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Artist: Vadym Mykhalchuk Title: Lily Year: 2018 Style: Pop Art Materails: Oil on canvas Height: 100 cm Width: 80 cm

This is Van Gogh's favorite flower. The artist idolized this flower, considered it a symbol of appreciation and gratitude. The color yellow itself was associated with friendship and ...

Nataliia Svitlychna "Hopak"

Work by Joe Reihsen

Painting a picture in plein air, in different corners of Poltava region

Oleksandr Khrapachov "Field"

Nataliia Svitlychna "Swipe"

An acrylic on panel depicting an erupting volcano

Oleksandr Khrapachov "SPACE_"

The series "Spirituality" has reached completion. However, O. Khrapachov's search did not reach a dead end. His theory of the development of the world testifies to the incompleteness...

Lotus of Desires, The work was written to the sound of sirens and explosions. I express all my positive emotions on the canvas, live a full life, and breathe. On this canvas is a Lot...

Work on canvas by Wendy White

Work by David Ry Bradley Spray paint and dye transfer on synthetic suede

Work by Kasper Sonne

The artwork is part of the series "No man's land".

IVAN TUZOV (*1984) lives and works in Saint Petersburg and Montenegro. Ivan is a member of the art group "PARAZIT" since 2008. In 2010-2012 he worked as a cartoon artist at "Kikoriki...

IVAN TUZOV (*1984) lives and works in Saint Petersburg and Montenegro. Ivan is a member of the art group "PARAZIT" since 2008. In 2010-2012 he worked as a cartoon artist at "Kikoriki...

The work is a mirror representation of Hieronymus Bosch's well-known painting 'The Cure for Madness', created by the artist with his left hand.

The work is a painting on canvas depicting two children with Valencian folkloric clothing and the characteristic glitches that mark the artist's research.

Acrylic on canvas 60 x 48 inches 2022

Acrylic on canvas 48 x 48 inches 2022

Acrylic on canvas 48 x 48 inches 2022

Tribute to Freddie Mercury (1946-1991) with encrypted messages

Inspired by Johann Sebastian Bach's Well-Tempered Clavier

Serguace di Salvator Rosa Paesaggio con personaggi Olio su tela, Sec. XVII, cm 52x93,5; con cornice cm 64x146x6

Lukas Glinkowski's work focuses primarily on painting, often creating imagery that is combined with fragments of urban places, films, and comic books. Spac...

S.D.C.G.T. (Stretch / Dark), 2022 60 x120 cm, Oil and Lacquer on Canvas

Santi di Tito Ritratto di Nobildonna Olio su tavola, Sec. XVI, cm 74x61; con cornice 116x100x9 Con procedere degli studi su Santi di Tito, del quale è stata recentemente precisata la nascita fiorentina , si viene sempre più definendo come non solo una delle personalità più interessanti della scena artistica fiorentina, ma anche come il più interessante ritrattista cittadino della seconda metà del Cinquecento. L'attribuzione di questo ritratto al pittore, che nell'impresa dello Studiolo di Francesco I fu uno dei maggiori innovatori fra i giovani riuniti da Vasari e Borghini, appare subito evidente per l’inconfondibile disegno ovale e fermo del volto, reso con un incarnato compatto dai toni rosati che si accende di naturalistiche notazioni epidermiche ma anche di una puntuale figurazioni degli elmenti decorativi dell’abito e dell’acconciatura. Sempre coerente con i modi pittorici di Santi è poi la pittura compatta con la quale vengono definiti i piani semplificati del volto delle donna, che conservano una notazione di luce e di naturale sensibilità in linea con i dettami controriformati dei quali il pittore fu uno dei più fedeli osservanti nella scena fiorentina. Sempre tipica di Santi di Tito è poi la ferma e volumetrica rappresentazione del torso e dell’abito definito nei piccoli intagli della stoffa ma allo stesso tempo semplificato nei volumi delle maniche e del busto. Ancora di santi ci sembra la notazione luministica con la quale è rilevato il disegno dell’abito attraverso stesure compatte ma sottili e trasparenti, oppure è resa la gorgiera bianca che aggiunge una luce netta all’intero dipinto. Una simile scelta pittorica appare nel Ritratto di Guido Guardi coi figli, esposto alla mostra Il Cinquecento a Firenze, (Palazzo Strozzi, 21 settembre 2017 – 21 gennaio 2018, n. IV. 5, pp. 156-157), dove, pur in un ritratto maschile, Santi di Tito usa la medesima cifra formale nella resa dei volti e delle gorgiere. Pur nell'attenzione alle caratteristiche fisionomiche, Santi di Tito conserva, infatti, una cifra disegnativa sempre evidente e riconoscibile pur col passare degli anni, un carattere stilistico che sostiene, con volumi saldi, ogni sua differente prova pittorica. Ne sono un esempio dipinti quali il Ritratto di donna con Figlia, già in collezione Koelliker2, oppure il Ritratto di Lucrezia (Emilia) e Sinibaldo di Niccol Gaddi3, tutti databili agli anni settanta del Cinquecento proprio per la stereometrica definizione delle forma. Col passare degli anni, invece, tale carattere di ascendenza bronzinesca sembra cedere sempre più in favore di una pittura più morbida e sensibile, chiamata a raggiungere esiti di naturalezza sempre maggiore. Dipinto emblematico per seguire tale percorso rimane il già citato Ritratto di Guido Guardi con i figli , dove Santi di Tito ha effigiato il capofamiglia subito dopo il suo ritorno da Roma, fra il 1564 e il 1568, al tempo in cui il Guardi commission al pittore anche una pala con una Natività per la cappella di famiglia a San Giuseppe. L’uomo, seduto su uno scranno, sembra rimandare per la posa arcaizzante alla ritrattistica di primo Cinquecento, alla quale Santi di Tito s’ispira anche per le pieghe frante ma scultoree dell’abito. Sulla stessa tavola, probabilmente verso la fine degli anni settanta del Cinquecento, il pittore venne chiamato ad aggiungere le effigi di figli, quando probabilmente l’opera era già in cornice, e lo fece con una pittura più svolta e libera, in modo da raggiungere effetti naturalistici di maggiore sensibilità. Anche nel Ritratto di donna in esame, i volumi saldi e potenti della figura spiccano sul fondo monocromo della parete con un’evidenza che farebbe pensare alle figure eseguite dalla fine degli anni Settanta del Cinquecento, al pari, appunto dei due figli di Guido Guardi. Nato a Firenze nel 1536, Santi di Tito si form prima da Bastiano da Montecarlo per passare poi dal Bronzino, del quale conserv la preferenza per volumi luminosi e torniti, a cui aggiunse un'attenzione per la chiarezza compositiva e il naturalismo richiesti dai dettami della Controriforma, che lo portarono a guardare allo stile di Scipione Pulzone...

