Feminist Art

Vera Barnett has taken on a range of themes in her works, producing series of paintings inspired by phobias, famous artworks (as in her series "Classical Plastique,") or most recentl...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

John Cobb knew he wanted to be an artist since he was 9. In 1976, he entered Rhode Island School of Design where his realist tendencies were ostracized. Using the money intended for ...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

Vera Barnett has taken on a range of themes in her works, producing multiple series of paintings inspired by phobias, famous artworks, or most recently the written word in her exhibi...

In this magnificent sensual abstract painting by Andrew Lui, grand gestural brushstrokes create nude human figures who appear to emerge from a riot of colour. In 'The Tall Ladies', t...

Richard Tosczak creates life size paintings and sketches of his models which he then recreates in bronze. This large scale canvas reflects speed, gesture and the effect of capturing ...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

A Professor of painting at Southern Methodist University in Dallas since 1984, Barnaby Fitzgerald spent his childhood in Italy before receiving a Magistero degree in printmaking at t...

“Barnaby Fitzgerald’s outrageously gorgeous paintings are a guilty pleasure - yet the guilt is unnecessary, for they do not cloy or fatten us. They are as intellectually challenging ...

Vera Barnett is best known for creating elements of her composition—by sewing and painting plastic, building objects with cardboard and tape, and assembling found objects—then settin...

Diana and the Three Fates, vintage 1970s semi abstract oil painting on board by 20th century Denver artist, Edward Marecak (1919-1993). Female nude figure of the the Roman virgin goddess, Diana, the protector of childbirth reclining with vases of flowers and the Three Fates looking on. Semi abstract, cubist style painting in bright colors of pink, fuchsia, green, yellow, orange, blue, brown, purple and red. Unframed, custom framing is available. In situ photos are frame mocks ups, the piece is currently unframed. Painting is clean and in very good vintage condition - please contact us for a detailed condition report. Provenance: Estate of Edward Marecak Expedited and international shipping is available - please contact us for a quote. About the Artist: Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of "Peter and the Wolf," awakening his interest in art. In his senior year in high school he did Cézanne-inspired watercolors of Ohio barns at seventy-five cents apiece for the National Youth Administration. They earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute. Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. A center of innovative work in architecture, art and design with an educational approach built on a mentorship model, it has been home to some of the world’s most renowned designers and artists, including Eero Saarinen, Charles Eames, Daniel Libeskind and Harry Bertoia. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy and sculptor Carl Milles were interrupted by U.S. army service in the Aleutian Islands during World War II. Following his military discharge, Marecak studied on the G.I. Bill at the Colorado Springs Fine Arts Center from 1946 to 1950, having previously met its director, Boardman Robinson, conducting a seminar in mural painting at the Cleveland Institute of Art. Although he did not work with Robinson at the Fine Arts Center, who had become quite ill - retiring in 1947 - he studied Robinson’s specialty of mural painting before leaving to briefly attend the Cranbrook Academy in 1947. That same year he returned to the Fine Arts Center, studying painting with Jean Charlot and Mary Chenoweth, and lithography with Lawrence Barrett with whom he produced some 132 images during 1948-49. At the Fine Arts Center he met his future wife, Donna Fortin, whom he married in 1947. Also a Midwesterner, she had taken night art courses at Hull House in Chicago, later studying at the Art Institute of Chicago with the encouragement of artist Edgar Britton. After World War II she studied with him from 1946 to 1949 at the Fine Arts Center. (He had moved to Colorado Springs to treat his tuberculosis.) Ed Marecak also became good friends with Britton, later collaborating with him on the design of large stained glass windows for a local church. In 1950-51 Marecak returned to the Cleveland Institute of Art to complete his Bachelor of Fine Arts degree. A year later he was invited to conduct a summer class at the University of Colorado in Boulder, confirming his interest in the teaching profession. In 1955 he received his teaching certificate from the University of Denver. Vance Kirkland, the head of its art department, helped him get a teaching job with the Denver Public Schools so that he and his family could remain in the Mile High City. For the next twenty-five years he taught art at Skinner, Grove, East, George Washington and Morey Junior High Schools. Prior to coming to Colorado, Marecak did watercolors resembling those of Winslow Homer, John Singer Sargent and Charles Burchfield. However, once in Colorado Springs he decided to destroy much of his earlier ouevre, embarking on a totally new direction unlike anything he had previously done. Initially, in the 1940s he was influenced by surrealist imagery and Paul Klee, and in the West by Indian petroglyphs and Kachinas. His first one-person show at the Garrett Gallery in Colorado Springs in 1949 featured paintings and lithographs rendered in the style of Magic Realism and referential abstraction. The pieces, including an oil Witch with Pink Dish...

