Pamela Wilson Portrait Paintings

The Artists Model French School, late 19th century oil on canvas, unframed canvas: 20 x 17.5 inches provenance: private collection, France condition: very good and sound condition

French Bohemian painter (early 20th century) - Female nude. 100 x 70 cm without frame, 109 x 79 cm with frame. Antique oil painting on canvas, in a gilded wooden frame (some cracks...

This stunning exhibited nude portrait oil painting is by noted British Newlyn School artist Harold Knight. `The Maiden` was painted at Dozmary. The Belgrave Gallery catalogue 1986 suggests the sitter is in fact his wife, Laura Knight the noted artist. The sensuous understanding of the flesh tones and anatomy reveals the qualities that established Knight's reputation as a leading portrait painter after the War. This picture may be dated to c.1916. A really lovely portrait by a much sought after artist. Signed lower left. Provenance. Fifty Years Ago Exhibition, RWS Galleries, June 1965, no. 200. Miles Lamdin Gallery, London. Belgrave Gallery February 1986 which suggests in their catalogue the sitter is Laura Knight. Shades of British Impressionism...

Nude with Silks by Andre Belichenko ( Russian) Andrei Belichenko was born in 1974 in Karaganda, Kazakhstan. He is a graduate of the Republican Art Schoo (1990). Andrei studied in t...

Sebbene atteggiato in una delle pose convenzionali adottate in Accademia per l’esercitazione della copia dal nudo, il modello anziano qui ritratto è indagato con tale sensibilità ana...

Tuya Natsagdorj (Mongolia 1970) - Naked Goddess - oil on canvas Oil measures 63x53 cm. Frame measures 66x56 cm. Natsagdorj Tuya is a female artist who graduated from the kyiv School of Theater Arts in Ukraine and the Kyoto School of Art in Japan. Popular painter in the United States and Japan. In 2006 he participated in the exhibition "Mongolian art...

Antique impressionist painting. Watercolor and gouache on paper, circa 1950. Housed in a vintage frame. Image size, 11L x 9H.

Reflex 3, 2007 Oil on canvas (Signed on reverse) 17.71 H x 23.62 W in 45 H x 60 W cm The artist Ana Maria Micu wrote about her works: "There is certain culpability in self-represe...

Candy Eyes issue #5, 2010 Oil on canvas (Signed front upper left corner) 13 4/5 H × 10 1/5 W in 35 H × 26 W cm Through his works, Mihai Florea equally satirizes, the one who produce...

[Hippolyte-Alexandre Michallon (1849-1930)] Oil on canvas Signed in red, l.l. 48 x 60 inches, canvas size 54 x 66 inches in gold leaf frame 61 x 74 x 6 inches, framed This artwork is offered by ClampArt, located in New York City. “By his own account, the most ambitious work of Michallon’s career was a thirty-foot canvas depicting Noah’s Ark, which he exhibited in the Salon of 1875, where it went unmentioned by the critics. Preparatory work for this elaborate composition took him frequently to the Jardin des Plantes, where he made painstaking drawings and oil sketches of the animals on view. These studies were enthusiastically remarked upon by visitors to his studio, some of whom counseled him to give up history painting altogether and pursue the less dignified but presumably more lucrative career of animal painter. Following this advice, and profiting from the tremendous vogue in 1880s Europe for all things African...

This superb British nude portrait oil painting is attributed to the circle of Harold Knight. Painted circa 1930, it is a seated study of a nude woman in soft focus, arms raised to on...

Signed oil on original canvas nude circa 1914 by French post impressionist painter Georges D'espagnat. The work depict a nude woman standing beside a wash basin in a boudoir. Signature: Signed lower right Dimensions: Framed: 45"x34" Unframed: 37"x26" Provenance: Private collection - Netherlands From the beginning of his career, it was a constant concern of Georges d'Espagnet to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France. In 1903, d'Espagnet was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948). D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier, Victor Boucher, Déodat de Séverac, Albert Marque, André Marty and Albert Roussel. He also painted mural decorations, including a wall for the Palais de la Découverte (1937), the ceiling of the Victor Hugo Room in the Palais du Luxembourg (1939), a decorative panel for the Palais de Justice, Toulouse (1941) and interior decorations for private houses. His landscapes are Impressionist in inspiration, and work for a certain sobriety, an intimacy, both in their composition - one, two or three sketched figures and large open spaces - and in the choice of colours and treatment with the special hazy brushstroke that marks his style. D'Espagnet took part in a number of annual Parisian exhibitions, including the Salon des Indépendants, the Salon de la Société Nationale des Beaux-Arts, the Salon d'Automne (from 1903 to 1949, except in special circumstances), the Salon de la Libre Ésthétique, Brussels (1899, 1901), the Berlin Secessionists (1940). He also exhibited at the first Salon de la Société de la Gravure sur Bois. Among other exhibitions were 1912, A Century of French Art ( Centenaire de l'art français), St Petersburg; 1916, Kunstverein, Winterthur; 1918, 1926, Galerie M. Bertheim, Paris; 1930, Contemporary French Art...