Félix Bouchor Art

"Merc Power" (2019) by Sheri Farabaugh (United States Based) is a handmade still life oil painting that depicts a scene on a lake, with a closeup of a boat engine in deep blue waters...

This painting depicts an impressionistic Plein Air scene of Brunch in Soho Manhattan. The thick brush strokes and fun marks creates an atmosphere reminiscent of city life. There are ...

Cottages by the Sea in Ireland Vintage Oil Painting by 20th Century Irish Artist, Louis Humphrey. Humphrey was born in 1955 in Belfast, Nort...

Samuel Raven (c.1775–1847) Two Men Drinking in an Inn, circa 1850 Oil on panel (roundel) Signed on the reverse Presented in an English oak frame ⸻ DESCRIPTION (Dibs-style long for...

Mid-20th century Impressionist scene, French landscape with cottage The painter was active around the middle of the 20th century, painting landscapes, portraits, and city scenes. ...

Matskin Ruvim Izrailevich (Russian / Israeli, 1926-1996) - Sabbath Prayer Oil on Canvas 1991 Hand signed in Cyrillic 36 X 32 inches (90x80cm) Rare judaica by a Soviet realist artist. Ruvim Izrailevich Matskin was born in 1926 in Kryvy (Ukraine). In 1955 he graduated from Kharkov State Art School, and in 1970 joined the Kharkov Artists’ Union. Since 1963 he worked at the Industrial Art dep. of the UkraSSR Art Fund. In the late 1880s he and his family moved to Israel. Matskin passed away in 2002. Took part in numerous exhibitions of fine art in the USSR Select Exhibitions Behind the Iron Curtain. The Art of Socialist Realism 20 Years after the Fall of the Berlin Wall 1989-2009, Berlino 2009 Guardando all'URSS. Realismo socialista in Italia dal mito al mercato, Fruttiere di Palazzo Te, Mantova 2015 World Exposition, Milano 2015 The exhibition was held at the Jeschke-Van Vliet gallery in Berlin, which was located in the former Berlin Wall zone, adding a layer of symbolic resonance to the project artists included Askhat Gazizulinovich Safargalin, Petr Ivanovich Kostinsky, Vyacheslav Vasilevich Tokarev, Boris Eremeevich Vladimirski, Alexander Deyneka His most well-known work was the monumental revolutionary "The Defence of Petrograd" from 1928. His mosaics cover the ceiling of Mayakovskaya Metro station in Moscow. Yuri Pimenov A founder member of the Society of Easel Painters, he was well known for documenting Moscow's changes from the 1930s to the 60s, as in his 1937 painting "New Moscow". Geli Korzhev and Yablonska Olena Nylivna Bibliografia: Behind the Iron Curtain. The Art of Socialist Realism 20 Years after the Fall of the Berlin Wall 1989-2009, catalogo della mostra a cura di A.L. Coruzzi, H. Bayati, Milano 2009, p. 87, n. 115 Guardando all'URSS. Realismo socialista in Italia dal mito al mercato, catalogo della mostra a cura di V. Strukelj, F. Zanella, I. Bignotti, Ginevra-Milano 2015, p. 237, n. 17 He was part of a tradition of Soviet Jewish artists that included El Lissitzky, and Natan Altman, Marc Chagall, Robert Falk, Anatoly Kaplan, Ilya Kabakov, Mikhail Grobman, Oscar Rabin...

Paul Graf (1866–1903), Swedish Children Bathing by a Rocky Shore, 1892 signed Graf and indistinctly dated 1892 oil on canvas mounted on panel unframed 139 × 175 cm (54.7 × 68.9 in)...

Mom, birth, baby, green, motherhood, Mother's Day KLARA VLASOVA (Moscow, 1926-2022) MUSEUMS St. Petersburg, State Russian Museum Moscow, Pushkin Museum Moscow, Museum of History ...

