Dimitri Godicky Cwirko Figurative Paintings

Walking Home [2023] original Oil on Canvas Image size: H:8.5 cm x W:10 cm Complete Size of Unframed Work: H:46 cm x W:55 cm x D:1.5cm Frame Size: H:60 cm x W:79 cm x D:5cm Sold Fram...

Senza Titolo 4 Oil Paint on Copper Portrait In Stock Giovanni Tommasi Ferroni (1967, Rome) descended from an artistic Tuscan family. His grandfather, ...

Anne Rixt Kuik graduated in 2017 at The Classical Academy of Arts in Groningen. She then went for study to Australia and Florence (Italy). Anne Rixt as a little child visited the Rij...

Lively Paris street. 1973. Oil on canvas. 54 x 73cm Hiro Yamagata was born near Kyoto, Japan, went to Paris to study art, and considers himself an American artist. In his Los Angeles studio, Yamagata paints minutely detailed scenes of Paris streets, cafes and parks. He captures the essence of the naif style by presenting life in simple terms, and the world in the happiest light. His creative synthesis of photorealist and neo-folk techniques has won countless admirers and collectors. Yamagata's vision is unequivocally cheerful and his imagery is endlessly inventive. He works from a palette of over 100 shades of acrylic paints, and renders in exacting detail with brushes with as small as two hairs. Serigraphs of some of Yamagata's most popular paintings...

Vladimir was born in the city of Khabarovsk, on December 19, 1957. When he was two years old, his mother abandoned his father, took her son and moved to Sverdlovsk (formerly, Yekater...

The Park Booth by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 18 x 22 inches Provenance: all the paintings we have by this artist have ...

