Alexandre Blanchet Art

A colorful self-portrait from Ben Fenske, staring at the viewer straight-on. Hues of red dominate. Unframed. Ben Fenske (b. 1978) although a native of Minnesota, and has been worki...

Oil measures 33x41 cm. Frame 50x58 cm. Catalan painter trained in Olot and the Llotja in Barcelona, ​​where he was a disciple of Lluis Muntané. Through his travels he completes his training. He was in Paris for a year studying Van Gogh, Cezanne and Gaugin. The following year in Holland he studied Franz...

“The longer you look at an object, the more abstract it becomes, and, ironically, the more real.” Lucian Freud. "Nudes are interesting to paint; I've had people say my Ladies are ...

A astounding portrait of a society beauty by Adele Grasset (active ca 1830-1850). With an open face and and lightly smiling lips, she is wearing a gown typical of the romantic period. Drawn in graphite and heightened with white, the drawing is dated 1836 As often with woman artists of the 18th and 19th century, there is little biographical information available on Adèle Grasset. We do know however, that she had studied with the highly prominent artist François Gérard (1770-1837) , known also as the Baron Gérard...

An early work on paper, by American Impressionist painter, Ben Fenske. It's rare to see a drawing like this from Fenske, especially of a self portrait. Fenske uses classical draftin...

BRITISH SCHOOL (20th Century) Woman in a Bonnet Pastel, unframed, in conservation mount 5 ½ by 3 ¼ in., 14 by 8 cm. This drawing is one of a group of similar theatrical portrai...

Rooted in introspection and emotional nuance, Xenia Gray’s figurative mixed media works capture the quiet tension between solitude and connection. Her paintings often depict the huma...

Anton Maria Piola (Genoa, 1654 - 1715) circle Madonna and Child Genoese school of the second half of the 17th century Oil on canvas 93 x 74 cm.- In antique frame 110 x 92 cm. (Work with expertise by Dr. Arabella Cifani) In the pleasing work proposed, depicting a classical Nativity scene, the Madonna is immortalised in adoration as she gently holds the sheet on which the Child is lying, with a gesture of protection and pride that facilitates an atmosphere of intimate recollection, in addition to the presence of three cherubs at the top. The stylistic analysis of the canvas can easily be traced back to a painter of the Genoese school and active during the 17th century, specifically with the devotional works from the workshop of Domenico Piola (Genoa, 1627-1703), an absolute protagonist of Genoese Baroque culture. Piola was the owner of the most important city painting workshop of the time, known as 'Casa Piola', where his sons Paolo Gerolamo and Anton Maria also collaborated. His production, which specialised in a type of highly decorative, profane and allegorical paintings, destined for the decoration of Genoese patrician palaces, also included a refined series of works of a religious nature. In particular, the style of our beautiful breast painting...

At first glance, simple, banal things are visible but something is clearly strange here, what is going on here? And where did a piece of cake disappear? keywords; surrealism, food, ...

Early 20th Century French pastel portrait of a military officer by Marie Laforge. The painting is signed dated and dedicated bottom right. The subject's name is written but as yet un...

A fine, large-scale portrait of a Philadelphia lady, fabled soprano singer Florence Foster Jenkins, by Richard Langtry Partington (American, 19...

A late twentieth-century American school portrait of a girl posed against a light slate background and gazing back at the viewer. Displayed in a cream mat. Matted dimensions: 14.5...