Acrylic Paintings

Our gallery is pleased to represent a wonderful new California artist Scott Anderberg. This evocative abstract work is titled “Hunger and Bread Seed Poppies” 2022 and measures 36” by 24...

Large Hyperrealist flower painting by Teresa Frazee, "The Secret Of Devotion" Offered for sale is an amazing example of Hyperrealism in the painting "The Secret Of Devotion" by Teresa Frazee. Frazee is a well-recognized artist who has had many solo exhibitions and has won many awards. Her large-scale work is of a flower backlit against the sky over an antique wrought iron fence...

Optical art acrylic on canvas "Triangles", stretched, wired and ready to hang Offered is an optical art acrylic painting on canvas titled "Triangles. The work is stretched, wired ...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also a...

Entitled "Two Kuniya (Pythons) During Tingari Cycle", this mesmerizing painting was painted by Australian aboriginal artist Kenny Williams Tjampitjinpa (1950-2020) in 2004. The image...

A 1992 signed acrylic and collage abstract painting by American artist Harry Hilson (1935-2004). Titled Land Scape, this work alludes to Hilson's oeuvre of ...

Mid-century Chinese acrylic still life painting in white, brown and beige on a gold leaf background depicting a flowering tree growing from a rocky base with a bird and dragon fly al...

Steven Colucci is a perfectionist. As a painter, he describes himself as “a dictator, a controlling ballet master with a stick,” dispassionately choreographing his composition to achieve the exact result he desires. The paintings of the “Sea Series,” largely completed in 2010, are actually the culmination of 4-5 years of practice for the artist, during which he consistently developed and refined the language and formal elements that visually distinguish the series, sometimes repeating the same image for months until he was satisfied. Colucci’s methods and philosophy reflect his experience with movement as a performing art. While he studied with and admires Vito Acconci, Colucci is no proponent of conceptualism, finding his voice in the intense discipline of traditional forms, explaining, “If you don’t practice art like a classical pianist, every day, you can’t execute your concepts.” After completing his studies at New York’s School of Visual Arts, he moved to Paris, where he studied and performed mime and ballet, working closely with Marcel Marceau, who also painted, and Etienne Decroux, a sculptor as well as the originator of the form “classical mime,” which has roots in the sculpture of Rodin. If the word “sea” in the title of a painting conjures for you images of little easels and landscape canvases featuring sandy beaches, waves, and vast horizons, think again – Colucci’s oceanic visions are experiential, viewing them you are often looking down at the sea, within it, or even dreaming of the ocean. Water, deep or shallow, still or fast-moving, rules how we see light and subjects, as the artist works to reflect what he calls “the spirit, the soul of the water.” In “Deep Blue,” he conjures this anima via a window through levels of roiling currents of rich dark waves and dancing highlights, inviting the viewer to experience the sea as a vibrant and enveloping sensual entity. Colors, too, differ from the subdued palette of the seaside afternoon painter. Often his choices originate in what Colucci describes as the rhythm of color present in Afro-Carribean art and design. In the paintings, these hues express the water’s likeness to the seamless flow of the Dominican culture’s music and dance, which he so enjoys during frequent visits to Upper Manhattan’s El Barrio district, a movement with the melodic line that he so simply and perfectly employs in the delightfully sexy “Swimming with the Fish.” As our bodies, like the sea, are largely water, Colucci’s water visions...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move -- the plié -- and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered -- a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor -- a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum -- the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity -- movement directed inward to the core of one’s self -- a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions -- an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself -- the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to -- or moreso an extension of -- his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat-induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments -- moments that denote a certain frailty -- the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction -- and also the reverse of this -- a unique anthropomorphization of varying states of movement -- that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person -- one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s -- one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Nude painting by Jenna Snyder-Phillips. Black ink on hard paper. Art work is from 2012. Artist is educated in Italy.

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Large whimsical oil on canvas painting depicting an 18th century French provincial gentleman farmer with chickens and a pig. Late 20th century painting by Ira Yeager (American 1938-2...

Abstract painting in warm, friendly acrylic colors with the name "Fin du Jour" - "End of the Day" by Michel Puchala. Professional framing with shadow gap frame (1.0cm) and white gold...

Using tonal value to define shape, light, perspective, and movement, the artist's clean-lined accuracy, and simplicity enhance a fascination with this stylish piece. It is encased i...

Vintage Op Art Abstract acrylic painting on canvas "Squares", Unsigned Offered for sale is a vintage brightly colored abstract optical art painting i...

