Berlin - Art

“Fountain in the Garden of Eden” is a painterly dialogue between Albrecht Dürer’s images of Adam and Eve and Marcel Duchamp’s Fountain. In this work, the classical narrative merges w...

And Water Was First And Water Was First is part of Olena Kishkurno’s ongoing Inner Landscapes series - a body of work situated between abstract landscape and abstract impressionism,...

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. ...

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...

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...

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...

"The Birth of the New Moon" is a story of love, intimacy, and new beginnings. Two bodies embrace in a moment where there is no clear boundary — only warmth, reciprocity, and a quiet ...

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...

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...

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...

"Contemplation and Purring" captures a serene moment of harmony between a relaxed young woman and two playful cats. The woman, in gentle repose, embodies tranquility and introspecti...

(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...

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 ...

"Peonies" is a vibrant and expressive painting that captures the beauty and delicacy of blooming peonies. Created with bold, sweeping brushstrokes and a vivid palette, this artwork b...

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...

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...

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 ...

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...

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...

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

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...

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, ...

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)....

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...

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...

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...

The painting is created in a mixed media technique using gold leaf. The central image of the composition is a sea turtle — a symbol of harmony, wisdom, and tranquility. The turtle’s...

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 ...

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...

Alla Victorovna Kraschina-Shadov (*1958), Small Box, 1999. Oil on canvas, 59 cm x 59 cm (image size), 63 cm x 63 cm (frame), monogrammed and dated 1999 on the lower right, also signe...

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...

The work is created in the fluid art technique using acrylic on canvas. The composition is built on the intense interaction of saturated pink, coral, and crimson tones, complemented ...

Ouhi Cha (*1945 Busan), Untitled, 1988. mixed media, 31.8 cm x 23.3 cm (sheet size), signed “Ouhi Cha” in pencil below and dated “[19]88”. - in good condition - Bleeding Picture -...

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...

Herbert Richard Max Bodzin (1936 Hohenlimburg - Weyhe 2025), Steel sculpture, 1974. 85 cm (height) x 25 cm (width) x 25 cm (depth), signed “H. Bodzin” on the base plate and dated “[1...

This vibrant and expressive painting, part of a series dedicated to exotic birds, draws the eye with its rich palette — warm yellows and oranges blend harmoniously with deep blues an...

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...

This artwork is part of the series Return to Herself, dedicated to a woman and her body as a place of return to oneself, to an inner rhythm, rest, and silence. It explores a state in...

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 ...

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 ...

FPE Edition No. 5 (E) 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 ...

This painting is created with acrylic on canvas and depicts a realistic peony on a golden background. The flower is rendered in deep burgundy and crimson tones, its velvety petals u...

This circular abstract composition is created using fluid acrylic techniques combined with texture paste. The left and central parts of the artwork unfold as a vibrant flow of color ...

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...

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 ...

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...

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.

Adalbert Holzer (1881 Munich - 1966 Munich). Wettersteinkamm. Watercolour, 29 x 34.5 cm (visible size), 37.5 x 43 cm (frame), signed and dated at lower right 'ADALBERT HOLZER [19]23'. Framed behind glass. Frame shows signs of wear. - The blue of the mountains - About the artwork The Wetterstein ridge is revealed to the viewer from a gentle, snow-covered hill. In contrast to conventional depictions of mountains, the painting is composed entirely of shades of blue, which condense into the blue-grey of the rock or fade into the white of the snow. As a complementary colour to the blue, Holzer virtuously activates the ochre ground. The uniform yet exciting polarity of the colours emphasises the massive majesty of the mountains and at the same time underlines the special character of the Wetterstein ridge. Holzer transferred the translucency of glass painting, in which he was originally trained, to watercolour and developed a pictorial language related to the art of Ferdinand Hodler, which earned him the nickname 'Master of Blue' and led to the appreciation of his watercolours in particular. About the artist After an apprenticeship as a stained glass painter at the Kunstgewerbeschule, Adalbert Holzer studied at the Munich Art Academy under Carl von Marr...

Wilhelm Gross (1883 Schlawe - 1974 Oranienburg-Eden), The Prophet, c. 1955. Woodcut on thin laid paper, 43 cm x 23 cm (depiction), 61 cm x 43 cm (sheet size), signed “Dr. Wilh.[elm] Gross” in pencil lower right, inscribed “Orig.[inal] Holzschnitt (Handabdruck)” lower left and inscribed “Aus der ”Ecce homo“ Folge” in the center. - The wide margin with traces of pressing due to the impression, the sitter's left foot with a small purple stain, otherwise in vibrant condition. - The Burden of the Prophet - The large-format woodcut shows a prophet figure that takes up almost the entire height of the sheet. However, instead of seeing something in the distance that is still hidden from our eyes - as is usual in depictions of prophets - the figure has raised his hands in a defensive gesture, as if the prophet is trying to ward off what he has seen. At the same time, however, the position of the arms is an acceptance of the inevitable, which only those who recognize what is to come will have to bear for the time being, which is why the figure in the painting - despite its size - appears almost solitary, alone and exposed to the burden of suffering. In a manner reminiscent of the folds of medieval wooden sculptures...

La Promenade shipped in roll (Series: Le Jardin Privé / Your Private Paradise) “Some paths are not meant to lead us somewhere, but to bring us back to ourselves.” This work, titled ...

This painting embodies the dynamics and natural grace of a horse, symbolizing the strength, freedom and pristine beauty of the animal world. The animal's gaze attracts attention - it...

Anonymous, Sun God Ra (bookend), 16 x 13.5 x 6 cm (depiction), 17.5 x 13.5 x 8 cm (with pedestal), patinated brass, c. 1935. - Nose slightly rubbed, otherwise very good condition ...

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...

Tenderness and Power This work reflects on the paradox of strength revealed through vulnerability. The orange blossoms, vivid and luminous against the profound blue background, embod...

acrylic on canvas shipped in roll Two bouquets left after the evening. They carry traces of conversation, the breath of night, the freshness of air that still remembers warmth. A few...

The work is created in the fluid art technique on canvas, where the primary expressive element is the movement of paint. The composition is structured around a dynamic diagonal flow ...

Anonymous, Watching Owl on Rock, around 1960. Bronze, solid cast figure, 6.5 inches (height) x 4.7 inches (width) x 3.9 inches (depth), 2.44 kg. - Excellent condition - The Libr...

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...

Portrait of a young boy, impressionist painting. Dimensions WITHOUT frame in cm 32 x 42

This painting invites the viewer to rise above the noise of everyday life and see the world from a higher perspective. From above, the scene unfolds in serene contrast — the vast, te...