Salvatore Marinelli Art

This opulent 17th-century Italian still-life captures the abundance and refinement of the Baroque era, presenting a feast for the senses. The composition features an array of ripe, s...

Italian master (early 17th century) - Still life with fruit, vegetables and game. 108 x 133 cm without frame, 118.5 x 144.5 cm with frame. Oil on canvas, in a gilded wooden frame. ...

Italian master (early 17th century) - Still life with fruit, vegetables and game. 108 x 133 cm without frame, 118.5 x 144.5 cm with frame. Oil on canvas, in a gilded wooden frame. ...

Floral with Urn is in a classical Dutch style that dates to the 17th century. The bright flowers drape the urn in whites, crimsons and pinks, standing out against the darker foliage...

"White lilies" floral still life realism of the Volsky Lily. The painting is done in oil on canvas. It is written in 3 layers. Flowers look very impressive on a dark background. Lil...

Jean Grimal is a true 20th century discovery. This breathtaking piece is a gorgeous example of his mastery as an artist. He beautifully creates chiaroscuro in this painting. The way the light touches the edges of the Chinese bowl and the grapes is an example of his skill in representing light. Jean Grimal (1942-1998) was born in the town of Tulle, France in 1942. Jean’s family moved to Paris when he was 8 years of age. After receiving a classical French education with studies in Latin and Greek, Jean Grimal entered the University to receive his Baccalaureate. He then attended Claude Barnard School for three years, when he received his Art Degree.  Upon completion Grimal taught art for seven years.  As Grimal’s own interest in formal painting and art began to possess him, the artist’s destiny changed.  In 1967 Jean Grimal stepped aside from teaching and pursued a career in professional painting and working as an illustrator in advertising.  As an advertising illustrator, Grimal worked with Lise Goldfard for more than 25 years at Studio 44 where they collaborated with major and important accounts, such as: Air France, Christofle, Peugeot, Lacoste, to name a few. At the same time he began presenting his formal paintings to galleries in Paris and Cannes, France and in London and Windsor, England.  Much to his surprise, Grimal found that his paintings were sought after by major art galleries and collectors throughout Europe.  After a number of years of being an important and successful art illustrator for these major accounts, he found himself having to choose between the two.  Fortunately for collectors, he chose to dedicate his life to the classical style of painting.  Jean looked at the simplest things in life through a microscope, where he could take the simplest object and depict the age of the fruit or the leaf. Jean Grimal received great pleasure from his work and painted for over thirty years.  As his style matured and became ever more perfect Jean Grimal truly reached the pinnacle of his career.  The artist’s methods were particularly distinguished when measured against his peers.  Grimal’s painting skill was distinctive and exceptional. Jean Grimal was known for his realistic trompe l’oeil and still life paintings.  The artist would carefully arrange the objects to form a satisfying composition.  By painting every shadow, highlight, and reflection within each composition Grimal brought mundane subjects to life.  His tight rendering combined with his attention to light and detail allowed him to blur the lines between illusion and reality, truly making his works one of a kind.  Grimal’s trompe l’oeil paintings consist of intricate compositions of cards, envelopes, photographs, paper of different materials and weights, backs of canvases, images of other artists’ works, kitchen utensils, pistols, and more.  Grimal had a talent for mastering these illusions that deceive the eye in his trompe l’oeil paintings.    No matter what genre Grimal was painting, tight, unperceivable brushwork characterizes his work.  The artist painted every crease and crinkle, every shadow and highlight, every detail.  By doing so, he was able to capture each individual surface texture of the objects in his paintings.  Grimal was also fabulous at depicting light in his paintings- often contrasting strong lights with strong darks, creating chiaroscuro modeling.  His still life paintings are reminiscent of Dutch seventeenth century...

Floral with Urn is in a classical Dutch style that dates to the 17th century. The bright flowers drape the urn in whites, crimsons and pinks, standing out against the darker foliage and flowers on a dark background. The artist is unknown and the age is unknown, but the beauty is unmistakable. Oil on canvas, the petals stand out with brushstrokes heavy with paint. The background paint is rough. In the 17th century paint was mixed with gesso or chalk, with particles forming an uneven surface. This background is in the same style in shades of black and brown. THe painting presents well on canvas stretched over an aged wooden stretcher. The painting has been restored and relined at some point, obscuring the back of the original canvas. The flower colors remain bright. Canvas sight is 30" wide and 50" high. There is no frame. There are small nicks and wear consistent with age. The precise date is unknown but aspects of the work suggest a date later than 19th century, and possibly 17th century that is more typical of this style. Dutch flower still life painting...

Pair of flower still lifes with various flowers (including a tulip) in a basket, oil on copper Flemisch school, second half 17th century. Dimensions excl. frame: 17 x 22 cm. Dimensions incl. frame: 23 x 28 cm. Still-life painting as an independent genre or specialty first flourished in the Netherlands during the early 1600s, although German and French painters (for example, Georg Flegel and Sebastian Stoskopff; 21.152.1, 2002.68) were also early participants in the development, and less continuous traditions of Italian and Spanish still-life painting date from the same period. Still-life motifs occur fairly frequently in manuscripts, books of hours, and panel paintings of the 1400s and 1500s, such as Robert Campin’s Annunciation Triptych (56.70) of about 1425, and in Petrus Christus‘ Goldsmith in his Shop of 1449 (1975.1.110). Many of the objects depicted in these early works are symbolic of some quality of the Virgin or another religious figure (for example, the lily stands for purity), while other objects may remind the viewer of an edifying concept such as worldly vanity or temperance (as in the case of the goldsmith’s mirror and scales). Moralizing meanings are also common in independent still-life paintings of the seventeenth century, which range from such obviously didactic works as Jacques de Gheyn...

José Miret Aleu (1912-1999) - Still life of roses - Oil on canvas Oil measures 73x60 cm. Frameless. Painter born in Barcelona in 1912. He studied drawing at the Baixas Academy in Ba...

Pilar Margenat (1939) - Still life - Oil on canvas Oil measures 92x73 cm. Frameless. He was born on August 2, 1939 in Sant Quirze del Vallés (Barcelona). He studied drawing and pai...

Profusion of Flowers Classical Still Life Dutch School, 19th century oil on canvas, unframed canvas : 32 x 21 inches provenance: private collection condition: very good and sound con...

Pocket Dragon Fruit [2022] original and hand signed by the artist Oil paint on canvas Image size: H:17 cm x W:15 cm Complete Size of Unframed Work: H:7 cm x W:5 cm x D:2cm Frame Siz...