Abraham Cohen Art

“Voices That Aren’t Mine” is an oil painting from Alter Ego series, inspired by Carl Jung’s analytical psychology. The series explores the inner landscape of the self — the quiet ten...

Title: Bullfighting Scene Artist: José María Tuser Vázquez (1919-1986) Technique: Oil on canvas Dimensions: 16.1 x 13 inches (unframed) Date: c. 1950-1960 Condition: Good Provenance:...

'The Park', oil on canvas, by M. Phidias (circa 1920s). Painted using this artist's trademark impasto, the effect is to add depth and texture to the exuberant display of hues and ref...

"At the café. Oil on panel signed lower left.Beautiful work by the great Moroccan painter Antonio Fuentes (Tangier 1905 - 1995). In the Hotel Fuentes, Antonio Fuentes was born on O...

This original oil painting captures the joyful spirit of three funny fashionistas. The artist's use of impasto creates a textured surface that brings these characters to life with pl...

Title: Fruit Market in Haiti Artist: JM Gary Delly Medium: Oil on canvas Dimensions (unframed): 9.8 x 7.9 in Dimensions (framed): 15 x 13 in Period: Approx. 1990-1999 Origin: Haiti Condition: Good, with frame included Description of the Artwork This painting captures a lively Haitian market scene, embodying the essence of Haitian primitivist art with its vibrant colors and thick impasto brushstrokes. The scene depicts a bustling marketplace where vendors and buyers interact, surrounded by piles of tropical fruits arranged in baskets. The figures are dressed in bright, contrasting tones, enhancing the painting’s dynamic and energetic atmosphere. The artist’s expressive, thick strokes and saturated colors create a sense of movement and liveliness. The composition is carefully balanced, with figures arranged in different planes, providing depth and perspective in an intuitive manner. The lush vegetation in the background and the bright blue sky add further context to the scene, situating it in the Caribbean setting. Haitian art, influenced by its African and Caribbean heritage, is known for its naïve style and depictions of everyday life. JM Gary Delly follows this tradition, celebrating the vibrancy of Haitian culture in his work. Comparable Artists This artwork shares stylistic similarities with renowned Haitian artists, including: Wilson Bigaud (1931-2010): A master of Haitian art, famous for his detailed depictions of everyday life and folklore. André Normil (1934-2015): Known for his naïve style and colorful representations of Haitian life. Laurent Casimir...

The philosophical painting “Where are we, who are we?” shows a young woman with two mysterious, bird-like figures in soft pastel tones. The scene carries quiet uncertainty, inviting ...

*ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imagina...

Lotus is a painting made by Evelyne Ballestra, a French contemporary artist. This piece is a part of a flower series, defined by their distinct bright colors, satiny, silky, vibratin...

"Adam and Eve in Space" - original large art by Paula Craioveanu part of Myths of the Future new project. Original, large, unique painting, oil on canvas, 31.5x31.5in / 80x80cm. Sh...

Her work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged. Her work create...

Jean Jansem (1920-2013) Le triomphe de la mort, 2000 Huile sur toile Signée en bas à gauche et à droite 150 x 200 cm Bibliographie: Cette oeuvre est enregistrée dans les archives de l’Association des Amis de Jean Jansem. Figurera dans le catalogue critique de l’oeuvre de Jean Jansem actuellement en préparation par l’association des amis de Jean Jansem Historique: L’indigence d’après-guerre et la difficulté inhérente de trouver les matériaux adéquats et/ou habituels, telles les couleurs, très onéreuses alors, ont poussé les artistes figuratifs de l’après-guerre, en corrélation avec les préoccupations de l’époque, à redéfinir les paradigmes de la représentation. Il n’est plus question de chercher un sens mais bien pour les artistes d'étudier l’objet pour son intérêt formel, sa qualité intrinsèque. Le regard de l’artiste devient analytique et dépeint alors l’objet pour ce qu’il est et non plus pour son pouvoir évocateur ou symbolique. La nature morte n’est plus une invitation sensuelle à la ripaille, la pomme ou la pêche n’évoque aucune envie de croquer, la cruche aucune ivresse, la volaille...