A.E. Herrmann Figurative Paintings

Well painted and very interesting composition attributed to the English landscape painter john Frederick Tennant. His work is very similar to ...

'Mountain Landscape', oil on canvas, by Louise-Jeanne Cottard-Fossey (circa 1950s). A very idyllic, verdant scene depicted by this renown French fem...

Signed pointillist oil on canvas landscape by French Neo-Impressionist painter Yvonne Canu. The work depicts a view of revellers on a boat travelling along the River Seine in Paris, ...

Charming oil painting of corner of Santa Cruz Ave and W. Main Street in downtown Los Gatos, California by Eugene Atcheson (American, b. 1955), circa 1980. Si...

Sally Gaywood was born in Chester and from a very early age showed a natural aptitude for painting. She trained to be a dancer, but her dream was always ...

' Snow Drive ' 2013 Original unique piece oil on canvas 40 w x 30 h cm signed on reverse by artist. Unique work. About the artist : Katherine Russell is a London based Painter. Her current body of work seeks to deconstruct our daily encounter with media images. From war zones to deserts, from solitary figures to candle-lit night markets, her choice of source material is indiscriminate of specific content, yet resonant with the unfamiliar and unsettling nature of our media-driven age. Education: 2014-15 MA Fine Art Painting; City and Guilds London Art School 99-02: BA (Hons) Fine Art Degree; University of Northumbria at Newcastle 98-99: BTEC Diploma Foundation Studies in Art and Design; Wimbledon School of Art and Design Selected Exhibitions: 2019 Made In Britain 82 Painters of the 21st Century, The National Museum Gdańsk, Poland, 14 March - 2 June Contemporary British Painting An Exhibition of 34 Painters, The Hostry, Norwich Cathedral, Norwich, 25 April - 16 May Disposition Summer Salon 1, Bermondsey Project Space, London, March 2018 Contemporary Masters From Britain, Tianjin Academy of Fine Arts Museum, China 2017 Contemporary Masters From Britain, Jiangsu Provincial Art Museum, Nanjing, China Anything Goes Contemporary British Painting, Art Bermondsey Project Space, London July - August Contemporary Masters From Britain, Yantai Art Museum, China Contemporary Masters From Britain, Jiangsu Museum of Arts and Crafts (Artall), Nanjing, China 'Why Not Art' Launch Event, The Clock, Marylebone, London, March 2017 2016 30x30x34, Contemporary British Painting, The Crypt, St Marylebone church, November 2016- January 2017 Highly Commended Artist; The Ashurst Emerging Artist Prize 2016, Showcase Exhibition July – December 2016 Contemporary British Painting Summer Exhibition, Quay Arts, Isle of Wight, July – October 2016 Shortlisted Artists; The Ashurst Emerging Artist Prize 2016, London, May- June Rising Stars 2016, Lloyds Register, 71 Fenchurch Street, London, Feb- March 2015 Contemporary British Painting, The Crypt, St Marylebone Church, London, Nov- Jan 2016 Recent Graduates 2015, Affordable Art Fair, Battersea Park, London, October MA Show, City & Guilds London Art School, September Summer Salon, Lubomirov/ Angus Hughes Gallery, August. Documentary Realism: Painting in the Digital Age, St Marylebone Crypt, London, March 16/15, Group Exhibition, The Muse, Portobello road, London, February Priseman Seabrook Collection of 21st Century Painting, Huddersfield Art Gallery, November- March @ Paint Britain, Ipswich Museum, November 2014 - March 15 2014 'The Girl Who Wasn't There.' Solo Show, A&D Gallery, 51 Chiltern Street Marylebone, London, June 'Home,' The Crossley Gallery, Dean Clough, Halifax, June - September 2013 Group Show, Contemporary British Painting, The Crypt, St Marylebone church, London, December-January 'Passing Through.' Solo show, Contemporary British Painting, The Crypt, St Marylebone Church, London, September Press/Print Literature: Made In Britain 82 Painters of the 21st Century, Catalogue Contemporary Masters from Britain, China Touring Show, Catalogue MA Show, City & Guilds London Art School, Catalogue Documentary Realism: Painting in the Digital Age Accompanying Catalogue & Essay Collection, 2015 @PaintBritain, Ipswich Art Gallery, Artlyst review, 2015 Priseman Seabrook Collection of 21st Century Painting Catalogue & Yorkshire Art...

French Expressionist Mid Century Modern View of Paris on the Seine, bridge Very much influenced by the work of Bernard Buffet this is a very decorative example of French city paintings...

Anemones in a terracotta jug by Gabrielle Moulding [2021] original oil on board Image size: H:52 cm x W:45 cm Complete Size of Unframed Work: H:35 cm x W:28 cm x D:3cmcm Frame Size: H:52 cm x W:45 cm x D:3cm Sold Framed Please note that insitu images are purely an indication of how a piece may look Anemones in a terracotta jug is an original painting by Gabrielle Moulding. Painted from life in my garden studio. During this year in lockdown I have been painting flowers and I have felt a deeper connection with nature and the appreciation of the beauty of small wonders...

Raphael Parisse is a French painter working and living in Paris, France. I first found his work whilst visiting Paris and thought the skilled way the painting is constructed and the vibrant color used makes his work very desirable. This is a fantastic example of his style, with bold color and a well-painted composition. His work has been exhibited in America, France, and The UK This piece has been framed in a new black and gold English frame. The painting was commissioned by David Brooker...

Alexander III Bridge and the banks of the Seine Oil on canvas, 55x81 cm Gustave Madelain (1867-1944) Landscape painter, Gustave Madelain was born in...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

Well painted and interesting composition. Classic mid 19th century English Folk art Cottage Landscape. The piece is framed in its original frame and is a very nice piece of Engli...