Bartolomeo Passerotti ( Bologna 1529 – 3 giugno 1592) Ritratto di Gentiluomo con cane Olio su tavola, Sec. XVI, cm 84x69; con cornice 101x87 // Bartolomeo Passerotti (Bologna 1529...

Sebastiano Mazzoni Andata al calvario Olio su tela, Sec. XVI, cm 130x143; con cornice 167x153x9 Il dipinto rappresenta un episodio della Passione di Cristo cui accennano appena i Van...

Sebastàn de Llanos Valdès (circa 1605-1677) testa di santo martire Olio su tela, cm 50,5x72,5 Non vi sono dubbi in merito all’autografia del dipinto che spetta a Sebastian de Llanos y Valdes (1616-1677), come testimonia l’ iscrizione frammentaria posta nel margine inferiore destro della composizione. Il pittore spagnolo fu allievo di Herrera il Vecchio (1576-1656), poliedrico artista suo conterraneo, abile oltre che nel dipingere anche nella lavorazione del bronzo e nel campo della medaglistica. Nella famosa bottega dell’ Herrera, cui viene attribuito il ruolo di fondatore della famosa Scuola di Siviglia, gravitarono anche il tredicenne Velasquez, che vi rimase per un intero ano, e Ignacio de Riarte. Nel nostro dipinto raffigurante la testa...

Lukas Glinkowski’s work focuses primarily on painting, often creating imagery that is combined with fragments of urban places, films, and comic books. Spac...

Acrylic on canvas, with frame Ready to hang I can make commissioned works_ -Specialist in large painting___ _intuitive painting, trying to share the happiness of the creating exp...

Acrylic on canvas, with frame Ready to hang I can make commissioned works_ -Specialist in large painting___ _intuitive painting, trying to share the happiness of the creating exp...

Vadym Mykhalchuk "Coca-Сola" 2018

Thomas Sidney Cooper was one of the foremost animal painters of the Victorian period. He was born in Canterbury, Kent, and as a small child he began to show strong artistic inclinations, but the circumstances of his family did not allow him to receive any systematic training. By the time he was twelve years old, he was working in the shop of a coach painter. Later he obtained a job as a scene painter, and he alternated between these two occupations for about eight years. He still felt a strong desire to become an artist, and all his spare moments were spent drawing and painting from nature. At the age of twenty, he went to London, drew for a while in the British Museum, and was admitted as a student of the Royal Academy. Subsequently, he returned to Canterbury, where he was able to earn a living as a drawing master and by the sale of sketches and drawings. In 1827, he settled in Brussels and married before taking up a position as a teacher in Brussels in 1829. There he befriended Eugène Joseph Verboeckhoven, the great Belgian animal painter, who greatly influenced his style. He was also influenced by the 17th Century Dutch School. Because of the Belgian Revolution, he returned to London where he settled and first exhibited at Suffolk Street in 1833. He exhibited forty-eight pictures at the British Institution between 1833 and 1863. ‘Landscape and Cattle’, Royal Academy 1833, was shown until 1902 without a break - a record for a continuous exhibit at the Royal Academy. Sheep and cattle were his most frequent subjects, although he did paint a few figurative subjects. Cooper collaborated between 1847 and 1870 with Frederick Richard Lee...

