Ivan Sorokin Figurative Paintings

An exceptional work by George Waller Parker (1888-1957) of a home in the South Carolina Lowcountry. Perhaps the best example of Parker’s work to be offered in recent decades, this w...

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...

Irish mid-century landscape of Errigal, Co. Donegal. Well painted scene of the Irish landscape with water and mountains. The artist was active during the 1950s-1960s and these soug...

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...

William Howard Jarvis December Afternoon on the Thames, London Bridge Oil on board Circa 1950 Signed lower left; inscribed verso with original price “45 Guineas” A beautifully atmos...

Judd Mercer (b. 1982) creates landscape paintings that capture fleeting, dramatic moments of light to evoke a sense of awe and wonder. "Light is everything—my main ingredient, setti...

A stunning oil painting by Albert Munghard depicting figures by a Dutch Canal, this piece was created after the great Dutch artist of the times Heinric...

This painting depicts an impressionistic Plein Air scene of Brunch in Soho Manhattan. The thick brush strokes and fun marks creates an atmosphere reminiscent of city life. There are ...

Flower Market by Lu Haskew Oil 16x12" image size Figurative Painting This painting is unframed, canvas on gator board, the price reflects that it is unframed. Shipping price includ...

Charles Bertie Hall (Anglo-American, 20th/21st Century) Sailboats at Sunset, Nantucket Oil on board, signed lower left, from the artist’s studio Presented in a new hand-made English ...

Charles Bertie Hall (Anglo-American, 20th/21st Century) Statue of Liberty, New York Harbor Oil on board, signed lower right, from the artist’s studio Presented in a new hand-made Eng...

6056 Oil on artist board displayed in a painted wood frame Image size 10x12.5"