Acrylic On Canvas 36" x 48" x 1 3/8" "How would you describe your work? I’d describe my work as playful, expressive, and simplistic, yet loaded with emotion. I try to evoke feeling...

Paul Manes was born May 4, 1948, in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has been widely exhibited in America and Europe and h...

Horizontal figurative photo-realist painting of women swimming in an aqua blue pool "Weightless, Timeless," painted by Hudson Valley artist, Samantha French, is 2019 oil on canvas, 48 x 60 inches Sides are cleanly painted white so additional framing is optional Excellent condition and ready to hang as is This photorealist figurative painting captures a peaceful water scene of a women leisurely floating in a crisp, aqua blue pool. The sunlight reflecting off their sun kissed skin complements the cool color palette, making for a serene visual experience. The brush work is highly detailed with little texture (impasto) on the surface. The horizontal painting on canvas is currently unframed and has clean, white painted sides, so additional framing is optional. About the Artist: Born and raised in north central Minnesota, Samantha French graduated from the Minneapolis College of Art and Design in 2005. French’s current body of work explores the idea of escape, the tranquility and nostalgia for the lazy summer days of her childhood. The series is inspired by Samantha’s own reflections and memories of her childhood summers spent in the lakes of Northern Minnesota. French actively exhibits her paintings and is included in many private and public collections throughout the country while her work has garnered extensive international and national press. She is a full-time painter and keeps a studio in New York’s Hudson Valley. "My current body of work is focused on swimmers underwater and above. Using vague yet consuming memories from my childhood summers spent immersed in the tepid lakes of northern Minnesota, I attempt to recreate the quiet tranquility of water and nature; of days spent sinking and floating, still and peaceful. These paintings are a link to my home and continual search for the feeling of the sun on my face and warm summer days at the lake. They are my escape, a subtle reprieve from the day-to-day. At the same time, I am drawn to an idealistic time before my own, where swim caps and wool swimsuits were commonplace. This combination of memory, observation and photography has allowed me to preserve the transitory qualities of water and remembrance." Artist Resume: 2019 Winter Swim, Rubine Red...

This is a wonderful example of Italian Artist Antonio Privitera's dramatic Nude portraits. The artist was truly a master of capturing the energy and the emotion of his subjects effor...

Colton Waugh was a third generation American Artist. He was mostly known for his Marine paintings, still life paintings, and cartoons. As he attended the Art Students League, this painting may have been executed in one of his classes there being that it is a figure nude. This painting is a very rich celebration of color and texture. It can be noted that the artist was fond of using the pallet knife, and in this painting, we can see great executions of this. The brilliant contrasts are highlighted to great depth, as we can almost feel that this painting has a sculptural effect. This piece is truly inviting with beautiful details, as the figure is portrayed whimsically and gracefully. This painting is signed lower left and comes displayed in a wonderful gold tone wood frame. This painting measures 19 x 14 in Framed measures 24.25 x 19.4 in Coulton Waugh was born in 1896 in Cornwall, England. He was an American visual artist, son of maritime painter Frederick Judd Waugh, and his grandfather was the Philadelphia portrait painter Samuel Waugh. In 1907 his family moved to the United States, he grew up in Provincetown, Massachusetts and later made his home in Newburgh, New York. Over there Waugh was enrolled at New York's Art Students League where he studied with George Bridgman, Frank Dumond, and John Carlson. By 1916 Coulton was employed as a textile designer. In 1921 he moved to Provincetown, Massachusetts where he operated a model ship and hooked rug shop for 11 years. As a part of an artistic family, Waugh was a painter, comic strip artist and author. As he lived in New York he is often known for the artistic work in marine scenes, still life compositions and cartoons. Also was one of the main artists who worked on the famous “Dickie Dare” comics, created by Milton Caniff. He was working on the strip for more than 20 years, from 1933 until 1957, and there is where Waugh met his future wife, Odin, after hiring her to work on the strip as an artist and letterer. In 1945, he created “Hank” which only ran a short time. From 1947 on, Waugh divided his time between painting, teaching art and writing a seminal history of cartooning called “The Comics” in 1947 as a reference on the history of comics, which became one of the first serious examinations of the medium, as well as instructional books on cartooning and palette-knife painting. In Provincetown, he created other pictorial maps or decorative maps, including ones of Provincetown of 1924, Cape Cod of 1926 and Newburgh, New York in 1958. His map of California of 1948 was a collaboration with his wife Odin Burvik (Mabel Burwick). His paintings were displayed at New York's Hudson Walker Gallery, and he also was known for his pictorial maps and hand-colored lithographs, like the one exhibited of a Cape Cod map...

