Modern Paintings

Memorie, #13062, by Italian artist Gianfranco Asveri mixed media on paper, gallery framed in white wood frame and under glass. Depicted are some of his favorite subjects, his mother, his dog, and his cat. Live image measures 19.5 x 11.75 inches. Gianfranco Asveri was born in Fiorenzuola D’Arda, Italy, in 1948. The artist lives and works at Gasperini on the hills between Parma and Piacenza with his beloved dogs. He began to paint in 1969. His first work was merely figurative. In the 1980s he moved closer to the “Art Brut” style. Renowned in Italy, Asveri has just finished a solo exhibition in Genoa at the Medioeval “Commenda” and will be presented in Paris next February during the Contemporary Art Fair in Port de Versailles. Recently, the newspaper “Il Sole 24 Ore” (The Italian Economic newspaper) included Asveri among the artists to watch in terms of investment in the Italian Art Market. An appreciable number of famous critics have written essays about his works: Paolo Bledinger, Luca Beatrice, Flaminio Gualdoni and Martina Corgnati. Most Important Exhibitions: 2016 – Sogni dipinti, Galleria Rotaross, Novara. – Lo sguardo nascosto, Galleria Biffi Arte, Piacenza. 2015 – Abracadabra, Galleria Leonardus, Sestri Levante...

I volti, quattro is a Limited Edition three-colour silkscreen print. The series of prints entitled “I Volti” is inspired by the video “Giocosa Mente”, “a work for moving images” crea...

A modern cubist style painting in the manner of Vicente Manansala (1910-1981) of the Philippines. Heavy texture, paint on canvas. 36" x 36" fr...

Contemporary art piece using spray paint and acrylic dots on paper. Signed KALM.

This is a master work by the artist Harris G. Strong, circa 1960. The pieces measures 43" x 73". In the original wooden frame.

Lynn Basa encaustic black and white stripe panel "Camino" (signed and dated), 2018. Encaustic on panel. This is part of our extensive collection which ju...

Scrittura illeggibile ocra is a three-colour silkscreen print and is part of the collection “Edizioni d’arte” (Art Editions). The concept is based on the idea of observing writings w...

Ricostruzione teorica rosa is a five-colour silkscreen print and is part of the collection “Edizioni d’arte” (Art Editions). The concept is the theoretical reconstruction of imaginar...

I volti, quattro is a Limited Edition three-colour silkscreen print. The series of prints entitled “I Volti” is inspired by the video “Giocosa Mente”, “a work for moving images” crea...

An original signed acrylic painting on canvas by Danish-Grenadian artist Boris de Freitas (1969-) titled "long lost", 2007.

Lynn Basa Encaustic black and white stripe panel "Three Ways of Looking Black" (signed and dated) 2013, Encaustic on Panel. This is part of our extensive ...

Ricostruzione teorica marrone is a five-colour silkscreen print and is part of the collection “Edizioni d’arte” (Art Editions). The concept is the theoretical reconstruction of imagi...

The Moon Goddess oil painting on canvas. Great colors with a lady under the moon with a cat and owl around her. Very fine contemporary painting, stretch...

I volti, uno is a Limited Edition seven-colour silkscreen print. The series of prints entitled “I Volti” is inspired by the video “Giocosa Mente”, “a work for moving images” created ...

I volti, tre is a Limited Edition two-colour silkscreen print. The series of prints entitled “I Volti” is inspired by the video “Giocosa Mente”, “a work for moving images” created by...

Title: Sol Negro Fetiche Author: Rubenimichi Year: 2015 Size: 12 x 12 x 12 cm Technique: Wood and pyrography.  

Lynn Basa encaustic black and white stripe panel "The Speckled Band" signed and dated. Oil / beeswax on board. This is part of our extensive collection w...

Scrittura illeggibile bianco is a four-colour silkscreen print and is part of the collection “Edizioni d’arte” (Art Editions). The concept is based on the idea of observing writings ...

I volti, tre is a Limited Edition two-colour silkscreen print. The series of prints entitled “I Volti” is inspired by the video “Giocosa Mente”, “a work for moving images” created by...

