Gabriel Godard Paintings

Frame size 78x87 cm. Rafael Griera Calderón was born incidentally in Las Palmas de Gran Canaria in 1934. After residing in Olot from 1942 to 19...

Rafael Duran Benet (1931-2015) - River port - Oil on canvas on board Oil measurements 22x27 cm. Frame 24x29. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Catalan paint...

Abstract expression of the Sunflowers in Provence sets the traditional fields ablaze with orange. Painted by Scottish artist Sheila McNab MacMillan, who is known for bold outlines of...

Title: Sitges Artist: Rafael Durancamps i Folguera (1891–1979) Technique: Oil on canvas Dimensions: 38 x 61 cm (14.96 x 24.01 in) Support: Canvas stretched over wooden stretcher Framing: Unframed Signature: Signed lower left: Durancamps Period: 1960s (estimated based on style, technique, and materials) Work Description The painting Sitges depicts an evocative scene of the iconic Catalan coastal town. At the center stands the unmistakable silhouette of the Church of Sant Bartomeu i Santa Tecla, surrounded by cascading white houses that descend toward the shore. A solitary fisherman in the foreground casts his rod from the sand, adding a human and melancholic dimension to the landscape. The composition reflects Rafael Durancamps’s mastery in atmospheric construction: the balance between sky, architecture, and figure is achieved through loose yet controlled brushstrokes, and a sober palette dominated by earthy tones, ochres, blues, and greys. The scene conveys stillness, everyday life, and a sense of belonging to the landscape—recurring qualities in the artist’s work. Artist Biography: Rafael Durancamps i Folguera (1891–1979) Born in Sabadell, Rafael Durancamps was one of the leading Catalan figurative painters of the 20th century. Initially trained under Joan Vila Cinca and a friend of Joaquim Mir, he chose a personal path that distanced him from avant-garde movements. In 1926, he moved to Paris, where he founded La Fenêtre Ouverte gallery, bringing together artists such as Salvador Dalí, André Derain, Joan Miró, and Pablo Picasso. After permanently returning to Barcelona in 1939, he exhibited regularly at Sala Parés and established a distinctive style rooted in lyrical light, intimate observation of everyday life, and a refined technique—particularly in still lifes, landscapes, and solitary figures. His work is held in major collections, including the Museu Nacional d’Art de Catalunya (MNAC), the Montserrat Museum, the Sabadell Art Museum, and the BBVA Collection. Comparable Artists Rafael Durancamps can be linked stylistically or spiritually to several major names in modern figurative art: Joaquim Mir – for his lyrical treatment of the Catalan landscape and vibrant light Santiago Rusiñol – for his poetic approach to architecture and the Mediterranean environment Maurice Utrillo – in his sober and nostalgic depictions of towns and vernacular architecture Edward Hopper – for the silent presence of solitary figures in open spaces Darío de Regoyos...

