Henry Wyatt Art

19th Century Italian Orientalist Masterpiece Painting "Four Women In The Harem" circa 1880, in the Circle of Rudolf Ernst. Oil on canvas. "The O...

Beautiful oil on canvas from the end of the 19th century figuring the portrait of a young woman. The painting is signed Y Pol on the bottom left . The artist in his performance perfe...

Modern, academic style portrait painting on canvas of a young athletic male oil on canvas, 26 x 17 inches in antique wood frame This vertical, contemporary portrait painting of sin...

This is a possible self portrait by the famed female surrealist artist. It is also strikingly similar in style with it's exaggerated eyes to her portrait of Jean Genet, ( Leonor F...

This painting features a young girl sitting on a chair in a dimly lit room, illuminated by the soft glow of an orange-tinted ceiling lamp. This painting captures the essence of the candle-light genre of art, which originated in the 17th century and was popularized by Dutch and Flemish artists. The candle-light paintings were characterized by the use of a single source of light, which was usually a candle, and were often accompanied by the inclusion of reflective surfaces such as mirrors, to create an ambiance of warmth and intimacy. Weise's painting is a beautiful example of this genre, as he uses the same technique of a single source of light to create a sense of depth and realism in the painting. The girl in the painting is dressed in a vibrant red dress and white stockings, and her expression suggests a moment of contemplation. On the table, there is a photo frame, perhaps containing a picture of someone dear to her, and its reflection is visible in the mirror in the background. The piano on the right side of the painting is in shadow, while above it is a portrait painting with a golden frame, which adds to the ambiance of the room. Karl Weise was a renowned painter known for his exceptional use of light and shadow in his paintings, which created a mesmerizing play of light that evoked a sense of depth and realism in his work. His paintings were highly appreciated during his lifetime, and they continue to be admired today for their timeless beauty and artistic merit. In conclusion, Karl Weise's painting is a beautiful example of the candle-light genre of art. The use of a single source of light creates a warm and intimate ambiance, while the shadows add depth and dimension to the painting. The young girl's expression and the inclusion of the photo frame and portrait painting add a sense of storytelling to the painting, making it a truly captivating classic artwork...

Provenance: Charles H. and Virginia Baldwin, Claremont, Colorado Springs, Colorado ca. 1907-1934; thence by descent until sold in 1949 to: Charles Blevins Davis, Claremont (renamed Trianon), Colorado Springs 1949 -until gifted in 1952 to: The Poor Sisters of Saint Francis, Trianon, Colorado Springs, 1952 until acquired, 1960, by: John W. Metzger, Trianon, renamed as the Trianon School of Fine Arts, Colorado Springs, 1960-1967; when transferred to: The Metzger Family Foundation, Trianon Art Museum, Denver, 1967 - 2004; thence by descent in the Metzger Family until 2015 Exhibited: Trianon Art Museum, Denver (until 2004) The present work is a spectacular jewel-like canvas by Amigoni, rich in delicate pastel colors, most likely a modello for an altarpiece either lost or never painted. In it the Madonna stands firmly upon a cloud in the heavens, her Child resting on a delicate veil further supported by a cloud, as he gently wraps his arm around his mother’s neck. From above angels prepare to lower flowers and a wreath, while other angels and seraphim surrounding the two joyfully cavort. Dr. Annalisa Scarpa, author of the forthcoming monograph on Jacopo Amigoni...

Provenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...

Beth de Loiselle's "Maine Coon" , a detailed realist cat painting of a Maine Coon cat with a trompe l'oeil gold frame on a black background. The friendly Maine Coon cat is one of th...

Academic style figurative oil painting of two muscular football players Painted by Mark Beard as Bruce Sargeant Oil on canvas, signed upper right 20 x 16 inches unframed, 26 x 22 in...

‘Regina dei Fiori’ by Frédéric Soulacroix (1858-1933). The painting – which depicts an aristocratic Italian beauty sitting beside a porcelain vase full of peonies – is signed by th...

Circle of Jacques-Louis David Joseph and Potiphar 88x72 cm oil on canvas. The story tells of Joseph's duties in Egypt. Sold as a slave to Putiphar, chief of the king of Egypt's guar...

Woman, Russia, snow,Portraits Levitin, Anatoly Pavlovich or Levitine, Russian, 20th century, Born 1922, in Petrograd (now St Petersburg). Painter. Figures, nudes, genre scenes. Socialist Realism...