Leo Schutzman Art

Max Savy Oil on canvas painting depicting a village scene with winemakers in a vineyard by artist Max Savy (French, b. 1918). Signed in the lower right. Frame measures 24.5 inches x 28 inches. canvas is 18 X 22 inches., Perfect for a wine cellar or cave. Max Savy (French, 1918-2010) painted scenes of everyday life in the French Corbieres region, which garnered much success during his life. Though the artist remained silent about his early life, it's known his father instilled in him a belief in the humanist socialism philosophy of French Socialist Party leader, Jean Jaures. In 1938, at age 20, he moved to Carcassonne to attend school. There, he married and settled into a teaching position, joining the French Resistance during World War II and earning the Cross of the Combatant. After the war, he created the work for which he is most admired. Max Savy paintings are part of France's heritage collection, and the artist became a knight of the National Order of Merit in 1973. Max Savy's paintings and artworks include scenes of peasants in the fields. Max Savy was active/lived in France. Max Savy is known for folk art style painting of village architecture, vintners, figures in landscape, wine makers, marine scenes. His work is similar in style to the naive, folk art paintings of Michel Delacroix and Fanch Ledan. This is quite similar to a work I had titled "Les Vignes Aux Gitans" (the gypsy grape vines) So i assume this is also a vineyard painting...

A thoroughly charming original acrylic on canvas painting by American folk art artist James C. Litz. Perfect as a holiday gift or a wonderful adornment for your own home, this impo...

Lazar Obican 1944-2004 Tapestry, mixed media applique on woven background Taking The Bird Away, Folk Art, Dimensions: H 80 cm (32.25 in.) x W 58 cm (23in.) The artist Lazar Obican iconic style is child-like yet masterfully adult; a style that tells a story with sociological overtones. His funny little people are always colorful, full of spirit, living with music and birds to bring them happiness. This is not an aubusson style but a pieced applique, quilt like style on a wool woven background. Mid century modern textile art...

MADELINE CHRISTINE CLAVIER (1913-2015) Signature: Signed lower right & titled verso Medium: Oil on canvas Provenance: The collection of the artist's family Marie Christine Clavier was born in Saigon, Vietnam in 1913 to French parents and lived there for her formative years. She returned to France as a teenager and began to study painting. Her work quickly developed into whimsical paintings of poetry and songs – harmonized in a unique and distinct painting technique. Her work has an impasto feel and a folk art, outsider artist sensibility to it. Similar in style to Maik and other fantasy realists who use animals, flowers and foliage in their artworks. Marie Clavier painted ro herself rather than for profit as she was quite independently wealthy. Her work is in a more whimsical style of Francoise Gilot. She exhibited extensively in the United States in the 1970s especially across Connecticut and New York, showing at various galleries and cultural centres. She had numerous solo exhibitions in the 1970’s- notably at the Maison Francaise in New York and New York University. She showed at Galerie Bernheim Jeune in Paris. She won many awards for her work including Gold Medals and Palme D’Or medals. In 1988 the prestigious art publisher Leopard D’Or produced catalogue book on her life and work – by this point she had virtually given up painting. She died in 2015 aged 102. Bernheim-Jeune gallery is one of the oldest art galleries in Paris. Opened on Rue Laffitte in 1863 by Alexandre Bernheim (1839-1915), friend of Delacroix, Corot and Courbet, it changed location a few times before settling on Avenue Matignon. The gallery promoted realists, Barbizon school paintings and, in 1874, the first impressionist and later post-impressionist painters. It closed in 2019. In 1901, Alexandre Bernheim, with his sons, Josse (1870-1941), and Gaston (1870-1953), organized the first important exhibition of Vincent van Gogh paintings in Paris with the help of art critic Julien Leclercq. In 1906, Bernheim-Jeune frères started presenting works by Pierre Bonnard, Edouard Vuillard, Paul Cezanne, Henri-Edmond Cross, Kees van Dongen, Henri Matisse, Le Douanier Rousseau, Raoul Dufy, Maurice de Vlaminck, Amedeo Modigliani, Maurice Utrillo and Georges Dufrenoy. From 1906 to 1925, art critic Félix Fénéon was the director of the gallery and was instrumental in bringing in the art of Georges Seurat and Umberto Boccioni. In 1922, an exhibition brought together works by Alice Halicka, Auguste Herbin, Pierre Hodé, Moise Kisling, Marie Laurencin, Henri Lebasque, Fernand Leger and Henri Matisse. The gallery now exhibits painters and sculptors in the tradition of the École de Paris and artists such as Jean Carzou, Shelomo Selinger or Pollès. Her style is a recognizable, cheerful, whimsical and a happy creation. Naïve art is any form of visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing). Unlike folk art, naïve art does not necessarily evince a distinct cultural context or tradition. Naïve art is recognized, and often imitated, for its childlike simplicity and frankness. Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective. One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso. Naïve art is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide. Museums devoted to naïve art now exist in Kecskemét, Hungary; Riga, Latvia; Jaen, Spain; Rio de Janeiro, Brasil; Vicq France and Paris. Another term related to (but not completely synonymous with) naïve art is folk art. There also exist the terms "naïvism" and "primitivism" which are usually applied to professional painters working in the style of naïve art (like Paul Gauguin, Mikhail Larionov, Paul Klee). At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blaue Reiter, an almanac in 1912. Wassily Kandinsky and Franz Marc, who brought out the almanac, presented 6 reproductions of paintings by le Douanier' Rousseau (Henri Rousseau), comparing them with other pictorial examples. However, most experts agree that the year that naive art was "discovered" was 1885, when the painter Paul Signac became aware of the talents of Henri Rousseau and set about organizing exhibitions of his work in a number of prestigious galleries. The Earth Group (Grupa Zemlja) were Croatian artists, architects and intellectuals active in Zagreb from 1929 to 1935. The group included the painters Krsto Hegedušić, Edo Kovačević, Omer Mujadžić, Kamilo Ružička, Ivan Tabaković, and Oton Postružnik, the sculptors Antun Augustinčić, Frano Kršinić, and the architect Drago Ibler. A term applied to Yugoslav (Croatian) naive painters working in or around the village of Hlebine, near the Hungarian border, from about 1930. Some of the best known naive artists are Dragan Gaži, Ivan Generalić, Josip Generalić...

