Carlos Quintana Art

Chroma sky (Blue key) 10, 2007 Acrylic and oil on canvas (Signed on reverse) 23.62 H x 31.49 W in 60 H x 80 W cm The artist wrote about how he conceives this work: "The transformat...

Wonderful vintage reclining male nude study by Patricia E. Gillfillan (American, 1924-2016), c.1980s. From a collection of her works. Unsigned. Unframed...

Daniela Astone Couple #2 50 x 40 cm Oil on wood Daniela Astone works and lives in Florence. For years she was a teacher on the famous Florence Art Academy. Since 2022 she fulltime works as a painter. Her works are all around the world in great collections. For our exhibition 'A Female Gaze' Daniela Astone made a series of paintings where the female aspect of her life is the main subject. This series contains a series of seven paintings where you see a dancing couple. Female- male couples and male-male/ female-female couples. The Currator of Galerie Bonnard says about the paintings by Daniela Astone: The classical structure and narrative paintings show a technique that is special. Her style is virtuoso and her subjects narrative. The keys are loose and subtle. For this artist, standing in front of a painting means...

"Serenity" (2024) by Sheri Farabaugh (United States Based) is a beautiful handmade still life oil painting that depicts a bundle of lotus flowers and pads resting in a clear blue pon...

Unleashed (2018) by French contemporary artist Christophe Dupety. Oil on canvas, 100 x 81 cm. In his Human Figures series, Christophe Dupety shows us some bodies which aspect reminds...

'Antique beauty'. Oil painting on canvas 50 x 60 cm, 2024. 

This Robert Farrington's painting serves as a visual gateway to a distinct period in post-war France, composed with a deep respect for the elements interwoven into the collective memory of Paris. His work adeptly engages with the archetypal settings and concepts that convey the quintessence of this beloved and frequently visited capital. As the viewer gazes upon this artwork, they are instantly immersed in the ambiance of a food trade street, and especially the familiar historic brasserie “Au Pied de Cochon” - the sole establishment in the painting that still exists nowadays - and its surroundings at the heart of the bustling Halles district. At "6 Rue Coquillère", the act of opening the doors, each adorned with handles that resemble pig's trotters, transports one through a temporal gateway into the quintessential French world of "la cochonnaille"... The renowned "Pied de Cochon" restaurant made its debut in 1947. In its early days, it became the preferred gathering place for the "Forts des Halles" – the diligent laborers who tirelessly transported goods through the pavilions of the old Halles de Paris. From these dedicated workers to the luminaries of the time, this establishment emerged as a symbol of Parisian life. Farrington reconstructs a scene around this restaurant, nourished by her own Parisian experience when he was a young American living in France. An iconic Brigitte Bardot poster...

Dump. Oil on canvas, 28.5x43 cm

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...

This small-format painting by Inés Silvalde, created in 2019, transforms a playful and rebellious hand gesture into a queer celebration of irreverence and self-expression. Titled Pir...

Juliet M. White was born in Philadelphia in 1880. She studied at the Philadelphia School of Design for Women, which became the largest art school for women in the United States. Its ...

Exhibited: London, Royal Academy, 1800, no. 93 What was happening in British history painting in around 1800? In recent discussions of the emergence of a British School of history painting following the foundation of the Royal Academy in 1768, this is a question which is rarely posed and one which is not easily answered. Examination of surviving Royal Academy exhibition catalogues reveals a profusion of artists’ names and titles, few of which remain immediately recognizable, whilst endeavours to explain the impact of exhibition culture on painting - such as the 2001 Courtauld show Art on the Line - have tended to focus on the first and second generation of Royal Academician, rather than young or aspiring artists in the early nineteenth century. This makes the discovery and identification of the work under discussion of exceptional importance in making sense of currents in English painting around 1800. Executed by Edward Dayes...