William Meyerowitz Landscape Paintings

« I believe painting is all about gesture and flow. Painting is nowness. » I wanted to represent the magnificent of the oak trees ,how they grow as island in the landscape and creat...

A fine mid 20thCentury Modernist/Post Impressionist Landscape circa 1952 oil on canvas 46cmx54cm Good quality silver gilt gallery frame 59cmx68cm Painted by Thure Wahlstrom (1908- ? ...

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...

Joseph Theroux's delicate landscape painting showcases a single swan gliding through the water of a small pond. Fallen trees can be seen along the water's edge. The area is surrounde...

A fine 20th Century Modernist figurative oil painted by Christian Pedersen Bellinge (1897-1984) oil on canvas 60cm x 70cm painted wooden frame 68cmx 78cm A good late work by the well...

Oil on canvas. Signed lower right; signed, titled, dated along rear stretcher. 48.25 x 52.25 in. 49.5 x 53.5 in. (framed) Custom framed in a solid maple floater, painted a light gray. Provenance Marian Locks Gallery, Philadelphia Exhibited 1996 - Locks Gallery, Philadelphia (Warren Rohrer...

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...

About the painting: "Garden 03" is a captivating oil painting that beautifully captures the essence of the Rome Botanic Garden landscape. With meticulous brushstrokes and a masterful play of colors, the artist has crafted a picturesque scene that evokes a sense of tranquility and harmony. At the forefront of the painting, there are several palms, the giants of our earth. The artist's skillful rendering of the trees creates a lifelike effect, as the sky hugs them in a sense of loving nature. The different colour of clouds allows the viewer to focus on the beauty of the landscape and palms, accentuating the vividness of the colors present. The white sky acts as a canvas itself, highlighting the vibrant blue colour of the forest. “Garden 03”serves as a visual celebration of nature's bounty, capturing the Rome Botanic Garden beauty and inviting the viewer to immerse themselves in its serene and enchanting ambiance. It is a testament to the artist's skill and their ability to transport us to a world where tranquility and natural splendor coexist harmoniously. About the artist: Laura Federici is an artist and architect based in Rome, Italy. She has a number of solo: Galleria Andrè (Roma 2011; 2012; 2016; 2019; 2020; 2023); Gallerie Brieve (Parigi, 2014); Galleria l’Affiche (Milano 2008; 2011); Galleria Il Segno (Roma, 2007); Galleria Beit Ahmad (Aleppo, Siria, 2003; 2005). He has exhibited in many group exhibitions in Italy and abroad, including Fotografia Festival Internazionale di Roma – XV edizione, Roma, il mondo (MACRO Museo d’Arte Contemporanea Roma 2016), Ambasciata Italiana in Vietnam (Casa Italia Hanoi e Fine Arts Museum HCMC, 2018), Istituto Italiano di Cultura di Varsavia (2019), Istituto Italiano di Cultura di Cracovia (2020), ARTFEM Women Artists 2 “International Biennial of Macau - “Natura”, Macau (2021). In 1999 she created 12 animated sequences for the film “Un Amore” by Gianluca Tavarelli, which won the Nice- New York-San Francisco Film Festival...

Madeleine BERLY VLAMINCK (1896-1953) Femmes dans le jardin Oil on canvas Size: 65 x 81 cm Signed lower right Provenance: Private collection in Normandy. Oil on canvas in good co...

Moonlite, 2021, Daniel Blagg, Oil on canvas, 38 x 58" By meticulously depicting forgotten road signs and roadside debris, Daniel Blagg invites his viewers to re-consider objects th...

A fine Impressionist oil on canvas. Signed Lower left. oil on canvas 62cmx52cm Fine antique giltwood frame 80cmx70cm A view of the famous long established Vineyard, the Estate of Gro...

OIL PAINTING LARGE ROBERT BRAMLEY (NAVY ADMIRALTY 20th CENTURY Very good condition for age , (see pictures) FINE RARE MARTINE PAINTING ORIGINAL OLD MASTER 19th Century STYLE OIL ...