Fernand Audet Landscape Paintings

Signed with monogram lower left * The Robert Lehman Collection at the Metropolitan Museum of Art contains more paintings (nine) by Georges D’Espagnat than any other nineteenth- or ...

Alexandre Jacobs tranquil and subtle landscapes show a masterful evocation of light, atmosphere and colour, transporting the viewer into the peaceful countryside of rural France. He ...

A beautiful woman sits at an open window, gazing down at a small bird who has landed nearby in this serene portrait by Charles Levier. Warm orange tones are played off their complements in shades of blue, the artist utilizing several different layers of oils to create a subtle and relaxed view of a spring day near the sea. Beyond the window a small chapel sits on a peninsula, surrounded tranquil blue waters. This work, like many of Levier's, belongs to the French figurative movement of the Glorious Thirty (Les Trente Glorieuses) - the golden period of thirty years after WWII which were a time of great hope and prosperity in France. Inspired by Hollywood cinema, Charles Levier sought harmony in composition and purity of color and form. His said that his creations represented "a light and delicate world, of dark and subtle shades and colors." Levier worked in a somewhat abstracted, cubist style. Additionally he often employed the French technique of "cloisonnism" (after the French for "partition"), a style of post-Impressionist painting with bold and flat forms separated by dark contours, also seen in this work. The term was coined by critic Edouard Dujardin on the occasion of the Salon des Indépendants, in March 1888 and was commonly used by artists like Émile Bernard, Louis Anquetin, Paul...

A fine mid 20thCentury Modernist/Post Impressionist Landscape circa 1952 oil on canvas 46cmx54cm Good quality silver gilt gallery frame 59cmx68cm Painted by Thure Wahlstrom (1908- ? ...

ARTIST: Frederick Charles Herrick (1887-1970) British TITLE: "Stylised Horses In A Field" SIGNED: inscribed verso MEDIUM: oil on board SIZE: 72cm x 56cm inc frame CONDITION: good o...

A. J. Bennett (South African, fl. Early 20th century) Light and Shade • Oil on canvas artist board ca. 42.5 x 29.5 cm • Later frame ca. 53.5 x 41 cm Worldwide shipping is complime...

Signed lower left, 'Frank A. Brown' for Frank Arthur Brown (American, 1876-1962) and dated 1938. Titled, verso, on stretcher bar, 'Algerian Street', additionally signed, 'Frank A Bro...

Oil on canvas by Henri-André Martin (1918-2004), France, 1999. Road in Eygalieres, Alpilles, Provence. With frame: 52x67 cm - 20.5x26.4 inches. Without frame: 46x61cm - 18.1x24 inches. Format 12P. Signed and dated lower left "Henri-André Martin 99" (see photo). Located on the back (see photo). Can be matched to make a pair with another painting by Henri-André Martin that we offer on 1stdibs whose title is "Henri-André Martin Road in the Alpilles, Provence, Oil on Canvas, 1980s". Born in Lyon in 1918, the child and the adolescent Henri-André Martin spent his youth in Saint-Étienne, his father, Edme Martin, first installed as a practicing doctor in Lyon, having been appointed doctor of the anti-tuberculosis dispensaries of the Loire. During his first years of studying medicine in Lyon, he nevertheless enrolled in the Beaux-Arts. Appointed hospital intern upon his return from captivity in 1942, he ended his medical career as director of the otolaryngology university clinic at Édouard-Herriot hospital. But painting was his passion. Painting was for Henri-André Martin the way of expressing his feelings. By nature very reserved and of an extreme modesty that many took for coldness, it was what allowed him to express his strong artistic sensitivity and, his pictorial periods are as many reflects of his anxieties, of his hopes, of his joys. At every period of his life, wherever he goes and whenever he has a moment, he paints gouaches, often of small size, but sometimes of larger size. He also paints beaches that have been compared to those of Boudin. Their invoice shows, however, that this figure is only appearance and that in fact, these beaches made of water, sky and sand, readily dispense with the motif, the work of the material seeming to have more importance. as the subject. Despite the fact that until the 1970s he painted "on the ground", his canvases remain far removed from the anecdote. Often harsh like the landscapes of Provence, the Parisian walls which express concern, or the railways, the switch tracks which suggest, in ocher and black, all the embarrassment of choice. We find the same nostalgic gravity in the canvases of the carcasses of boats which, as his friend Louis Pons later wrote, "seem to die of immobility" or in the canvases of Venice, or the landscapes of Eygalières. In the following years, his painting became simpler, more synthetic, such as these landscapes with tortured almond trees, black and gnarled olive trees, plane trees standing out against the ocher sky of the dawn of Provence, in winter. These are also the canvases of Hamburg in the dough becomes heavier, the colors darken, marking all the gravity of the port landscapes. Workshop work gradually takes precedence over motif painting. The pivotal period coincides with that of his work on the olive tree, during which he leads the realization of the "Trunks", a collection of six lithographic plates, of the book L'olivier comprising many lithographs and serigraphs, but also texts. poetic and numerous paintings. He then became passionate about everything related to the olive tree (literature, painting, traditions, history), but also to the tree itself, its thousand-year-old history, its poetry, its symbols, but also its culture, its size. oil production...

