Alexander Arshansky Figurative Paintings

The perfect gift for the cigar lover: a hand-painted cigar box by world-renowned Giancarlo Impiglia. Born in Rome, Impiglia moved to New York in the 70s, where he established a sig...

San Marco, Venise Acrylic on Canvas 60 x 49 cm Signed lower right and on the reverse In San Marco, Venise, Grégoire Mathias translates the timeless elegance of Venice’s architecture into his distinctive language of Diachronic Cubism — a style that captures not only multiple spatial perspectives but also the passage of time within a single composition. The familiar arches and reflections of the Venetian lagoon dissolve into an intricate interplay of geometric planes and shifting tones of turquoise, ivory, and sand. The result is a composition that feels both architectural and fluid — an echo of light dancing on water, where memory and presence coexist. Mathias’s mastery lies in how he balances structure and emotion, transforming an iconic cityscape into a meditation on rhythm, space, and movement. Perfect For: Collectors of modern Cubism • Venice and Italy enthusiasts • Contemporary interiors with neutral or coastal tones • Living rooms or entryways seeking architectural depth and movement Collector’s Insight: This painting belongs to Mathias’s Venetian Series, where he explores the interplay between history and modernity through cubist fragmentation. Its soothing palette and elegant balance make it a perfect statement for collectors drawn to contemporary reinterpretations of classic European subjects. Keywords: Venetian painting, Piazza San Marco, cubist architecture, modern cubism, French contemporary art, Greg Mathias, Diachronic Cubism, contemporary Cubism, modern architecture art...

Les Toits de Venise (The Rooftops of Venice) 55 x 46 cm Oil and acrylic on canvas Les Toits de Venise presents an abstracted cubist cityscape, depicting the rooftops of Venice thro...

Cheval 361 Acrylic on Canvas 73 x 93 cm Cheval 361 is the inaugural piece in Grégoire Mathias’s celebrated series inspired by the Lascaux Horses, the prehistoric cave paintings of P...

Vivid and evocative feminist abstract expressionist figurative painting of woman and the many facets of her life, represented by multiple female figures engaged in various activities throughout the chaotic and colorful abstract expressionist canvas, by Audrey E. Gabrielson (American, 1932-2018), 1963. Verso has an abstract portrait with signature. Unframed. Image size: 29.75"H x 31.50"W Audrey Gabrielson was an artist, poetess, sculptor, whom lived in San Francisco. She was born in Canada in 1932 and drew, colored, modeled in clay when very young. She studied at Reed College, Portland, studying with famous West Coast artist, Louis Bunce. in San Francisco she painted with artists Cucaro, Alexander E. Anderson, and Raymond Howell. She had shown in North Beach, Modesto, Gualuala Hotel, Sausalito, Abbey Party Rents (S.F.) and many more. She had ongoing exhibits at Alberta Art, Red Deer and Uglies, Lacombe. Her art was collected by national and international collectors such as authors C.Y. Lee (“Flower Drum Song”), Alfred Coppel (“34 East”); musical promoter, Ilka Pardinas, FLY, Los Angeles. Additionally, she worked in bronze, studying under S.F. sculptor C.B. Johnson. Her art was influenced and inspired by German Expressionists, Van Gogh, Lautrec, Picasso, Klimpt, Schiele, Tamayo, Conners, Park – and many more. Obituary: Born in Alberta, Canada, Audrey passed away at her home in San Francisco's Bernal Heights neighborhood, surrounded by loved ones. Gabrielson was an artist, poet, sculptor, photographer, muse and an integral part of the San Francisco art scene of the late 1950s to late 1970s. She was a friend and contemporary of artists such as Benny Bufano...

Journée dans l'Atelier (A Day in the Studio) Acrylic on Canvas 46 x 38cm Journée dans l'Atelier by Grégoire Mathias captures the essence of an artist’s workspace through the str...

Nature Morte au Pichet Acrylic on canvas 55 x 46 cm Bold and textured Cubist still life by Grégoire Mathias, featuring a fragmented fruit bowl. A striking composition blending abstr...

Title: Golf Players - Limited Edition Textured Canvas Print Immerse yourself in the world of golf with "Golf Players," a limited edition textured canvas print that celebrates the spirit of the sport. This captivating artwork captures the essence of golfing moments...

Mâtinée à l’atelier (Morning at the Studio) Acrylic on canvas 40 × 32 cm Mâtinée à l’atelier presents a modern cubist interior scene drawn from the artist’s studio, approached as a...

This contemporary, expressive figurative oil painting titled "No Limits" was created by French artist Natalya Mougenot and marks a significant shift in her artistic journey. Part of ...

Richard Andres (American, 1927-2013) Interior, 1976 acrylic on canvas signed lower right, signed and titled verso 50 x 59.5 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...

Les Dormeuses (The Sleepers) Acrylic on Canvas 46 x 61 cm Les Dormeuses by Grégoire Mathias captures the serene stillness of rest through the fragmented yet harmonious lens of Diach...