Design Gestalt

This artwork depicts blue skycrapers on a red sky, with flat light mauve clouds. Numerous yellow-orange halos are floating in the red sky. This piece is not framed. Jean-Marc Bois...

This artwork pictures labyrinthine walls forming hollow mountains. This piece is not framed. Jean-Marc Boissy is a talented and promising French art...

Acrylic on aluminum - Unframed. Hallard works with the themes of space and geometry, manipulating images and arrangements of objects in order to challenge the perception of the view...

Represented by George Billis Gallery, NYC & LA --Having worked from a studio in the Gowanus area of Brooklyn for two decades, Elizabeth O'Reilly is at home in the abandoned precincts...

Benjamin Weaver creates spatial tension through his use of contrasting colors arranged in a geometric framework. Imagery and color work both with and against each other to create mov...

This painting would make a lovely Valentine's Day gift, order today in time for holiday delivery! This geometric abstract acrylic on canvas Op Art painting is part of Weaver's "Cubes...

"The Fortune Teller" is an original oil painting on canvas by Abraham Willemsens, Maitre aux Beguins (Master of the Hats). It depicts a fortune tell...

Pachter has often used the tent as a symbol of the country, of military history, and the journey implied by the use of the tent, and of course, the primary symbolism of the pyramid. ...

Provenance: Santambrogio Antichità, Milan; sold, 2007 to: Filippo Pernisa, Milan; by whom sold, 2010, to: Private Collection, Melide, Switzerland De Primi Fine Art, Lugano, Switzerland; from whom acquired, 2011 by: Private Collection, Connecticut (2011-present) Literature: Ferdinando Arisi, “Ancora sui dipinti giovanili del Panini,” Strenna Piacentina (Piacenza, 2009): pp. 48, 57, 65, fig. 31, as by Panini Ferdinando Arisi, “Panini o Ghisolfi o Carlieri? A proposito dei dipinti giovanili,” Strenna Piacentina, (Piacenza, 2010), pp. 100, 105, 116, fig. 101, as an early work by Panini, a variant of Panini’s painting in the Museo Cristiano, Esztergom, Hungary. This architectural capriccio is one of the earliest paintings by Giovanni Paolo Panini, the preeminent painter of vedute and capricci in 18th-century Rome. The attribution to Panini has been endorsed by Ferdinando Arisi, and a recent cleaning of the painting revealed the artist’s signature in the lower right. Like many of his fellow painters working in Rome during his day, Panini was not a native of the Eternal City. He first trained as a painter and stage designer in his hometown of Piacenza and moved to Rome at the age of 20 in November 1711 to study figure painting. Panini joined the workshop of Benedetto Luti (1666-1724) and from 1712 was living on the Piazza Farnese. Panini, like many before and after him, was spellbound by Rome and its classical past. He remained in the city for the rest of his career, specializing in depicting Rome’s most important monuments, as well as creating picturesque scenes like this one that evoked the city’s ancient splendor. The 18th century art historian Lione Pascoli, who likely knew Panini personally, records in his 1730 biography of the artist that when Panini came to Rome, he was already “an excellent master and a distinguished painter of perspective, landscape, and architecture.” Panini’s earliest works from this period still show the evidence of his artistic formation in Piacenza, especially the influence of the view painter Giovanni Ghisolfi (1623-1683). However, they were also clearly shaped by his contact in Rome with the architectural capricci of Alberto Carlieri...

Abstract oil on canvas painting by Ivan Freitas. 25" x 31" inch canvas, framed to 30" x 36". Bearing a Barcinski Art Gallery label verso and a second lab...

Los Angeles based gallery presents a new series of Chinese contemporary ink paintings ranging from the 1960’s to the current period. Paintings are by chinese artists who are respected in China, or in the world of Chinese art, some of whom are masters in their own right. This is a Chinese ink...

"Sem Titulo" gouache on paper. Illustrated in Barsotti's book page 146. The full sheet size listed in the catalogue is 21cm x 30cm. The specialty frame incorporates a mat cut up t...