Frederick Carl Gottwald Art

"The Shape of Trumpets" by Lu Haskew Oil 28x22" framed, 24x18" image size Signed lower right, a still life of tulips and daffodil with porcelain and lemons below ABOUT THE ARTIST: ...

This small painting by Oscar Törnå captures the poetic serenity of a Swedish winter evening in the late 19th century. Set along a frozen stream near a village, the composition presen...

Figures Walking Through Paths singed initials by Irina Hale (British 1932-2022) oil paintings on artist paper mounted in a frame Glass covering Inscribed verso overall framed: 12.5 x...

Beautifully rendered seascape of a sailboat full of small figures out at sea on glassy water with colorful reflections by Jacquelyn Kammerer (American, b-1944). Signed "J. Krammerer"...

Greenery and Country House singed initials by Irina Hale (British 1932-2022) oil paintings on artist paper mounted in a frame Glass covering overall framed: 16.5 x 12.5 inches Top pa...

View on the Cannaregio Canal Venice Italian Grand Tour Scene After Guardi by Italian School (Italian, 19th century, after Francesco Guardi) oil on panel Painting: 8 x 10 inches Prov...

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...

Beautiful mid-century still life of a vase of Marigold flowers next to a bowl of fruit by California artist Mary Seeleg (American, 19th-20th-century). Signed "M. Seeleg" lower right....

Mid Century Floral Still Life - Autumn Chrysanthemums with Red Cloth and Teapot by Eugene Dunlap Vibrant painting by Californian artist Eugene Dunlap (1916-1999.) A green vase full ...

The Highland River Landscape British School, 19th century Signed with initials and dated 1861 oil on board, framed framed: 12 x 17 inches board: 9.5 x 14 inches Provenance: private c...

Alessandro Milesi was a Venetian genre painter. He studied under Napoleone Nani at the Venice Academy of Fine Arts from 1869 to 1874 and exhibited extensively in Italy after a succes...

This still life oil painting by John Traynor captures a scene of a large bouquet of purple and pink lilacs in a colorful, porcelain vase. It sits on an off-white fabric next to a lemon which is half peeled, the peel spiraling off the edge of the table on which it sits. The wall behind the bouquet of flowers is a warm, earthy sienna. The painting is signed by the artist along the lower right-hand edge of the canvas. It is 20" x 24", and 27" x 31" framed. The frame is an ornate metal-leaf frame with a linen liner. It is wired and ready to hang. Professionally framed in classic, antiqued, closed corner frame. Frame is metal leaf gold. John C. Traynor's painting style is reminiscent of some 19th century painters and the Dutch Masters. He uses his knowledge of light and color to create a certain mood in each of his works. The creation of atmosphere is an important element in Traynor's paintings. Painting outdoors, on location, is a prime source of inspiration and ideas for his landscapes. John travels extensively, painting the landscapes around him. John was born in 1961 and spent his early years in Chester and Mendham, New Jersey. His art studies began at Delbarton School in Morristown, New Jersey, and from there he furthered his education at Paier College of Art in New Haven, Connecticut. He studied figure painting at the Art Students League of New York, as a merit scholar, with Frank Mason. Traynor continued his studies in Vermont with Mr. Mason on landscape painting, drawing with Carroll N. Jones Jr. of Stowe, Vermont and sculpture with Brother Jerome Cox...