Lynn Basa encaustic black and white stripe panel "Doppleganger" (signed and dated) 2013. Oil / beeswax on panel. This is part of our extensive collection ...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Magnificent art work, acrylic on wooden wheel, painted by outsider artist extraordinaire Robert Loughlin in 2005. In very good condition, comes on a metal standard. Signed to verso ‘RL’. A certificate of originality is available on request. In life, Mr. Loughlin was a furniture picker who sold Paul Evans tables to New York’s swankiest midcentury furniture shops. In death, he has gained a measure of immortality for his Dadaesque series of paintings, “The Brute,” which depicts a kind of Cro-Magnon James Dean with a cigarette dangling from his mouth. He is the misanthropic muse whose sole pleasures in life, aside from nicotine consumption, are plaid shirts, sex and a stiff drink. Ostensibly, the Brute was inspired by Gary Carlson, a strapping Vietnam War veteran. In September 2011, while in the middle of a bender, Mr. Loughlin, 62, was hit by a car as he crossed the highway near the Airstream trailer...

Carta della luna is an exact reproduction of the surface of the Moon. It is a four-colour silkscreen print on black bookbinding canvas and the result is an elegant combination of sil...

These Interactive art pieces are part of a series of 6 pieces, each one being one of a kind. Much like the card collecting of our youth, the compositio...

I volti, sei is a Limited Edition nine-colour silkscreen print. The series of prints entitled “I Volti” is inspired by the video “Giocosa Mente”, “a work for moving images” created b...

I volti, cinque is a Limited Edition four-colour silkscreen print. The series of prints entitled “I Volti” is inspired by the video “Giocosa Mente”, “a work for moving images” create...

I volti, due is a Limited Edition six-colour silkscreen print. The series of prints entitled “I Volti” is inspired by the video “Giocosa Mente”, “a work for moving images” created by...

A fabulous piece for the Postmodern art lover. This piece features cubist lines, bright bold colors and wonderful texture. It depicts a portrait of a figure, and is titled “Japanese Hair Salon...

A striking skinny portrait painting of a woman. This piece is tall and skinny and depicts a woman in pink and purple on a matte black background. The lines are cubist or abstract in ...

Limited edition Fecit Etching, numbered 36/200. Artwork is framed, and depicts a village in neutral tones. Art dimensions (Without frame): 20" W x 31" H.

The famous painter, Marcel Gotène (Icon of the contemporary Bantu art) combines surrealistic impressions with modern tapisserie elements. Born in 1935 in Yaba, Republic of Kongo - d...

Portrait chalk sketching of a woman reclining nude. This piece features bold greens, blues, oranges, blacks and yellows. Woman is reclining on a fainting sofa, arms behind her head a...

Nantucket Harbor Scene, by Inna Garsoian (1896–1984), circa 1946, oil on canvas view of wharves and waterfront from vantage of old Steamship office, signed lower right, and signed and dated on the reverse, mounted in original hand carved wooden frame. Garsoian was a former costume designer in Paris for the Ballet Russe, and summered on Nantucket from 1935-1945. Her work is noted for muted colors, stark light and shadows; she exhibited at the Easy Street Gallery. From the Nantucket Historical Association's digital exhibition "Nantucket Art...

The famous painter, Marcel Gotène (Icon of the contemporary Bantu art) combines surrealistic impressions with modern tapisserie elements. Born in 1935 in Yaba, Republic of Kongo,...

Vijaypath was a Bollywood action hit in 1994. It's critically acclaimed soundtrack topped charts across the world and became one of the most recognizable in India's history. The film...

"Prisoner" painting by Philippe Delhom; named after the English television shows that starred Patrick McGoohan, in the end 1960s in Great Britain. Th...

This is the largest of the Toulouse Lautrec portraits by famed artist Peter Max in peach pink. Professionally framed, signed and numbered.

Very large oil on board by this important Glasgow artist, signed lower right. Born 1962. We have been in contact with David and he has told us that this work was one of a series of...

This Post Art work, title "Het Venster"of Cesar Bailleux, born in 1937 is a symphony of color. The application of paint and the colors remind the vitality of the work of the Cobra m...

Lagar Celso (Spain, 1891-1966): Seated model, watercolor, signed. Measures: 22x28 cm. Price example: A painting by Lagar Celso was sold at Subastas Segre in Madrid, December 19, 20...

Georg Walter Rössner (1885-1972), portrait of Mrs. Yvonne Santiago. Oil on canvas, unframed, 88 x 74 cm. Signed. In perfect condition. Price example: A similar painting by Georg...

"Ottobre in Cantina" Painting, oil on canvas by Italian artist Sergio Agostini, Rome, 1960. Signed on lower left with sticker from original exhibition at Galleria L'88 on Via M...

Bernard Buffet (1928-1999), The Rascasse 1950, mixed technique on paper mounted on canvas (50 cm x 65 cm), signed upper right "Bernard Buffet 1950", France. from Galerei Drouant ...