Charles Bertie Hall (British, 20th Century) Norfolk Landscape with Windmill Oil on board, signed and inscribed on the reverse Circa 1990 This atmospheric Norfolk landscape by Charl...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Frederick Vezin (1859 Torresdale Philadelphia - 1933 Düsseldorf), Autumn Landscape in the Sunlight, oil on canvas, mounted on cardboard, 32 x 41 cm (inside measurement), 44 x 51 cm (frame), signed and dates lower right "F. Vezin. [19]05". - Cardboard slightly curved, small inconspicuous retouch at the centre of the upper edge of the picture. About the artwork Although the painting appears to be a sketch, Frederick Vezin considered it to be a finished work of art, as evidenced by his signature on the lower right. And it is precisely this sketchy quality that leads to an understanding of the painting, which was certainly created in the landscape itself: the natural phenomena were to be depicted artistically at the moment of their observation. This is not done by meticulously sketching nature, but - and here Vezin follows the teaching of French Impressionism - by illustrating nature in its visual fullness. The artist's eye is, as it were, immersed in the visuality of nature, which is made visible by his hand. The painting is therefore not a reflection of the landscape, but its artistic intensification. This intensification also includes the fact that the foreground of the painting - corresponding to the field of vision - eludes a detail-oriented close-up view. Instead, the spatula-like application of paint, the vertical structure of which corresponds to the structure of the floral growth, has the effect of making nature tangible in its colourful substance. At the same time, the foreground, which remains indeterminate in its concrete objectivity, creates an atmospheric space that connects with the actual protagonist of the picture, the group of trees, which flares up in shades of red and brown. Here, too, the leaves are more speckled than clearly outlined. It is precisely this 'sketchiness' that opens up a visual experience that makes the landscape accessible in its visual fullness, thus revealing its essence. In addition to this abundance, the landscape is presented as a structure of order in that the composition of the picture makes the composition of the landscape visible. For example, the group of trees forms a distinct dark green shadow, which is repeated in the shadows cast by the trees behind it. A patterned diagonal axis is created in the picture, which is composed in this way by the landscape itself. Strictly speaking, this is a cultivated landscape: a fence at the bottom and a low stone wall at the top, running from left to right, are two elements that also have a strong compositional effect. And on the top of the hill, a stone house is embedded in the landscape as the brightest surface in the picture. Nature and culture here form a harmonious synthesis, giving the painting an Arcadian touch. In order to give the landscape as much space as possible, the horizon line is raised, but the design of the sky is also crucial. The clouds, combined with the shapes of the trees, create a bright blue sky. To the European eye, such a sky is reminiscent of a summer landscape. Accordingly, within the seasonal cycle, the blue sky is reserved for summer, and French Impressionism is also primarily an ode to summer. In Vezin's painting, however, the brilliant blue sky stands above an autumnal landscape, some of the trees even defoliated. It can therefore be assumed that the painting was made not in Europe but in the United States, and that it illustrates the proverbial Indian summer, making Frederick Vezin a pioneer of American landscape painting. About the artist Frederick Vezin was the son of a French immigrant to the United States and a German-born mother. This predestined him to promote artistic exchange between the old and new worlds. Having spent part of his schooling in Germany, in 1876, at the age of 20, he enrolled at the Düsseldorf Academy of Art, where he studied with Peter Janssen the Elder, Eduard von Gebhardt and Wilhelm Sohn, among others. He graduated in 1883, settled in Munich and returned to Düsseldorf in 1895, where he lived until his death in 1933. A native of the United States, he travelled to the country frequently and became a popular portrait and society painter. His artistic talent, however, was most evident in his landscape paintings. Trained in French Impressionism, he developed a virtuoso use of colour and a free brushwork that remained tied to the landscape motif, opening up the landscape itself in a new way. Frederick Vezin turned his attention primarily to the landscape of his homeland, becoming a pioneer of modern American landscape...

An exceptional work by George Waller Parker (1888-1957) of a home in the South Carolina Lowcountry. Perhaps the best example of Parker’s work to be offered in recent decades, this w...