Harry Brooker British, (1848-1940) The Model Aeroplane Oil on canvas, signed & indistinctly dated Image size: 13.5 inches x 17.5 inches Size including...

A mid century Expressionist oil on canvas of a man, child and cat in an interior with a cityscape beyond. The work is not signed but there are various notations to the top rear stret...

Philip Castle was an Irish Painter and husband to artist Barry Castle He is rarely exhibited. His detailed, meticulous work took a long time to complete...

Old Dutch Interior Child and a Man with Chickens and Delft Tiles and Hearth An oil on ceramic tile of a early Dutch scene with a child and grandfather in the kitchen with a hearth a...

Signed lower right, 'Pauer' for Jacalyn Pauer (American, 20th century) and dated 1991. Additionally signed, verso, and titled, 'The Family Dinner'. A su...

In the heart of a meticulously detailed, antique interior, "A Moment of Quiet Reflection" by Carl Henrik Nordenberg captures a serene and intimate mo...

"Damsel" is a work of art that immediately draws the viewer's attention to the glorious charm of the woman at its center. Adewale's portrayal of her low-cut hairstyle is a powerful statement that challenges conventional norms of beauty. With her hair styled so boldly, the subject exudes a sense of self-assuredness, breaking free from societal expectations and embracing her uniqueness. The woman's choice of a vibrant yellow dress further reinforces the celebration of feminine allure. Yellow, a color often associated with happiness and positivity, complements the woman's radiance, illuminating the canvas with her inner glow. This striking hue symbolizes her inner strength and vibrant spirit, echoing the confidence and dynamism that emanate from her presence. The blue background, in contrast, serves as a calming and harmonious setting, providing a perfect backdrop for the woman's portrayal. The serene blue not only accentuates her poise and elegance but also serves as a reflection of her depth and wisdom. It suggests that beneath her external charm lies a profound reservoir of inner grace and strength, making her all the more captivating and multidimensional as a subject. "Damsel" is more than just a beautiful portrait; it is a celebration of the richness and diversity of womanhood. Adewale's brushwork masterfully captures the subtle details of her facial features, highlighting the delicate contours of her lips and the gentle curves of her cheekbones. The artist's attention to detail emphasizes the individuality and uniqueness of the subject, celebrating the fact that each woman possesses her own distinct brand of charm and beauty. This artwork is not merely a passive representation but a self-conscious portraiture that actively engages the viewer. As we gaze upon the woman in "Damsel," we become participants in this celebration of femininity. Adewale invites us to appreciate and honor the beauty that exists within all women, encouraging us to recognize and celebrate the allure that each woman carries in her own unique way. In its essence, "Damsel" is a testament to the empowering nature of art. It breaks away from conventional stereotypes and standard definitions of beauty, presenting a woman who embraces her identity unapologetically. The artwork's appeal lies not only in its visual aesthetics but also in the powerful message it conveys to society, urging us to appreciate and cherish the diverse expressions of feminine charm. In conclusion, "Damsel" by Busari Adewale...

This picture symbolizes femininity. Femininity is harmony, naturalness and sensuality.