Artist: Vadym Mykhalchuk Title: Nastya Year: 2018 Style: Pop Art Materails: Oil on canvas Height: 100 cm Width: 80 cm

Vadym Mykhalchuk "Odessa.Rain on Preobragenska Street."

Vadym Mykhalchuk "Selfie"

Vadym Mykhalchuk "Odessa.Grekivka.Masha."

Picking Flowers by Fréderic Ferdinand Koch (signed lower right) Provenance: Galerie Berko Frederic Koch was a painter and pastellist of figures, compositions, still lives, drafts...

Work by Ryan McNamara

Boris Akopian "Nude"

The work is a canvas that already includes a wooden frame; the subject is a snowy mountain in the background with an intricate pattern of branches in the foreground.

Work by Sam Moyer

S Lawson Booth : Country House in extensive landscape with cattle in the foreground, oil on canvas signed and dated '98, 60cm x 90cm (35x23 inches approx image) size with frame appro...

"Le troisieme oeil" is realized with oil paints on vertical 80x130 cm Alcantara canvas. The thickness of the canvas is painted. The frame is not essential. The reference to mytholog...

La coscience de la liberté artwork is realized with oil paints on Alcantara canvas and is composed of three canvas for a wonderful 285x148 cm triptych. The thickness of the canvas i...

This artwork is realized with oil paints on vertical 80x133 cm Alcantara canvas. The thickness of the canvas is painted. The frame is not essential. The reference to mythology is st...

Acrylic and oil paint over glass and canvas with an iron frame 119 x 197 x 15 cm

This artwork is realized with oil paints on vertical 80x133 cm Alcantara canvas. The thickness of the canvas is painted. The frame is not essential. The reference to mythology is st...

"Le transi" is realized with oil paints on horizontal 133x80 cm Alcantara canvas. The thickness of the canvas is painted. The frame is not essential. The reference to mythology is s...

19th century oil Devon coastal scene William Shayer Snr (Circle of) A very attractive oil on canvas of cockle gatherers on the Devon coast The painting depicts a busy scene with people gathering their cockles with horses/donkeys laden with baskets ready to take to market. The painting Bears signature, also inscribed and dated 1833 (lower right) The size overall is 95 x 130cm whilst the image is 64 x 104cm (25 x 40¾ in.) Housed in the original heavy gilt frame Provenance: The property of a lady and gentleman , removed from a Cheshire country house William Shayer (1787–1879) was an English landscape painter and figure painter who became prominent during the Victorian era. A self-taught artist, who began by painting decorations on rush-bottom chairs. He moved on to painting carriages in the town of Guildford, after which he started doing heraldic painting...

Portrait of Lady Sarah Cowper, nee Holled [1644-1720]-Circle of Michael Dahl 17th century, oval,bust-length . She has dark hair tied high and wearing a b...

Ernő GOLDFINGER building BALFRON TOWER painted with Le Corbusier flaking paint from an apartment studio. 'Wylie shows the buildings as alive with use ...

Portrait Circle of Sir Godfrey Kneller Bt. (British, 1646-1723) of Katharine, wife of Thomas, 6th Earl of Westmorland, oil on canvas late 17th early 18th century in date. The sitter Katharine is facing dexter and is wearing a cream dress, blue and gold cloak and lace mantilla...

John Dalziel Kenworthy portrait of a gentleman . Fine, large and imposing oil on canvas housed in a gilt frame. The sitter is unidentified, he has an aristocratic and characterful lo...

A very fine oil on canvas of Sir John Pettus ,circle of Mary Beale 17th century Wearing a red cloak and a black tunic with white collar. His coat of arms to the right. Housed in a gilt frame, the size overall being 85 x 74 cm whilst the painting is 76 x 63.5cm In overall excellent condition. There is a wealth of history about the sitter online , below is a brief resume John Pettus Sir John Pettus (1613–1690) was an English royalist, politician and natural philosopher. Pettus was an expert on metallurgy and became a deputy governor of the royal mines in England and Wales under Charles I and II. He is known for the first English translation of the work of the German metallurgist Lazarus Ercker. Pettus’s grandfather was a wealthy Norwich merchant ,he purchased the manor of Rackheath in 1590 and represented the city in 1601 and 1604-10. Although a younger son, Pettus inherited the manors of Chediston and Wenhaston, He married well; but even before the Civil War most of his estate was mortgaged, and his wife’s expectations were never realized, owing to her father’s misfortunes as leader of the City Royalists. Pettus became a servant to Charles I, and took part in the farcical royalist attempt on Lowestoft in March 1643, but was exchanged after nearly a year in prison. It is unlikely that he resumed command of his regiment, such as it was, since he ‘continued inoffensive till the taking of Bristol’ by the New Model Army...