‘Holistic’, a handmade painting by Lawrence Kwakye consisting of Acrylic on Linen with a beech wooden frame. The holistic painting represents the abstract world of the unknown. A place of dematerialisation and dehumanisation where life is redefined in the eye of the beholder. The viewer is challenged to see the position of humanity from another perspective. Transhumanism and the concept of an uploaded human life form was the inspiration behind this work. An imagination of a science-fiction plot. A distinctive painting with an authentic layered effect; a unique aesthetic experience. Powerful and exclusive, only one of has been made. About the artist Lawrence Kwakye (1972, Utrecht) painted his first painting when he was thirteen and with it, unknowingly opened the door to his artistic career. The famous writer and illustrator Tomi Ungerer called him an ‘undeniable talent’ at the time and compared him to the main character in Albert Camus’ novel ‘The Stranger’. As the son of a Ghanaian father and Hungarian mother, raised in the Netherlands, he was constantly exposed to surprises and changes in life and as such automatically developed a ‘contrasting’ view of the world, essential for the magical layering in his later work. Nothing is what you think it is. After secondary school, Lawrence completed his study ‘Man and Leisure time’ at the Design Academy in Eindhoven, where Lidewij Edelkoort was a guiding force. Unmistakable heritage from that time is the functional and conceptual impact of the many paintings he continued to create alongside his job as designer. Until 2010 when he changed course, established himself as an independent artist and his artistic career gained momentum. Kwakye’s cultural diversity, his sense of aesthetics, his technical innovative drive and his fascination for transition, or in other words the process of change are clearly reflected in his current work. The result is accessible, the viewer picks it up straight away, but then seduces him into a discussion about what you actually see; it is what it is...

Introducing the stunning Beautiful Painting by Michael Berg, Signed & Dated – a true masterpiece that will bring a touch of elegance and sophistica...

Tableau “Bluebleu” de l’expressionniste Bram Bogart, techniques mixtes, 1980. Signature bord inférieur droit. Dimensions : H 140 x L 140 x P5 cm.

Untitled abstract painting by Adja Yunkers. Collage with acrylic, signed and dated 1969.

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also a...

Psychedelic kaleidoscope of vibrant color and imagery. Done in the style of renown psychedelic 60s artist, Phillip Schreibman. Highly saturated reds and blues on a turquoise backgrou...

Abstract painting by Ben Hanisch, 2022. 48” x 36” Acrylic on canvas, stretched on wood stretcher bars. Painted edges. Can be hung vertical or h...

10 Commandments by Massimo Giacon, monumental painting acrylic on wood. Italy, 1997 Signed to lower edge: [Approved by Giacon]. Measures: 72¾ H × 4...

About the artist: Dor Saraf is an international abstract artist known for the unconventional style and technique that he has developed. He is known for combining special materials with touches of metallic colors, and mixed textures. Saraf is an autodidact artist with a B.A degree in social sciences and special-needs education. His artworks are inspired and motivated by optimistic energies, positive natural colors, and the artist's emotional connection to the human soul. As an artist, he is committed to creating powerful paintings that bring style, optimism, and character to any space. -Size: 200/80 180/65 150/50 -condition: new, excellent quality. -Style: modern, abstract, Design - texture original artwork Hand-Painted acrylic Paintings of the Artist. -Each piece comes signed by the artist. -Framed in an internal wooden frame, ready to hang Choice: Hanging horizontally / hanging vertically.

An important acrylic/canvas painting from Fukui's early work approximating minimal forms within a square format. In a way these impacting 'Logos' (if you will) are at a juncture betw...

Circa 1999, Acrylic on "Canvas on board", by Suk Shuglie, Pennsylvania. Colorful and bright, this wooded scene leavens the moodiness of late Winter with th...

Craig Allen Abstract Nude Figurative Painting Titled "Echo" Offered for sale is an abstract nude figurative painting on canvas titled "Echo. The painting ...

Oeuvre de Julian Schnabel, peintre néo-expressionniste new-yorkais. Dimensions : H211xL176cm

Signed and Framed Seascape Acrylic Painting on Canvas made in America circa 1970s. Depicting two Fishermen in their Sailboat on the rough Ocean catching a swordfish. The wide woode...

Black Joe Jackson (American, 1922 – 1997) Title: Dign Rootz Medium: Acrylic painting on board Signed: Signed to the lower right Introducing "Dign Rootz" - a stunning piece of folk a...

Teresa Ann Frazee large abstract painting "Disentangled Blue" Offered for sale is a large abstract painting titled "Disentangled Blue" by Teresa Ann Frazee (1953-) is a well-recog...

In this John Brevard painting, we see strange and surreal creatures that seems to inhabit a multidimensional world. The overall theme of the painting ...

Frontal nude painting by Jenna Snyder-Phillips, 2012, ink on paper framed with a wide gold frame. Artist educated in Italy.

In this painting, the viewer is presented with a figure that seems to embody the concept of nonduality and the interconnectedness of all things. The figure is depicted with a futuris...

Offering one of our recent palm beach estate fine art acquisitions of a antique landscape oil painting on canvas signed Gilch...

"Fantastical Realms: A Nondual Landscape" is a breathtaking painting that captures the wonder and magic of a world beyond the boundaries of reality. The scene is bathed in a soft, et...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also a...

In this painting by John Brevard, the theme of the work is nonduality, illustrating the concept that all things are interconnected and inseparable. At the center of the painting, th...

In this painting, the viewer is transported to a world beyond the boundaries of the material world. At the center of the painting, we see a female ethereal character, with a transluc...

A stunning large and original Contemporary textured painting by Sophia Paleotheodoros in blue, white, burnish gold, yellow, red, black. Sophia ...

This fantastic mid century painting French of the Cote d'Azur in a Blue Frame, was painted around 1960. It has a great look and you can in...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also a...