A strong modernist oil painting depicted in the 1940's by Spanish painter Julio Moises. Mostly known for his abstract figures on canvas, this piece is a w...

A Mid-20th Century charming oil painting depicting a seated nude woman in a whimsical interior scene, Ducaire was known for her charming intimate figurative scenes portraying female ...

This piece is an abstract composition done with mixed media, oil and acrylic paints on linen. The artist explores an incredible world filled with color and expressive brush strokes. ...

Mid century nude figure study of a woman in a blue chair by California artist Genevieve Rogers (American, 1904-1984). Unsigned, but acquired with a collection of her work. Presented ...

Abstract expressionist nude figure by Louis Nadalini (American, 1927-1995). Signed "Louis Nadalini" in the lower right corner. Signed "Louis Ernie Nadalini" on verso. Unframed. Image...

Contemporary Multi-Color Figural Abstract, Rainbow Woman Contemporary modernist oil painting of a seated female nude in an abstracted vivid rainbow color spectrum by San Francisco a...

Wonderful abstracted nude, a watercolor painting by California artist Virginia Hughins (Virginia Brubaker DeWolf), (American, 1923-2004). Singed "V. Hughins" lower right. Unframed. I...

Dark storm clouds loom over a surreal, desolate beach landscape, which is populated by several male figures in different states of being, in this contemplative symbolic contemporary painting by Bay Area artist Michael Pauker (American, b.1957), circa 2013-2014. In the left foreground we see part of a bearded man's face, as if witnessing this scene with the viewer. Next a male figure in bright red bathing suit faces the ocean, his back to the viewer, while a more distant nude male at three quarter view points down at something in the sand. Finally, on the right appears the bearded man as a classical sculpture bust on a pedestal...