Hazel Guggenheim King-Farlow McKinley (American, London, New Orleans, 1903-1995), "Paris Rooftops" c. 1930 Oil paint on wood panel Attributed, dated and titled verso (I am not sure in whose hand not signed by the artist herself). Dimensions H.- 18 in., W.- 15 in., Framed- H.- 26 1/2 in., W.- 23 in. Provenance: From an estate New Orleans, Louisiana. Hazel Guggenheim King-Farlow McKinley (born Barbara Hazel Guggenheim; April 30, 1903 – June 10, 1995) was an American painter, art collector, and art benefactor. Hazel Guggenheim was born in New York City to Benjamin Guggenheim and Fleurette (Seligman) Guggenheim. The marriage united two wealthy German-Jewish families. Born into the well-known Guggenheim family, a niece of Solomon Guggenheim who founded the Guggenheim Museum, she grew up in New York, alongside her sisters Benita Guggenheim and Marguerite Peggy Guggenheim who would become the influential gallery proprietor, art collector, museum founder, and midwife to the Abstract Expressionism art movement. Her father Benjamin gave up much of his financial interest in the family's mining business to start his own business in Paris. With his business failing, in 1912 he set out to return to the United States in time for McKinley's ninth birthday on the Titanic. Following the shipwreck, he drowned aged 46; his body was not recovered. McKinley inherited $450,000. She later inherited money on the deaths of her mother, and of her older sister, Benita, who died in childbirth. The loss of her father haunted McKinley for the rest of her life, and in 1969 she recorded "In Memoriam, Titanic Lifeboat Blues." McKinley began painting as a teenager and was a prolific artist throughout her life. When she fled New York for Paris at age 19 she studied at the Sorbonne and became part of 1920's bohemian Paris, France, where she was taught by key modernism artists of the time. Her primary mediums were ink, water color, tempera, and crayon. Some of her work is hand signed and some is not. In 1928 her sister Peggy moved to London and mar­ried the British writer John Holmes. In 1931, McKinley married the Englishman Denys King-Farlow. They settled in Sussex, UK, and had two children, John King-Farlow, who became a philosopher and poet, and Barbara Benita King-Farlow, who became an artist in her own right. In 1938 Peggy opened Guggenheim Jeune, a London gallery of mod­ern art, starring Wassily Kandinsky, Henry Moore, Salvador dali, Constantin Brancusi, Max Ernst, Pablo Pic­asso and Jean Miro with whom they socialized. Whilst living in the south of England with Denys King-Farlow in the 1930s, McKinley was influenced by a group of avant-garde artists, and had her first solo exhibition in London in April 1937 at the Coolings Gallery. She received instruction from British artists Rowland Suddaby, Raymond Coxon, and Edna Ginesi, becoming associated with the London Group and the Euston Road School. She painted primarily in watercolor. Her work included still-life, portraits, townscapes and landscapes. Although her first work was done in a "slightly plain palette," her later work in the 1930s brightened, sometimes falling within the realm of fauvism. "Under the influence of the Surrealist artists, Hazel's paintings after the 1930's became freer, though her work was far more whimsical and humorous than many artists more closely associated with the surrealism movement." In 1939 McKinley fled Europe due to the impending war and returned to the US, living mostly in California. She took brief art lessons from her sister Peggy's one-time husband Max Ernst and much later attended several summer schools taught by muralist and renowned teacher Xavier Gonzalez. In her life in the United States and abroad, McKinley met many prominent artists of the Paris, London, and New York art scenes including Jackson Pollock. McKinley continued to paint, and ran a small gallery of her own in the late 1950s and early 1960s in West Cornwall, Connecticut. One show at her gallery featured the works of British and Irish painters including Rowland Suddaby, Frank Beteson, Tom Nisbett, and Patrick Swift. McKinley showed two of her own works in the same exhibit, a watercolor painted at Positano, Italy and one painted at the Tuileries, Paris. Another featured work was a surrealistic water color portrait of McKinley by London artist Mervyn Peake. McKinley exhibited her work both in Europe and the United States throughout her long career, mostly at smaller venues. An incomplete listing of her exhibits and museum acquisitions of her work include: Berkshire Museum, the Galerie Raymond Duncan in Paris, Stendahl Galleries, the Jake Zeitlin Gallery, the Montgomery Museum of Fine Art, the Artists' Own Gallery in London, the Manchester City Art Gallery, and Santa Fe Art Museum. McKinley's work was only once included in a show by her sister Peggy. In 1943 McKinley was selected to exhibit a painting in Peggy's infamous show Exhibition by 31 Women in her New York gallery Art of This Century. The exhibition was radical at the time for being one of the first all-woman exhibitions, as well as showing only abstract or Surrealist works. The Exhibition by 31 Women was conceived by Peggy Guggenheim in collaboration with Marcel Duchamp, who is usually credited with suggesting the idea. The participating artists were selected by a jury that included André Breton, Max Ernst Duchamp, and Guggenheim. Advice was sought from Alfred H. Barr Jr., first director of the Museum of Modern Art in New York, who provided Guggenheim with five names, of which three were included in the exhibition, Suzy Frelinghuysen, Irene Rice Pereira, and Esphyr Slobodkina. Those already known to Guggenheim through their partners included Xenia Cage, wife of the composer John Cage, Frida Kahlo, wife of Diego Rivera, who was noted for his frescoes, Sophie Taeuber-Arp, wife of the sculptor, Hans Jean Arp, and Jacqueline Lamba, ex-wife of the surrealist André Breton. Guggenheim’s sister, Hazel Guggenheim McKinley and her daughter, Pegeen Vail Guggenheim exhibited. Also in the exhibition was the burlesque dancer, Gypsy Rose Lee, another friend of Guggenheim, who was possibly included more to help publicise the event than for her artistic skills. Other artists were friends of Guggenheim or of Max Ernst. One, Dorothea Tanning, was Ernst's lover, leading Guggenheim to say: "I realized that I should have only had thirty women in the show". Only one artist is known to have refused the invitation to submit works, Georgia O'Keeffe, who reportedly responded that she wished to be identified as a painter, and not singled out because of her gender. In the late 1950s, McKinley moved back to Europe for a while, before returning to the United States in 1969. She lived in New Orleans until her death in 1995. On her death, her only living son, John King-Farlow, wrote a poem in his mother's honor, entitled "Eulogy For My Mother (Hazel Guggenheim McKinley, Artist)." A short obituary distributed by the Associated Press noted she was a member of the illustrious New York Guggenheim family, that she was determined to make a name for herself as an artist, that her art works were shown in museums in the United States and Europe, and were in the collections of such celebrities as Greer Garson, Benny Goodman, and Jason Robards. In 1998 after her death, one of her paintings was exhibited in Peggy Guggenheim's Venice home museum the Palazzo Venier dei Leoni. Guggenheim’s work in various media and her connections to influential artists and collectors provide glimpses into the complex tapestry of the art world in the first half of the 20th century. In her later life she settled in New Orleans, where she continued painting, exhibiting, and studying art into her eighties at Newcomb College, New Orleans. She was part of a regional art scene that included Ida Kohlmeyer, George Rodrigue, Noel Rockmore and Hunt Slonem. Towards the end of her life while confined to bed, her last works were colored pen drawings and sketches. McKinley collected major contemporary artworks and she donated many of these works to public institutions. She donated over 15 works to Wakefield Art Gallery, UK, in the 1930s, and in 1938 presented the painting Cossacks...

