Dhiraj Chowdhury Paintings

Evening blues, 100x100cm

The work is mostly black and white to indicate that this is a night scene. On closer inspection, you will see areas of magenta and ivory throughout The publisher's label on verso ide...

Original vintage painting by early Colorado woman artist, Louise Ronnebeck (1901-1980) of a mine in the mountains of Colorado, WPA Era, circ...

"Les Artistes du Cirque" is an original painting in ink, watercolor, and gouache on paper by leading Fauvist artist Kees Van Dongen, signed in the lower right. In the piece, two circus performers stand against against a wall. On the left, a pale woman in a blue leotard with red flowers on the shoulder stands with her arms crossed, looking out at the viewer. The painter fills in her tights with delicate white brushstrokes, lending them an almost iridescent appearance. Her strawberry blond hair is piled on top of her hair according to the fashion of the period. On the right, an African man stands in a vivid orange toga, looking somewhere off to the left. His feet are clad in bright white shoes...

Richard Caton Woodville II (British, 1856 - 1927) The French Aerostatic Corps - The first War Balloon The launching of the L'Entreprenant used by the French Army under General Jourd...

Pittsburgh Alleyway, c. 1946, oil on gouache on paper on “prestwood” (Masonite), 9 x 12 inches, signed lower middle, Bohrod’s original label verso from his gallery at 4811 Tonyawatha...

Feeling the beginning of Spring. The painting shows a blurred portrait of a female. Pastel pinks, greys and white fill the composition with an ethereal blend of colour. The woman's ...

Portrait #1, 2023 by Luigi Christopher Veggetti From the Portraits series Oil and acrylic on paper Size: 30 H x 21 W cm Unframed The portraits of Christopher Veggetti are not just...

Motke Blum was born in Racacun, Romania in 1925. Early in his childhood, the Blum family moved to Bucharest where they settled in a house situated near a circus. The circus would become young Blum's greatest love. He befriended several of the clowns and other performers and, when not painting or playing in clay, Blum could be found enjoying the company of these spirited entertainers. These experiences would later become a recurring theme in many of his works of art. In 1938, he was taken by the Romanian Iron Guard. When the Germans invaded Romania, Blum was taken to a forced labor camp. Even during his imprisonment, he continued to create art, painting on the walls of the camp. He escaped the Nazi camp in 1944 and boarded an immigrants' ship to Israel. One of the three ships in the convoy was sunk by a German torpedo. Motke later incorporated shipwrecks, boats, and other maritime subjects into several of his paintings. Studies, Bezalel, Jerusalem, Enamel, Silversmithing, Painting and Sculpture. 1956 Seminar in the dep. of design in the royal silver factory of Zeist, The Netherlands. Over the course of his long and fruitful career, Blum showed internationally at over fifty one-man-shows with exhibits in Israel, Holland, England, Belgium, the United States, France, Australia, and more. His art has been commissioned for public buildings and by prominent figures in Israel and around the world, and a series of posters were commissioned by the Justice Ministry and the Ministry of Tourism. Group exhibition Rina Gallery, Jerusalem Artists: Motke Blum, Efraim Fima (Roytenberg, Ephraim) Zelig Segal, David Sharir, Joseph Halevi...

Late 20th Century French oil on board painting of stylised African Tribal masks by Charles LeBris. Signed, dated and numbered bottom right. An arresting and colourful work reminiscent of the paintings of Picasso and Modigliani from the beginning of the 20th century. Le Bris has taken as his subject the Baule masks...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Mom turn on autumn, 80x100cm