Nudes By. Salcia Bahnc (Polish, American, 1898-1976) Signed Lower Middle Unframed: 14 x 18 inches Framed: 23 x 26 inches Painter, illustrator, printmaker, teacher. Born in Dukla, Poland. Though she was born in Dukla, a town in south-eastern Poland, she moved to Prsemysl, one of the largest and most ancient cities of southern Poland, at a young age. Her mother was reportedly descended from the "Van Ast" family, a Dutch dynasty that produced several artists, including Balthasar van der Ast (1593/4 - 1657). According to one art historian she came to New York at the age of five (c. 1903), and another, at the age of eight (c. 1906). Her family was Jewish and reportedly quite wealthy. Why they would have left imperial Austria, under whose sovereignty either of her proposed birth cities were under, is unknown. However, while these areas did not suffer the pogroms typical in neighboring imperial Russia, the Austro-Hungarian empire had become much more anti-Semetic, which may have hasten there departure. How, according to one source, they ended up living in the Jewish ghetto of New York is extremely puzzling. Did they loose their wealth to some business disaster? Where they forced to leave it behind? Was there some familial tragedy? We may never know. In her youth she lived first in New York City and then in Boston, Massachusetts, where her family had relatives. It is reported that when she was in fourth grade she was found to be so competent in drawing that for the next two years she taught a drawing class after school for the other children. In Boston, Bahnc's mother eventually remarried and moved the family to Chicago where the young artist was primarily raised. In Chicago she worked during the days as a sales clerk in a department store. At night she put herself through school at the School of the Art Institute of Chicago (SAIC) and taught at her former alma mater after her graduation during the years 1923-1929. She also studied at the Chicago Academy of Fine Art. She took up design work and began exhibiting painted silk creations at a private Chicago gallery (probably Thurber, see below). The first museum exhibitions she is known to have participated in were held at the Art Institute of Chicago. During this period she became known for her portraits. Originally a resident alien, she was naturalized at the district court of Chicago, Illinois in July of 1913. In 1920 she lived on East Ontario Street in Chicago in a neighborhood filled with art studios and artists, including James Allen Saint-John (1872-1957), Paul Bartlett (1881-1965), Pauline Palmer (1867-1938), and George Ames Aldrich (1872-1941). It is in Chicago that she saw her greatest success as an artist. In 1927, Chicago art dealer Chester H. Johnson said of her work: "The Art of Salcia Bahnc is a sincere manifestation of the spirit we know as 'Modernism' . . . . . . She is the spirit of the Age, not its Fashion." Local reviewers agreed, one going as far to say that her exhibition was " . . . the most interesting one man show by a young artist that has ever been presented to Chicago, and I keep telling myself that New York will get her if we don't watch out." She was apparently a favorite and friend of art critic Clarence Joseph Bulliet (1883-1952), who authored a number of books and articles that praised Bahnc's work. Bulliet was central in introducing and popularizing modern art in the mid-western United States. In his book Apples and Madonnas: Emotional Expression in Modern Art (1935) he called Bahnc a "A thorough Expressionist." A year later in his book The Significant Moderns and Their Pictures (1936) he noted that one of her paintings of a nude was ". . . powerful in its elemental brutality." During this period other critics reported positively on the work she was producing. Ida Ethelwyn Wing reported in a volume of the Delphian Text (1930) that Bahnc, was without doubt, ". . . the most vigorous and intensively original of the American Expressionists." Paul Masserman and Maxwell Baker said of her in their work The Jews come to America (1932) that she was part of a group of artists that were "Chief among modern Jewish painters. . . " Salcia Bahnc traveled back and forth to Europe during the late 1920s and into the 1930s, a period when she faced the rise of totalitarianism. She wrote about this fact to a fellow artist to whom she commented " . . . about the difficult art scene in Paris . . . . . . and the growing power of fascism." In 1930 she was maintaining a studio in New York City at 1218 East 53rd Street and a residence in Brooklyn, Long Island. She returned to France where she married a French citizen and writer named Eugene Petit (b. 1901) and bore a son there named Alain Petit (b. 1934). She again returned to the United States in November of 1937 and traveled back to France after a brief stay in America. During her stay she continued to exhibit in Chicago, where Quest Galleries gave her a solo show. Like so many ex-patriot authors and artists who were living in Paris, she found herself trapped in France (first in Paris, then in Mayenne) following the German invasion in 1940. Being of Jewish extraction the situation could prove to be quite dangerous if she were reported or discovered by German authorities. She and her husband were able to obtain passports and escape to Portugal where in August of 1941 they boarded the S. S. Escambion to return to America. In 1940, American Export Lines, owners of the Escambion, discontinued its normal Mediterranean routes and placed their ships into service sailing from Lisbon, Portugal to New York City. Over the next two years (1940 - 1941) their ships played an important role in transporting thousands of people who were trying to escape the Nazi regime before America's own entry into World War II. One survivor, Ludwig Lowenberg, who sailed on the Escambion on the same day that Bahnc did, reported the ordeal his family endured getting to Lisbon to his own descendants: "[The family] received their American visa on May 28, 1941, only three days before the U.S. consulate in Stuttgart closed for the duration of World War II. They left Berlin on June 23, 1941, traveling for 27 hours on a locked train to Paris. There they were forced to spend an additional night in the locked train until their coach was attached to a train headed for San Sebastian in Spain. After an overnight hotel stay in San Sebastian, the train (now no longer locked) continued to Lisbon. All in all it took six days from Berlin to Lisbon. They remained for four weeks in Lisbon until they embarked on the Excambion for New York." Bahnc had given up her citizenship during her time in France and was forced to reapply for naturalization once again upon her return. She was living in New York City at 101 West 85th Street when she was re-naturalized in April of 1947. Exactly how much of her artwork was lost in Europe is not known. Clearly, she would not have been able to bring much, if anything, with her during her escape. One writer had noted that between 1930 and 1934 she had worked hard to prepare a large group of new works for a show in Paris. Between those, and what she would have produced during the next six years, the actual amount of the loss might have been staggering. Bahnc's 1942 exhibition with Julio de Diego included works recalling the suffering going on in Europe. One work in the exhibition was a portrait of the painter Katherine Dudley, who, at the time, was reportedly interned near Paris. In the later years of her career she worked extensively as a teacher and illustrator of children's books. In 1950 she taught at the Evanston Art Center, where she lead a demonstration in portrait painting. She authored or illustrated a number of works during and after World War II, including: The House in the Tree and Other Stories of Places, People and Things (1941); Claude Of France: The Story Of Debussy For Young People (1948); Time for Poetry (1951); Hidden Silver (1952); From Many Lands - The Children's Hour, Volume 9 (1969); and That Boy (no date). She returned to teach at the School of the Art Institute of Chicago during 1943-44 and 1947-53; and taught later at the Garrison Forest School in Garrison, Maryland, from 1955-57. Bahnc was known to have exhibited widely, both in Europe and in America. Her known lifetime exhibitions include: The Art Institute of Chicago, Chicago, IL, 1919-29, 1942 (The 53rd Annual; and Room of Chicago Art: Exhibition of Paintings by Salcia Bahnc and Julio de Diego), 1943; Chicago Architectural...

