Marek Niedojadło Art

Pittoni came from a family of painters and architects. He received lessons from his uncle Francesco Pittoni in Venice and later from Antonio Balestra....

Circle Wouwerman, Horseman by a Tent, Riders Playing Cards (?), Old Master Dutch Art, Travellers or Riders resting by a tent and gambling

GOVERT VAN EMMERIK (1808-1882) View on the Governor’s Palace in Paramaribo, Surinam Signed and dated 1856 Oil on canvas, 70 x 90 cm In large gilt...

Félix-Hippolyte LANOÜE (Versailles, 1812 – Versailles, 1872) Italian Landscape with Bathers Oil on canvas, in its original frame D. 41 cm Signed lower right Circa 1840 Trained by Je...

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...

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...

The painting "The Road to Emmaus in a Landscape" by Gillis de Hondecoeter is a masterful example of early 17th-century Dutch landscape painting. The sce...

Edmond YON (Montmartre 1841 – Paris 1897) Riverbank with birds Oil on canvas H. 79.5 cm; L. 130 cm Signed lower right and dated 1876 Original frame Exhibition: 1876, Salon des Artis...

Louis-Alexandre CABIÉ (Dol-de-Bretagne 1853 - Bordeaux 1939) Landes at Pessac, near Bordeaux - Gironde Oil on canvas H. 126 cm; W. 201 cm Signed lower left Louis Cabié, a renowned a...

Jean-Victor Bertin and workshop (Paris 1767 - 1842) Landscape of the Île-de-France region Oil on canvas H. 38 cm; W. 46 cm Related work: painting of the same composition held at the...

Gustav VERMEHREN (Copenhagen 1863 – Copenhagen 1931) Rest Oil on canvas H. 72 cm; W. 79 cm Signed lower right and dated 1911 (twice) Exhibition: 1963, F...

Jean-Georges PASQUET (Périgueux 1851 - 1936) Pointe de Suzac at Saint Georges de Didonne Oil on canvas H. 59 cm; W. 85 cm Signed and dated 1885 lower left Provenance: Private collec...