A beautiful and important painting by the great artist Enzo Benedetto, an absolute protagonist of the so-called ‘Second Futurism’. It depicts a seascape captured in its essence of natural energy with the waves of the sea crashing powerfully on the coast, probably a glimpse of his homeland, Calabria. This artwork, never before on the market, comes from an important Italian private collection. Enzo Benedetto (Reggio Calabria 1905 - Rome 1993) Benedetto, called Record by Filippo Tommaso Marinetti, approached the Second Futurism in 1924 after meeting Mino Somenzi and was active as a Futurist until his death, becoming a tenacious continuer of the movement's principles, revisited in 1967 with the Futurism Today manifesto. Benedetto theorised and practised the union of colour with the word and coined the term chrome-paroise to define the synthesis of painting and writing. In 1926 he promoted the futurist hall for the 4th Calabrian Art Biennial in Reggio Calabria where Depero, Dottori, Tato, Fillia, Pozzo, Benedetto Marinetti and himself, amongst others, exhibited. In 1927 he participated in the National Futurist Exhibition in Palermo. He moved permanently to Rome in 1927 and joined the Manifesto in 1931. In a short time he took part in the ‘great Futurist exhibition’ in Imola, the ‘first exhibition of Calabrian art’ in Rome, the ‘33 Futurists’ exhibition at the Pesaro gallery in Milan, and above all the ‘great Futurist exhibition’ at the ‘international artistic circle’ in Via Margutta in Rome. Benedetto had begun flying in 1926, as a photo of the time documents. That same year, inspired by the exploits of the aviator of the same name, he had executed the painting De Pinedo. He adhered to the Manifesto already signed by Balla, Marinetti, Depero, Dottori, Tato, Prampolini and Fillia, which advocated the triumph of a spatiality enhanced by flight in its dynamic effects and freed from the fixity of the horizon. In World War II he was imprisoned in Africa by British troops until the end of the conflict. Benedetto continued his Futurist activities in the second half of the 20th century. From 1939 to 1946 he volunteered for the African campaign and was sent to Libya, after which he was imprisoned for six years in the concentration camps in Alexandria, Ismailia, and in India in Bangalore and Yol in Kashmir. During this imprisonment he was able to paint and some canvases from this period were brought back to Italy, rolled up as personal luggage, In January 1943, he painted Yol, a new psychological oil portrait of Francesco Tommaso Marinetti. In 1946, he returned to Italy and in April 1947 presented his first solo exhibition in Rome. The exhibition dedicated to the great Italian poet and founder of Futurism was opened by Benedetta Marinetti. In World War II he was imprisoned in Africa by British troops until the end of the conflict. Benedetto continued his Futurist activities in the second half of the 20th century. In 1946, he returned to Italy and in April 1947 presented his first solo exhibition in Rome. In 1948 he had a personal exhibition in Capri at the gallery, ‘l'oblò’, and in Reggio Calabria in the Hall of the ‘Francesco Cilea’ Municipal Theatre. In 1949 he took part in the Calabrian Biennial in Reggio Calabria. In 1950 quanta took part with ceramics in the Selective Exhibition of Artistic Craftsmanship in the Angelicum in Milan, and with paintings in the Historical Review of Futurism in the Palazzo di Re Enzo in Bologna. He then held an important solo exhibition in Milan, at the ‘Centro d'Arte San Babila’ and participated in the sixth Quadrennial in Rome. He had a solo exhibition in Fano and another exhibition in Rome in the Galleria del Palazzo delle Esposizioni and in the Galleria del Teatro ‘il Millimetro’. In 1951 he took part in the collective exhibition ‘Mostra Nazionale della Pittura e della Scultura futurista’ (National Exhibition of Futurist Painting and Sculpture) in Bologna, Palazzo del Podestà, with Acquaviva, Giacomo Balla, Primo Conti, Tullio Crali, Fortunato Depero and Gerardo Dottori. In 1953 he took part in the exhibition ‘l'arte nella vita del mezzogiorno’ (art in the life of southern Italy) in Rome and was included in the jury for the awarding of prizes. He also took part in the third exhibition ‘il maggio di Bari’ and in the ‘biennale del mare’ in Rimini. From 1954 to 1960 he took part in many collective exhibitions such as the ‘Sesto Maggio di Bari’, the ‘Villa San Giovanni’ award, the ‘Terni award’, the ‘Avezzano award’, the fifth exhibition of the ‘Triglia d'Oro’, the Michetti award, a personal exhibition in Varese, at the ‘piccola permanente’ In 1961, he stayed in Munich in Germany and exhibited at the Schoeninger Gallery and in the city's ‘Kuntz-Cabnier-Klimt’ studio. Encouraged by his long-standing friendship with Emilio Pettoruti, he also stayed in Paris, where he painted syntheses of the city that were very successful. In 1962, he held a personal exhibition in Venice at the San Vidal gallery and another in Munich at the Wolfgang Gurlit gallery. In 1964 he returned to Rome with a solo exhibition at the Antea gallery. In 1965 he presented his works at the ‘Italian medal...

AN IMPULSE BUDDING 2024 Paris, France This piece is formed first with a pink dye underpainting on canvas, with white acrylic and green oil painted on top. The notion of the title, "...

Stanley Sporny (American 1946 - 2008) A view into a stream with overhanging branches reflected in the water. A beautiful oil painting that explores the stream bottom as well as the ...

Title: Playa de Sitges Artist: Joan Abelló Prat (1922–2008) Medium: Oil on canvas Dimensions: 33 x 41 cm (12.99 x 16.14 in) Framed dimensions: 37 x 45 cm (14.57 x 17.72 in) Date: 200...

Title: Paseo de Sitges Artist: Jordi Curós Ventura (1930–2017) Medium: Oil on canvas Dimensions: 23.6 x 28.7 in Signature: Signed in the lower righ...

Rafael Duran Benet (1931-2015) - Lovers - Oil on canvas on board Oil measurements 38x46 cm. Frameless. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Catalan painter, ne...

Les Toits de Venise (The Rooftops of Venice) 55 x 46 cm Oil and acrylic on canvas Les Toits de Venise is an exploration of Venice's rooftops through the artist’s Diachronic Cubism....

Rafael Duran Benet (1931-2015) - Park with lake - Oil on cardboard paid to canvas Oil measurements 50x65 cm. Frame measurements 66x81 cm. Rafael Duran Benet (Terrassa, 1931 - Barc...