Simon Busom Figurative Paintings

A. J. Bennett (South African, fl. Early 20th century) Light and Shade • Oil on canvas artist board ca. 42.5 x 29.5 cm • Later frame ca. 53.5 x 41 cm Worldwide shipping is complime...

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...

Oil on canvas by Henri-André Martin (1918-2004), France, 1999. Road in Eygalieres, Alpilles, Provence. With frame: 52x67 cm - 20.5x26.4 inches. Without frame: 46x61cm - 18.1x24 inches. Format 12P. Signed and dated lower left "Henri-André Martin 99" (see photo). Located on the back (see photo). Can be matched to make a pair with another painting by Henri-André Martin that we offer on 1stdibs whose title is "Henri-André Martin Road in the Alpilles, Provence, Oil on Canvas, 1980s". Born in Lyon in 1918, the child and the adolescent Henri-André Martin spent his youth in Saint-Étienne, his father, Edme Martin, first installed as a practicing doctor in Lyon, having been appointed doctor of the anti-tuberculosis dispensaries of the Loire. During his first years of studying medicine in Lyon, he nevertheless enrolled in the Beaux-Arts. Appointed hospital intern upon his return from captivity in 1942, he ended his medical career as director of the otolaryngology university clinic at Édouard-Herriot hospital. But painting was his passion. Painting was for Henri-André Martin the way of expressing his feelings. By nature very reserved and of an extreme modesty that many took for coldness, it was what allowed him to express his strong artistic sensitivity and, his pictorial periods are as many reflects of his anxieties, of his hopes, of his joys. At every period of his life, wherever he goes and whenever he has a moment, he paints gouaches, often of small size, but sometimes of larger size. He also paints beaches that have been compared to those of Boudin. Their invoice shows, however, that this figure is only appearance and that in fact, these beaches made of water, sky and sand, readily dispense with the motif, the work of the material seeming to have more importance. as the subject. Despite the fact that until the 1970s he painted "on the ground", his canvases remain far removed from the anecdote. Often harsh like the landscapes of Provence, the Parisian walls which express concern, or the railways, the switch tracks which suggest, in ocher and black, all the embarrassment of choice. We find the same nostalgic gravity in the canvases of the carcasses of boats which, as his friend Louis Pons later wrote, "seem to die of immobility" or in the canvases of Venice, or the landscapes of Eygalières. In the following years, his painting became simpler, more synthetic, such as these landscapes with tortured almond trees, black and gnarled olive trees, plane trees standing out against the ocher sky of the dawn of Provence, in winter. These are also the canvases of Hamburg in the dough becomes heavier, the colors darken, marking all the gravity of the port landscapes. Workshop work gradually takes precedence over motif painting. The pivotal period coincides with that of his work on the olive tree, during which he leads the realization of the "Trunks", a collection of six lithographic plates, of the book L'olivier comprising many lithographs and serigraphs, but also texts. poetic and numerous paintings. He then became passionate about everything related to the olive tree (literature, painting, traditions, history), but also to the tree itself, its thousand-year-old history, its poetry, its symbols, but also its culture, its size. oil production...

Otto Lindberg was a Swedish artist born in Söderhamn in 1880. Lindberg was known for his landscapes and marine paintings. He studied at the Royal Academy of Fine Arts in Stockholm an...

Blending surrealistic elements with narrative, Mr. Basso is known for wildly imaginative and colorful work.

Reinhold Grohmann (1877-1915) was a German painter who studied at the Académie Julian in Paris, a renowned art school that attracted students from all over the world. Grohmann's wo...

Georges YOLDJOGLOU ( né en 1933) Paris, vue sur les jardins de la Tour Eiffel Oil on canvas Size : 60 x 73cm Signed lower right Titled on the back...

*UK BUYERS WILL PAY AN ADDITIONAL 5% IMPORT DUTY ON TOP OF THE ABOVE PRICE Les Bateaux Lavoir, Paris by Georges Manzana Pissarro (1871-1961) Oil on canvas 38 x 46 cm (15 x 18 ¹/₈ in...

A Walk in the Park Martin Alfred Luik 1888 – 1950 Stavelot Belgian Painter Signature: Signed bottom right Medium: Pastel on board Dimensions: Image size 34 x 50 cm, frame size 45,5...

Carl Johansson (1863-1944), also known as "Ultramarin Johansson," was a highly skilled Swedish landscape painter who is known for his ability to capture...

EDOUARD LÉON CORTÈS French, 1882 - 1969 PLACE DE LA RÉPUBLIQUE signed "EDOUARD CORTÈS." (lower right) oil on canvas 25-3/4 x 36-1/4 inches (65 x 91.5 cm.) framed: 33-1/2 x 44-1/4 inc...

The Namur painter and engraver, Louis Decoeur (1884-1960) became a member of “L’Effort” around 1910. This artist's association provided a free studio for painters in Brussels, on the first floor of a building located at Quai au Bois à Brûler number 31. Here innovative artists who the official salons did not appreciate were given a forum. The members of "L'Effort" opposed academism. Some names of artists who have worked in the studio spaces of "L'Effort" are: Jean Brusselmans...