'Painting offers me the chance to celebrate light and the sensual joy derived from seeing. Good paintings are like diary pages- free from the self-editing that goes on when the paint...

The dramatic luminescence of Bill Bate’s other-worldly figures are evocative, atmospheric and mesmerising. From the depths of the ocean to celestial heights, the rich pigmentation o...

Bill Bate: ‘I have always been inspired by the human figure and the effect light has upon it. I have used various ways of portraying the body such as dance, swimming and also boxing but it is the body itself that interests me rather than the activities in particular. It is the physicality of the form and the beauty of the athletic figure that makes me want to paint. I usually have an idea of how I want the painting to look but in some pieces the original idea moves into something else and I leave some of the older workings, the initial sketches and drawing...

The dramatic luminescence of Bill Bate’s other-worldly figures are evocative, atmospheric and mesmerising. From the depths of the ocean to celestial heights, the rich pigmentation o...

The dramatic luminescence of Bill Bate’s other-worldly figures are evocative, atmospheric and mesmerising. From the depths of the ocean to celestial heights, the rich pigmentation o...

The dramatic luminescence of Bill Bate’s other-worldly figures are evocative, atmospheric and mesmerising. From the depths of the ocean to celestial heights, the rich pigmentation o...

Rowann Villency, Untitled Nude, Abstract Figurative Nude, Mixed Media, 42.75 x 28.75, 1989 Colors: White, Blue, Orange, Purple, Turquoise, Gold Framed 5...

Unsigned original painting. Artwork is in excellent condition. Certificate of authenticity included. Artwork size: 16 x 11 in. Frame size: 21 x 17 in. All reasonable offers will be...

Original painting on canvas. Hand signed lower front by Fernando Fernandez. Canvas is sretched. Artwork is in excellent condition. Certificate of ...

The dramatic luminescence of Bill Bate’s other-worldly figures are evocative, atmospheric and mesmerising. From the depths of the ocean to celestial heights, the rich pigmentation o...

'I have always been inspired by the human figure and the effect light has upon it. I have used various ways of portraying the body such as dance, swimming and also boxing but it is t...

With a background in engineering and architecture, Marco Araldi is demonstrably comfortable with both mathematical design and geometry. Naturally drawn t...

An original acrylic study by 20th century British artist, John Foulger (1943-2007). Well-presented in smart wood frame. Signed 'J. Foulger' to the lower r...

Unsigned. There is an oil figure study on the reverse. On card.

Signed 'BoBo' and dated verso. Presented in a gilt frame with a beaded running pattern. On board.

Unsigned. On canvas on stretchers.

A striking nude, maybe one of the most impressive portraits from the collection, this 20th Century life study shows a seated woman with pastel toned skin sitting against a dramatic b...

A dynamic life study by contemporary artist Diana Wayne. Signed to the lower right. Presented in a contemporary lime-washed frame with the artist's name, title and date inscribed ver...

Bears monogram to the lower left. Signed and dated to the reverse although this painting is thought to be of a later date, On board.

A striking study of a nude model reclining on blue linen against a bright blue backdrop. The artist uses a more natural palette to capture the model, juxtaposing her bright surroundi...

A charming nude study of a seated female model leaning against a blue backdrop. The bold background colours juxtapose the soft colours used to represent the model giving the piece a ...

Signed and dated. On canvas on stretchers.

Presented in a contemporary wood frame. Unsigned. On canvas board.

A striking nude study of model Kate Moss crouched with her knees drawn in while holding a cigarette. Signed and dated to the lower right. On canvas.

A copy of Diego Velazquez's (1599-1660) 'Rokeby Venus' (c.1647-1651). Presented in a silver gilt-effect wooden frame with egg and dart detailing to the outer edge. Signed to the lowe...

Inscribed 'Rubens' to the top left-hand corner. Float mounted in a contemporary box-style frame. On cardboard.

Presented in a contemporary wood frame. Label to the reverse. Unsigned. On canvas paper.

A dynamic nude study in vigorous, bold brush and palette knife work. The artist has signed illegibly and monogrammed to the lower right and the painting has been presented in a conte...

An fine study by the British artist Susan Paine, depicting a nude figure reclining on a bed. Completed in a subdued colour palette with expressive brushwor...

A colourful nude study, showing a seated woman on a red and purple background. The painting is unsigned. their is another cropped painting on the reverse of the board showing a portr...

An impressionistic study of a young lady sunbathing on a summer lawn. The sitter looks relaxed in her position, with hat and sandals off, happily led in the grass. To the reverse of the painting is a second artwork by the same hand, depicting a nude female resting...