Giacomo Balla Paintings

Johann Ludwig Robert von Steiger (Swiss, * 8th of January, 1856, Rio de Janeiro, Brazil; † 1st of June, 1941, Buenos Aires, Argentina) Portrait of Karl Alfred Arthur von Steiger Lie...

Acrylic, tempera on wood panel Giorgi Kavelashvili is a Georgian artist born in 1994 who lives and works in Tbilisi, Georgia. He is graduated from the Tbilisi State Academy of Arts,...

Tania Rivilis Portrait of Love Four panels of 40x40 cm all together framed in one piece of 94x94 cm Oilpaint on wood panel Tania Rivilis (b. 1986) 2022 winner of the 'William Locke Price' ( £ 30.000 ) from the Royal Society of Portrait Painters UK. Tania Rivilis began painting at the age of 27, after moving to Germany from Russia in 2012. Working hard on technique and creating her own signature style, just one year later Tania entered the art world with her first solo shows. Tania’s works range from classical to modern expressive style. For several years of working with painting and graphics, the artist held exhibitions in Germany, the Netherlands, and Russia. In 2016 began a collaboration between Tania Rivilis and Russian jeweler Petr Axenov, which led to many special projects, both for private and state collections. Her two drawings based on “War and Peace” novel by Leo Tolstoy...

Barend GRAAT (Amsterdam 1628 – Amsterdam 1709) Diana the Huntress Oil on wood H. 33.5 cm; L. 44 cm Signed lower right on the stone A discreet painter with respect to history, Barend...

UN Poster Design American Scene Mid 20th Century Modernism WPA World Peace Jo Cain (1904 – 2003) We Are All Members of the Human Race: UN Poster Proposal 21 x...

Egg emulsion on fiberglass. Signed and dated upper left and verso; titled verso. 49 x 48 in. 49.75 x 49 in. (framed) Custom framed in hickory. Provenance Albright-Knox Art Gallery, Buffalo, NY Born in Alabama, John Little attended the Buffalo (NY) Fine Arts Academy as a teenager, until 1927. Soon after, he moved to New York where he began operatic vocal training and opened what would become a very successful textile business designing fabric and wallpaper. In 1933, he enrolled at the Art Students League under the tutelage of George Grosz. Little’s early work consisted predominantly of landscapes, until 1937, when he began studying under Hans Hofmann and his work naturally shifted toward abstraction. During his time with Hofmann, he with artists such as Lee Krasner, George McNeil, Gerome Kamrowski, Giorgio Cavallon...

Artwork measures 48" x 30" and framed 56 ¼" x 38 ¼" x 3" Provenance: John Heller Gallery, NYC, circa 1975 (label verso) The artist's daughter Corbino Galleries, Sarasota, FL (1990)...

Oil painting and collage on wood panel Unique work Hand-signed higher right by the artist

Attributed to Godfried SCHALKEN (Made 1643 – The Hague 1706) Young fischer Oil on panel in one board H. 32.5 cm; L. 25.5 cm Around 1670/75 Related works: - Autograph version with numerous variants, Berlin, Gemaldegalerie, Inv. N°837 - Copy or workshop version of our painting with slight variations but of inferior quality, Germany, sold at Berlinghof Auktionshaus in 2002 The object of this notice is not to produce a biography of Schalken, the reference work by Thierry Beherman published by Maeght in 1988. The goal here is to understand this version of a painting of formidable craftsmanship and to compare it to the work preserved in Berlin with its many variants in order to draw some hypotheses for conclusions Our young angler is a very interesting subject that can be found as early as the 16th century to invoke one of the four temperaments. Not melancholy as one might think at first glance, but phlegmatic character. The interpretation of astrological symbols closely linked peach and phlegm, laziness, slowness, often represented alongside the moon. Here the composition is very clear in this sense. The young man, chin resting on his arm, looks at his modest cane, the cork of which he soaks alongside snails and butterflies located in the Irises. All near a willow under a heavy sky, like a night sky. All the elements are there to give an explanation of the subject and not to leave the spectator in front of a simple genre scene. Let's go back to the willow, a tree that loses its fruits before they mature. It is often considered a symbol of lost youth, a reference to passivity or times of debauchery. Plato advised in his time to banish fishing from the education of children since it is an activity of expectation and not of exercise or reflection. Needless to explain the presence of small slow-moving animals with short lives or flowers… The image speaks for itself! Let's go back to the differences between the Berlin version and ours, of which it must be recognized that the quality is slightly lower and therefore can hardly be given with certainty to Schalken itself. This version has some additional elements compared to ours. In our version, the row of willows cut into trunks located to the left of the composition is replaced by a simple area of reeds that opens up to a luminous sky. The sky is also different by the clouds represented. A white butterfly flying in the middle of the Irises has been removed, as has a large leaf located on the back of the young fisherman at the foot of the willow. Only addition to our table in addition to the Berlin version: a second fish near the earthen pot...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Jürgen Reichert - Maler Freischaffender Künstler, Farbflächenmalerei, lebt und arbeitet in Berlin. o.T. 2015 Eitempera auf Leinwand 120 x 120 cm Jürgen Reichert, 1953 in Mannheim g...