The Gentleman’s Park Bench Modernist Figurative Landscape by Laure Noetzin-Azam (French, 1929–2024) pupil of André Lhote oil on canvas, unframed Canvas: 13 x 18 inches Provenance: a...

Albert Heckman Woodstock Landscape Oil on board 10 x 8 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art ...

Still Life Roses Technique: oil, acrylics and ink on thick paper (430g) 48x36cm ■■ 18.9x14.2 in ⏩》-------------------SHIPPING -----FLAT----------------《⏪ 🟢 → Original signed wor...

Summer Resort in Michigan is an exceptional work painted by the Chicago Modernist, William Schwartz. He studied at the Art Institute of Chicago shortly ...

Colorful Modernist Portrait of Two Women in a Mediterranean Interior Artist: Miquel Torner de Semir Title: Two Women in a Mediterranean Interior Medium: Oil and mixed media on canvas Dimensions: 54 × 65 cm / 21.26 × 25.59 in Orientation: Landscape Signature: Signed lower right Frame: Unframed Country of origin: Spain Period: Late 20th century Style: Modernist, Figurative, Neo-Expressionist Subject: Female figures, portraiture, interior scene, Mediterranean landscape Condition: Good vintage condition. The surface presents pronounced impasto, visible texture and intentional irregularities characteristic of the artist’s technique. Description A vibrant and highly decorative modern figurative painting by Catalan artist Miquel Torner de Semir, depicting two stylized women within a richly textured Mediterranean interior. The composition presents one standing woman dressed in vivid red, holding a small turquoise object, while a second female figure appears in profile in the foreground. Their pale faces, large expressive eyes, elongated necks and carefully arranged hairstyles create the enigmatic, timeless presence that defines Torner de Semir’s most recognizable paintings. Behind the figures, the artist constructs a fragmented interior through architectural forms, dark window-like structures and a distant view of white Mediterranean buildings beneath an intense blue sky. The result combines female portraiture, interior painting and Mediterranean landscape within a single layered composition. Strong black outlines organize the scene into flattened areas of cobalt blue, crimson red, turquoise, ochre, brown and violet. Thick impasto, graphic marks and collage-like passages give the canvas a tactile, almost sculptural surface. The contrast between the monumental figures and the abstracted background creates both decorative impact and psychological tension. The painting reflects Torner de Semir’s fascination with Catalan Romanesque frescoes, Gothic portraiture, early Renaissance painting and modern European figuration. The frontal poses, hieratic expressions and simplified forms recall medieval religious imagery, transformed here into a colorful and unmistakably contemporary vision of Mediterranean womanhood. A particularly representative example of the artist’s mature figurative language, combining expressive female portraiture, bold color, textured surfaces and a sophisticated Mediterranean atmosphere. Its compact dimensions and strong visual presence make it especially suitable for a modern interior, eclectic collection or gallery wall. About the artist Miquel Torner de Semir was born in Santa Pau, Girona, in 1938. He studied at the Sant Jordi School of Fine Arts in Barcelona and continued his artistic education at the San Fernando School of Fine Arts in Madrid. He was also a pupil of Catalan muralist, engraver and illustrator Ricard Marlet. Torner de Semir developed a deeply personal figurative style rooted in the visual traditions of Catalonia and the wider Mediterranean world. His work draws inspiration from Romanesque mural painting, Gothic art, Italian primitive painters, Renaissance portraiture and the major European artistic movements of the 20th century. He is especially known for his stylized female figures, characterized by almond-shaped eyes, elongated necks, strongly outlined features and elaborate hairstyles. These mysterious women often inhabit imaginary interiors, theatrical settings or fragmented Mediterranean landscapes. His compositions combine flattened perspective, saturated color and heavily worked surfaces. Through the use of impasto, graphic lines and collage-like textures, Torner de Semir gives his paintings an almost architectural construction. His figures appear simultaneously ancient and modern, combining the solemnity of medieval icons with the expressive freedom of modern figurative art. He held his first solo exhibition in Terrassa in 1968 and subsequently exhibited extensively in Spain and abroad, including France, other European countries, the United States and Japan. His distinctive female portraits and Mediterranean compositions have made his work highly recognizable among collectors of Catalan and Spanish modern art. Pictorial inspiration The composition evokes the expressive female figures of Pablo Picasso, the chromatic intensity and decorative freedom of Henri Matisse, the poetic atmosphere of Marc Chagall, the elongated elegance of Amedeo Modigliani and the simplified, sculptural forms of Paul Gauguin. Its bold outlines, flattened perspective and Mediterranean palette also connect the work with modern European figurative painting and the tradition of Catalan Romanesque art. Colorful modernist painting, female portrait painting, two women painting...