Pierre Grisot Art

Pocket Gala Apple [2023] Pocket Tangerine is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings, with a...

This contemporary vibrant, expressive abstract floral painting, "Vase with Pink Roses", is a striking work by French artist Natalya Mougenot, ren...

Oil on canvas, signed lower left. Gérard Altmann, né à Paris le 23 septembre 1923 et mort à Paris le 19 avril 2012, est un peintre français. Il est le ...

Arthur Kemp Tebby (1866–1935) English Rose Arbor, circa 1890 Oil on wooden panel, signed lower right. Arthur Kemp Tebby was among the finest English painters of gardens and floral landscapes working during the late Victorian and Edwardian periods. A gifted colourist and accomplished plein air painter, Tebby became celebrated for his depictions of English country gardens in full bloom, capturing the fleeting beauty of the seasons with remarkable delicacy and atmosphere. Influenced by both the French Impressionists and the rich tradition of British landscape painting, his works possess a freshness and luminosity that have made them enduringly sought after by collectors. This enchanting painting portrays a magnificent rose-covered arbor in the height of summer, inviting the viewer along a quiet garden path beneath cascades of climbing roses in shades of crimson, blush pink and ivory. Dappled sunlight filters gently through the foliage, illuminating the gravel walkway and creating a harmonious interplay of light and shadow. The abundance of flowering shrubs, carefully observed botanical detail and softly diffused background combine to evoke the tranquillity and romance of an English country garden at its seasonal peak. Executed with Tebby’s characteristic sensitivity, the composition demonstrates his mastery of colour and texture. Delicate brushwork captures the profusion of blooms without sacrificing spontaneity, while subtle tonal transitions lend remarkable depth and atmosphere. The artist’s restrained palette of soft greens, warm earth tones and vibrant floral highlights creates an elegant balance that is both decorative and naturalistic. Painted around 1890, this work belongs to a period when Tebby was producing some of his most accomplished garden scenes, subjects that remain among his most desirable. His paintings celebrate the Victorian passion for cultivated gardens while embracing the increasingly Impressionistic handling of light and colour that distinguished progressive British artists of the era. Beautifully presented in an elegant gilt frame, this charming painting is a quintessential example of late nineteenth-century English garden painting...

An exceptional work by George Waller Parker (1888-1957) of a home in the South Carolina Lowcountry. Perhaps the best example of Parker’s work to be offered in recent decades, this w...

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...

John Heliker (American, 1909-2000) Still Life with Sugar Bowl Oil on canvas Signed lower right 39.75 x 39.75 inches 45.5 x 45.5 inches, framed Provenance: Private Collection Ypsilant...

"Clatterer" (2023) by Allen Williams is an original oil painting on a sealed illustration board that depicts an eerie and disturbing portrait of a demon...

"Time to Dream" Abstract Painting 87" x 87" inch by Carole Baines Carole Baines is a self-taught, London-born artist based between Townsville and Brisbane, Queensland, Australia. Ca...

William Howard Jarvis December Afternoon on the Thames, London Bridge Oil on board Circa 1950 Signed lower left; inscribed verso with original price “45 Guineas” A beautifully atmos...

Claude Howard Stuart (British Contemporary) Nude I, circa 2020 Oil on board Signed lower right A striking contemporary composition by the British artist Claude Howard Stuart, depic...

French artist Natalya Mougenot’s 2023 abstract floral painting, The Sunflowers of Provence, masterfully combines contemporary impressionism with a fresh, innovative perspective. Insp...