About the painting: "Garden 03" is a captivating oil painting that beautifully captures the essence of the Rome Botanic Garden landscape. With meticulous brushstrokes and a masterful play of colors, the artist has crafted a picturesque scene that evokes a sense of tranquility and harmony. At the forefront of the painting, there are several palms, the giants of our earth. The artist's skillful rendering of the trees creates a lifelike effect, as the sky hugs them in a sense of loving nature. The different colour of clouds allows the viewer to focus on the beauty of the landscape and palms, accentuating the vividness of the colors present. The white sky acts as a canvas itself, highlighting the vibrant blue colour of the forest. “Garden 03”serves as a visual celebration of nature's bounty, capturing the Rome Botanic Garden beauty and inviting the viewer to immerse themselves in its serene and enchanting ambiance. It is a testament to the artist's skill and their ability to transport us to a world where tranquility and natural splendor coexist harmoniously. About the artist: Laura Federici is an artist and architect based in Rome, Italy. She has a number of solo: Galleria Andrè (Roma 2011; 2012; 2016; 2019; 2020; 2023); Gallerie Brieve (Parigi, 2014); Galleria l’Affiche (Milano 2008; 2011); Galleria Il Segno (Roma, 2007); Galleria Beit Ahmad (Aleppo, Siria, 2003; 2005). He has exhibited in many group exhibitions in Italy and abroad, including Fotografia Festival Internazionale di Roma – XV edizione, Roma, il mondo (MACRO Museo d’Arte Contemporanea Roma 2016), Ambasciata Italiana in Vietnam (Casa Italia Hanoi e Fine Arts Museum HCMC, 2018), Istituto Italiano di Cultura di Varsavia (2019), Istituto Italiano di Cultura di Cracovia (2020), ARTFEM Women Artists 2 “International Biennial of Macau - “Natura”, Macau (2021). In 1999 she created 12 animated sequences for the film “Un Amore” by Gianluca Tavarelli, which won the Nice- New York-San Francisco Film Festival...

A fine 20th Century Modernist figurative oil painted by Christian Pedersen Bellinge (1897-1984) oil on canvas 60cm x 70cm painted wooden frame 68cmx 78cm A good late work by the well...

“Summer in the Pasture (Farmer’s Wife with Cow)” (Sommertag auf der Weide (Bäuerin mit Kuh)) Paul Junghanns (German, 1876-1958) Oil on Canvas 36 ¼ x 28 inches (43 ¾ x 35 ¼) This is a superb painting. On Junghann's finest pieces, such as this one, base colors are used, in the case of the cow, it's a vermillion undercoat, and then myriad colors are applied building up to what your eyes perceive as more uniform and naturalistic colors though it's rather a trompe l'oeil in that it's many different colors and many different layers. You can see the beautiful brush strokes very clearly. Julius Paul Junghanns...

COURTIN Caroline (ca 1850) Landscape with Pond and Ducks Oil on canvas signed low right Old frame gilded with leaves Dim canvas : 40 X 65 cm Dim Frame : 60 X 85 cm COURTIN Caroline ...