heinz Deutsch (*1940 Karlsruhe), Helmet Head, around 2003. Polished and patinated bronze, 23.5 cm (height) x 25.5 cm (length) x 16 cm (depth), weight 4.9 kg. Monogrammed on the ...

A vivid, almost tropical-feeling bird is captured in a moment of quiet contemplation. Its plumage is a painterly symphony of warm ochres, golden yellows, turquoise, and deep blues. T...

Frederick Vezin (1859 Torresdale Philadelphia - 1933 Düsseldorf), Autumn Landscape in the Sunlight, oil on canvas, mounted on cardboard, 32 x 41 cm (inside measurement), 44 x 51 cm (frame), signed and dates lower right "F. Vezin. [19]05". - Cardboard slightly curved, small inconspicuous retouch at the centre of the upper edge of the picture. About the artwork Although the painting appears to be a sketch, Frederick Vezin considered it to be a finished work of art, as evidenced by his signature on the lower right. And it is precisely this sketchy quality that leads to an understanding of the painting, which was certainly created in the landscape itself: the natural phenomena were to be depicted artistically at the moment of their observation. This is not done by meticulously sketching nature, but - and here Vezin follows the teaching of French Impressionism - by illustrating nature in its visual fullness. The artist's eye is, as it were, immersed in the visuality of nature, which is made visible by his hand. The painting is therefore not a reflection of the landscape, but its artistic intensification. This intensification also includes the fact that the foreground of the painting - corresponding to the field of vision - eludes a detail-oriented close-up view. Instead, the spatula-like application of paint, the vertical structure of which corresponds to the structure of the floral growth, has the effect of making nature tangible in its colourful substance. At the same time, the foreground, which remains indeterminate in its concrete objectivity, creates an atmospheric space that connects with the actual protagonist of the picture, the group of trees, which flares up in shades of red and brown. Here, too, the leaves are more speckled than clearly outlined. It is precisely this 'sketchiness' that opens up a visual experience that makes the landscape accessible in its visual fullness, thus revealing its essence. In addition to this abundance, the landscape is presented as a structure of order in that the composition of the picture makes the composition of the landscape visible. For example, the group of trees forms a distinct dark green shadow, which is repeated in the shadows cast by the trees behind it. A patterned diagonal axis is created in the picture, which is composed in this way by the landscape itself. Strictly speaking, this is a cultivated landscape: a fence at the bottom and a low stone wall at the top, running from left to right, are two elements that also have a strong compositional effect. And on the top of the hill, a stone house is embedded in the landscape as the brightest surface in the picture. Nature and culture here form a harmonious synthesis, giving the painting an Arcadian touch. In order to give the landscape as much space as possible, the horizon line is raised, but the design of the sky is also crucial. The clouds, combined with the shapes of the trees, create a bright blue sky. To the European eye, such a sky is reminiscent of a summer landscape. Accordingly, within the seasonal cycle, the blue sky is reserved for summer, and French Impressionism is also primarily an ode to summer. In Vezin's painting, however, the brilliant blue sky stands above an autumnal landscape, some of the trees even defoliated. It can therefore be assumed that the painting was made not in Europe but in the United States, and that it illustrates the proverbial Indian summer, making Frederick Vezin a pioneer of American landscape painting. About the artist Frederick Vezin was the son of a French immigrant to the United States and a German-born mother. This predestined him to promote artistic exchange between the old and new worlds. Having spent part of his schooling in Germany, in 1876, at the age of 20, he enrolled at the Düsseldorf Academy of Art, where he studied with Peter Janssen the Elder, Eduard von Gebhardt and Wilhelm Sohn, among others. He graduated in 1883, settled in Munich and returned to Düsseldorf in 1895, where he lived until his death in 1933. A native of the United States, he travelled to the country frequently and became a popular portrait and society painter. His artistic talent, however, was most evident in his landscape paintings. Trained in French Impressionism, he developed a virtuoso use of colour and a free brushwork that remained tied to the landscape motif, opening up the landscape itself in a new way. Frederick Vezin turned his attention primarily to the landscape of his homeland, becoming a pioneer of modern American landscape...

The picture is oils on canvas Giovanni Battista Ruoppolo (1629–1693) was an Italian Baroque painter from Naples, known primarily for his still-life works. He is considered a key fig...

This work captures a moment of absolute tranquility-a private paradise bathed in light and hidden behind a dense veil of emerald greenery. Horses gathered at the water's edge in the ...

Émile Louis Vernier (1829-1887), a beachcomber, oil on canvas Signed to the bottom left corner. Frame: 77 x 103 cm Émile Louis Vernier (1829–1887) was a French painter and lithog...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), Christ with Crown of Thorns, 1902. Brass relief plate in niello technique with raised sections, 38 cm x 40 cm. Monogrammed and dated “hTh 1...