Tableau “Grand Nu couché” de Paul-Elie Gernez, illustre peintre et pastelliste français. Signature dans le coin inférieur droit. Dimensions : H83 x L136,5cm Prix sur demande.

Unsigned painting by unknown artist. Made in Spain, circa 1960. Acrylic on canvas. In original condition, with minor wear consistent with ag...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also an artistically talented woman, took her son and struggled her way to West Berlin where they settled. This is where Peter Robert Keil grew up in the working-class neighborhood of Berlin-Wedding and where he discovered his interest in painting – particularly in expressionistic artists and in Pablo Picasso's work. From 1954 on, the East Berlin...

The Governor's Mansion in California Sacramento Acrylic on Canvas Painting, Douglas K. Gifford (American) American contemporary painter, Douglas K. Gifford, was born in Evanston, Illinois. He began painting in 1967 at which time he transferred from Bucknell University to The Ringling Art School. After graduating, cumulative awards and commissions led to one-artist shows in New York, Palm Beach, Nantucket, and Naples. A representational painter of architecture, an early influence was Edward Hopper. Then Gifford’s constructionist concept of space led to his invention of a three dimensional technique called Stereo Schema Realism. It is his alone. "The Governor" depicts an abbreviated version of one of San Francisco's more elaborate show places...

Pupino (Mario) Samonà (Italian 1925-2007) Painter #Giacomo Balla Pupil Mix technique: Oil and tempera on canvas Artwork: 50x70cm Total dimensions: 94x70cm Period: 1989 Prov...

A contemporary painting by Australian Aboriginal artist Ronnie Tjampitjinpa (1943-). Entitled "Rain Dreaming", the artwork was acrylic on canvas and painted in 1999 Fully documente...

Original acrylic on board abstract paint by American listed artist Rick Orr. Framed in a gilded wood frame. Measurements: 54” Wide, 30” High, 2” Deep.

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also an artistically talented woman, took her son and struggled her way to West Berlin where they settled. This is where Peter Robert Keil grew up in the working-class neighborhood of Berlin-Wedding and where he discovered his interest in painting – particularly in expressionistic artists and in Pablo Picasso's work. From 1954 on, the East Berlin...

Tableau blanc de l’expressionniste Bram Bogart, techniques mixtes, circa 1996. Avec Certificat d’authenticité. Dimensions : H122 x L100cm.  

Acrylic on Canvas by Cecilia Setterdahl Title: "Composition Green" Year: 2010 Size: 30 x 30cm Living with geometric shapes About the artist: Cecilia’s is working wit...

An impressionist style acrylic painting on a square canvas. The scene depicts two moored fishing boats in the foreground, finely detailed in shades of brown and black. In the distanc...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also a...

About the painting “Winter Flower” 2008 "Three season colorful flowers faded to winter mood" About the artist: Cecilia’s is working with all geometrical forms, lines and shadows. Her style developed to be clean and sharp forms in different combinations. Often they are in juxtaposition to create a three dimensional effect. Since two decades she has only painted in acrylic on canvas. Her art characteristics are uniform geometrical shapes with pristine borders, often in bold colours. Born in Sweden in 1954, Cecilia Setterdahl has always been painting from Swedish inspiration. Studied ascetics in High School and then went on to the Technical University of Lulea and graduated as a teacher. Moved to Stockholm and studied at the “Konstskolan” First exhibition 1988. Through a move to Neuchatel, Switzerland Cecilia continued her studies at the M-Art and Accademie Maximilien de Meuron...

About the painting “Itinerary” 2014 Shows your walk in your life. About the artist: Cecilia’s is working with all geometrical forms, lines and shadows. Her style developed to be clean and sharp forms in different combinations. Often they are in juxtaposition to create a three dimensional effect. Since two decades she has only painted in acrylic on canvas. Her art characteristics are uniform geometrical shapes with pristine borders, often in bold colours. Born in Sweden in 1954, Cecilia Setterdahl has always been painting from Swedish inspiration. Studied ascetics in High School and then went on to the Technical University of Lulea and graduated as a teacher. Moved to Stockholm and studied at the “Konstskolan” First exhibition 1988. Through a move to Neuchatel, Switzerland Cecilia continued her studies at the M-Art and Accademie Maximilien de Meuron. “Art Studio Bv5”, together with 4 other artists, she continued to work until moving to Dubai in 2015. Several part exhibitions in Neuchatel, Lausanne, Geneva, Brussels, London, New York, Hong Kong and Sweden. In the United Arab Emirates she has exhibited both acrylic paintings and hand- made carpets at Downtown Design...

A pupil of Maurice Denis, whose sacred art workshop he frequented, he received from his master, after having fulfilled a function in public works, the taste for large compositions. He is essentially a painter of genre, nudes, bouquets as well as landscapes of North Africa. He exhibited at the Salon d'Automne, after 1919, at the Salon des Indépendants from 1921, and at the Tuileries, from 1923, and took part in several exhibitions abroad (notably at the Palais des Beaux-Arts in Mexico in September 1941). In 1922, he exhibited at the Parisian gallery Marcel Bernheim...