Josef popczyk Art

Emile CHAUMONT (Perigueux 1877 - 1927) Summer landscape in Périgord Oil on panel H. 32 cm; L. 41 cm Signed lower left, dated 1912 Provenance: Private c...

Gabriel Godard (1933-2023) The Red Bush, 1979 Oil on canvas Artwork: 28 x 20 1/2 in. l 71 x 52 cm Framed: 31 1/2 x 24 in. l 80 x 61 cm Signed lower left Condition: Perfect condition...

Pluie a Venice is painted in Hambourg's preferred palette of muted blue-green, grey, and gold with splashes of ruby red, deep blue, and emerald green. The soft colors work well for beach scenes and rainy days such as the ones portrayed in this painting. The impressionistic scene shows multiple pedestrians strolling down the boardwalk, shielding themselves from the rain with colorful umbrellas that provide pops of color and balance the overcast sky. The background contains a three-masted ship and Piazza San Marco's famous bell tower and Basilica. Hambourg uses the minimum number of brushstrokes necessary to portray ships, seagulls, buildings and people as well as reflections on the glistening sidewalk. The brushstrokes in the sky have an interesting texture that is controlled yet carefree and there is heavy impasto throughout. His portrayal is both realistic and romanticized. Hambourg was clearly influenced by the great Impressionist artists of earlier generations, perhaps none more than the one with a direct connection to his family. Hambourg's wife, Nicole Rachet, was born into a family with a large collection of works by Impressionist master Eugene Boudin. Rachet's grandfather was a contemporary and friend of Boudin's, and a collector of his work. In their later years, Hambourg and Rachet donated over 300 canvases by Boudin and other artists to the Eugene Boudin Museum in Honfleur, France. It was such a large and important gift that the collection bears...

Marie Lucie Nessi-Valtat South of France, ca. 1960 Oil on panel 13 × 16 1/10 in 33 × 41 cm Frame size: 15 1/3 x 18 1/2 in. 39 x 47 cm Marie-Lucie Nessi Valtat was a French painter...

Scottish artist John Maclauchlan Milne, RSA, (1885-1957) is a contemporary of Scottish Colourists Peploe, Fergusson, Cadell and Hunter. Like the...

Marie-Lucie Nessi Valtat Horseman in Summer, ca. 1950 Oil on canvas mounted on board 10 2/3 x 13 3/4 in l 27 x 35 cm Frame size: 12 2/3 x 15 3/4 in. l 32 x 40 cm Marie-Lucie Nessi V...

Gaston Sebire (1920-2001) Vue de Rouen Oil on canvas Size : 65 x 81 cm Signed lower right Provenance : Private Collection, France Very good condition. Original canvas. Frame included...

Marcel COSSON (1878-1956) Vue du Casino de Juan les Pins, les régates Oil on panel Size : 46 x 61 cm Signed lower left Painting in perfect condition Beautiful carved and gilded fram...

This painting was owned by Comte Robert de Montesquiou (1855–1921), Paris Literature: Jane Roberts, Jacques-Émile Blanche (2012), pg. 47 (color illus.), p. 191. Included as no. R...

Signed with monogram lower left * The Robert Lehman Collection at the Metropolitan Museum of Art contains more paintings (nine) by Georges D’Espagnat than any other nineteenth- or ...

A beautiful woman sits at an open window, gazing down at a small bird who has landed nearby in this serene portrait by Charles Levier. Warm orange tones are played off their complements in shades of blue, the artist utilizing several different layers of oils to create a subtle and relaxed view of a spring day near the sea. Beyond the window a small chapel sits on a peninsula, surrounded tranquil blue waters. This work, like many of Levier's, belongs to the French figurative movement of the Glorious Thirty (Les Trente Glorieuses) - the golden period of thirty years after WWII which were a time of great hope and prosperity in France. Inspired by Hollywood cinema, Charles Levier sought harmony in composition and purity of color and form. His said that his creations represented "a light and delicate world, of dark and subtle shades and colors." Levier worked in a somewhat abstracted, cubist style. Additionally he often employed the French technique of "cloisonnism" (after the French for "partition"), a style of post-Impressionist painting with bold and flat forms separated by dark contours, also seen in this work. The term was coined by critic Edouard Dujardin on the occasion of the Salon des Indépendants, in March 1888 and was commonly used by artists like Émile Bernard, Louis Anquetin, Paul...

Marie-Lucie Nessi Valtat Bouquet of Flowers ca. 1950 Oil on paper mounted on board 13 3/4 x 10 2/3 in l 35 x 27 cm Frame size: 15 3/4 x 12 2/3 in l 40 x 32 cm Marie-Lucie Nessi Valt...