Where Water Holds the Evening From the series Inner Landscapes There are evenings by the water you never quite let go of. Where Water Holds the Evening is painted from exactly that ...

Oil painting, 19th century, river and mountain landscape. Oil on canvas. Illegibly signed. Frame damaged. Free shipping only without frame. 76 cm x 94.5 cm without frame.

Antique oil painting, atmospheric seascape. 19th century. Oil on canvas. Unsigned. Dimensions without frame 80 cm x 122 cm. The painting and the frame are in an age-appropriate co...

shipped in roll We Were Happy That Day This painting is not a statement, but a memory. It speaks not about constant happiness, but about a moment when happiness already existed — qu...

Light’n’Lines No.26 is an abstract painting by contemporary German artist Doris Marten, featuring a striking composition of vertical lines in vibrant hues of turquoise, teal, and sky...

Two delicate peonies on a deep navy-blue background. It feels as if these two flowers have merged into one — this is love! The painting is created with acrylic on canvas: layered br...

shipped rolled in a tube. The Air Feels New from the series “Inner Landscapes” This painting is part of the Inner Landscapes series, where landscape becomes a reflection of memory, ...

George Morland (1763 London - 1804 Brighton). Sheltering from the Storm. Oil on canvas, relined, 37.5 x 29.5 cm (visible size), 53.5 x 45.5 cm (...

shipped in roll Apple Garden Latte (from the Inner Landscapes series) This work is a visual embodiment of a May morning, a moment when space fills with light, fragrance, and movement...

Bronze 72 cm signed Height: 72 cm. Base diameter: approx. 22 cm. Pierre-Étienne Daniel Campagne (1851–1910) This sculpture in the Art Nouveau style depicts a classic allegory of Nig...

"Fjord Idyll by Carl Bergfeld" fjord landscape: This painting, masterfully created by Carl Bergfeld and signed in the bottom right corner, celebrates the majestic beauty of a fjordl...

Morning in the Garden from the Gardens series Acrylic on canvas Morning in the Garden captures the quiet atmosphere of a garden at dawn, when the first light begins to reveal the co...

Blue Edition No.02m is a unique oil on vinyl painting by German contemporary artist Doris Marten, dimensions are 25 × 25 cm (9.8 × 9.8 in). The artwork is signed, sold unframed and ...

Pilgrim No. 37 is a unique oil on vinyl painting by German contemporary artist Doris Marten, dimensions are 30 × 30 cm (11.8 × 11.8 in). The artwork is signed, sold unframed and com...

From the series Zero Thinking “Gravity” examines the moment when form begins to yield — not abruptly, but almost imperceptibly. The work exists in a state of quiet transition, where ...

The work is created in the fluid art technique using acrylic on canvas. The composition is built on the soft, flowing interweaving of pink, coral, and milky white tones, creating a s...

Bronze sculpture Fasan / Pheasant / Bird statue / Bird figurine Animalier / Animal sculpture / Hunting decor / Antique/ 19th Century Art Nouveau / French bronze sculpture Bronze *Fra...

shipped in roll “Just a Perfect Day” reflects the symbols and rituals of contemporary life — the small pleasures that have become part of our visual language of comfort and control. ...

Oil on Alu-Dibond, 80 x 200 cm. German artist Doris Marten explores the visual effects created by the harmony between light and color. Lines and the light are the main components of ...

A delicate close-up of a blooming pink peony, built on a subtle play of light and tonal transitions. The petals appear to glow from within, shifting from pale blush to richer raspber...

Throughout nature, protection often takes unexpected forms. What is hidden from view is not necessarily absent — sometimes it is simply held within a space of its own. Red has long ...

Superposition from the series “Zero Thinking” This work explores the state where opposite realities coexist. “Superposition” is a moment before the mind chooses. Before logic separat...

High Alpine Landscape, Alps. Oil Painting by Otto Werner Henning von Kameke. Kameke was already a captain when he switched to art in 1860, went to Rome a...

(Series: Le Jardin Privé / Your Private Paradise) “Some doors lead not to rooms, but to states of grace — hidden havens where the soul finally feels at home.” This contemporary paint...

Elegant oil on canvas still life by A. Rudolphi, signed lower left and dating from around 1900. The composition features a delicate arrangement of grapes in a silver bowl, halved pea...

An exotic bird is depicted on a 40×40 cm canvas, painted with acrylics. Its plumage shimmers with vibrant shades of green, blue, turquoise, and yellow, creating a sense of living ra...

The composition exists between abstraction and recognizability, inviting the viewer to enter a space that is both boundless and intimate. The work is based on the state of zero thin...