Laimonis Bubieris Art

Shigeyoshi Koyama (Born in 1940) Landscape of Cadaqués, 2024 Oil on canvas Signed and dated lower right Countersigned, dated, titled, and located on the reverse 46 x 55 c...

"Take me Home" by Lu Haskew Oil 19x16" framed, 12x8" image size Signed lower left A young child very apparently ready to go home from their intense yet cute look. The child is weari...

A large, sweeping Michigan summer vista by the accomplished American painter, Ida Josephine Burgess (1855-1934). Burgess gives us a high vantage point over a lush hill pasture descen...

Excellent example of Cortès Paris scene. Provenance: Galerie Haussmann, Paris.Herbert Arnot, Inc., New York, New York (May 29, 1964).Country Store Gallery, Austin, Texas (February 2...

William John Hennessy Thomastown 1839 - Rudgwick 1917 Portrait of the Artist's Daughters Circa 1880 Oil on canvas mounted on cardboard Signed bottom left 33 x 23.5 cm canvas 44 x ...

Portrait of a Young Girl Oil on canvas, c. 1895 Signed lower right (see photo) Edmondson studied in Paris with Lefebvre and Aman-Jean. This work shows the influence of Aman-Jean. Con...

A deep ochre warmth spreads across this generously scaled oil on canvas, measuring H 31.9 in x W 39.4 in x D 0.8 in, pulling the eye across an undulating rural landscape that breathe...

Known for his evocative, snow-covered landscapes, Koeniger brings this subject to life with his bold, confident brushwork and keen eye for natural light. The composition centers arou...

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...

Artist: Anatoly Borisovich Tarabanov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Year: 2020 Style: Portrait Surrealism Title: Metamorphoses S...

Oil on canvas Canvas size: 12 x 10 inches Framed size: 17 x 15 inches Signed lower left

A lovely little Impressionist landscape of Melting Snow in a Ploughed Field, painted by William Samuel Horton (1856-1936). William Horton, primarily a landscape painter, lived and...

Guy C. Wiggins (1883 - 1962) Locomotive Train in Snowstorm, 1957 Oil on paperboard 8 x 10 inches Signed lower left; signed and dated on the reverse Guy Carleton Wiggins is best known for his impressionistic snow scenes of New York in 1920's. Wiggins lived in Old Lyme and Essex where he operated an art school. The Connecticut country-side was conducive to his impressionist technique of plein-air painting and broken brushwork.  Ironically, although his work includes many fine Connecticut landscapes, he is best remembered for some snow scenes of New York City. Like many other American Impressionists, Wiggins had one foot in the city and the other in the country (Vermont Hillside, South Londonderry).  Wiggins was born in Brooklyn, New York, went to England with his family as a boy, received an English grammar school education, and traveled widely abroad. He was the son of a prominent artist, Carleton Wiggins, a painter in the Barbizon style who studied with George Inness and admired Anton Mauve and Dwight Tryon...

Artist: Shapoval Ivan Leontyevich Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Cardboard Style: Impressionism Year: 2012 Title: Golden Autumn Size: 17.5" x 29.5" x 0.''8 inch, (44x76x2 cm) Unframed, "Golden Autumn" is a captivating oil painting that transports viewers into a tranquil and picturesque landscape. The artwork depicts a scene bathed in the warm, glowing hues of fall. In the foreground, an expansive orange field stretches out, its surface covered in a thick carpet of fallen leaves. The vibrant orange foliage adorns the surrounding trees, creating a captivating contrast against the serene backdrop. The path, composed of well-trodden earth, winds its way through the field, inviting the viewer to explore and discover the secrets of this natural wonder. As the eye moves deeper into the painting, the path guides us towards a meandering river that gracefully winds its way through the landscape. The river glistens under the soft sunlight, reflecting the surrounding beauty with a gentle shimmer. Its tranquil waters capture the essence of peace and serenity, offering a serene respite amidst the colorful autumn spectacle. Above, a brilliant blue sky dominates the canvas, providing a vast expanse against which the splendor of the scene unfolds. The clear sky serves as a backdrop to the kaleidoscope of warm colors, accentuating the vibrancy and richness of the landscape. "Golden Autumn" captures the essence of the season, where nature's colors transform into a symphony of gold and orange. The painting immerses viewers in a captivating world of tranquility and beauty, inviting them to wander along the path and lose themselves in the enchantment of nature's autumnal splendor. About Artist: Place of Birth: September 10, 1939, Dniprodzerzhynsk, Ukraine Graduated from Dnipropetrovsk Art School (1967) Graduated from Kharkiv Art Industry Higher School (1973) Field of Activity: Easel painting Teachers: H. Cherniavskly, V. Konstantynopilsky, O. Martynets Ivan Shapoval...

ULPIANO CHECA Spanish, 1860 - 1916 VENICE CANAL signed, located and dedicated "A Marguerite Pinèdo / affectueusement / U. Checa / Venezia" (lower left) o...