Berlin - Art

This work is part of the Inner Landscapes series, in which the landscape becomes part of a memory, a lived state, or emotions that cannot be expressed in words and can only be felt. ...

This work emerges at the intersection of a personal journey through Italy and the universal image of the garden as a space of harmony and inner order. The Mediterranean garden here i...

Secrets of the Garden is a contemporary figurative painting capturing a quiet summer moment of rest and intimacy. Two female figures stand together in a garden, suggesting friendship...

This work captures a moment of absolute tranquility-a private paradise bathed in light and hidden behind a dense veil of emerald greenery. Horses gathered at the water's edge in the ...

shipped in roll “Spring. Awakening” reflects the first quiet shift of the season — a moment when light, color, and space begin to open. Soft layers of pale tones, subtle pinks, and g...

The work is created in the fluid art technique using acrylic on canvas. The composition is built on the soft, flowing interweaving of pink, coral, and milky white tones, creating a s...

The painting shows an abstract composition of interwoven colorful forms set against a dark background. The background is painted in deep burgundy tones. Broad, semi-transparent brus...

La Promenade shipped in roll (Series: Le Jardin Privé / Your Private Paradise) “Some paths are not meant to lead us somewhere, but to bring us back to ourselves.” This work, titled ...

This artwork is created with acrylic on canvas and enhanced with gold leaf. On a deep emerald-green background, stylized tulips are depicted. Their petals and leaves are rendered in...

This painting invites the viewer to rise above the noise of everyday life and see the world from a higher perspective. From above, the scene unfolds in serene contrast — the vast, te...

(Series: Le Jardin Privé / Your Private Paradise) “Some doors lead not to rooms, but to states of grace — hidden havens where the soul finally feels at home.” This contemporary paint...

This painting is created with acrylic on canvas and depicts a realistic peony on a golden background. The flower is rendered in deep burgundy and crimson tones, its velvety petals u...

This artwork is created with acrylic on canvas and enriched with gold leaf. On a deep burgundy background, stylized irises are depicted. Their petals and leaves are rendered in gold...

shipped in roll “Spring Bloom II” captures a quiet moment of connection between two young women surrounded by blooming spring trees. Soft dresses, fresh greens, and gentle light crea...

A delicate close-up of a blooming pink peony, built on a subtle play of light and tonal transitions. The petals appear to glow from within, shifting from pale blush to richer raspber...

shipped rolled in a tube. I Let Myself Bloom from the series Inner Landscapes This work is part of the Inner Landscapes series, where landscape becomes a reflection of an inner stat...

Two delicate peonies on a deep navy-blue background. It feels as if these two flowers have merged into one — this is love! The painting is created with acrylic on canvas: layered br...

The work is created in the fluid art technique on canvas, where the primary expressive element is the movement of paint. The composition is structured around a dynamic diagonal flow ...

In this work, naive playfulness meets quiet resilience. The heroine, dressed in polka dots, seems to have stepped out of an old film — part actress, part observer of her own life. "P...

Wilhelm Gross (1883 Schlawe - 1974 Oranienburg-Eden), The Prophet, c. 1955. Woodcut on thin laid paper, 43 cm x 23 cm (depiction), 61 cm x 43 cm (sheet size), signed “Dr. Wilh.[elm] Gross” in pencil lower right, inscribed “Orig.[inal] Holzschnitt (Handabdruck)” lower left and inscribed “Aus der ”Ecce homo“ Folge” in the center. - The wide margin with traces of pressing due to the impression, the sitter's left foot with a small purple stain, otherwise in vibrant condition. - The Burden of the Prophet - The large-format woodcut shows a prophet figure that takes up almost the entire height of the sheet. However, instead of seeing something in the distance that is still hidden from our eyes - as is usual in depictions of prophets - the figure has raised his hands in a defensive gesture, as if the prophet is trying to ward off what he has seen. At the same time, however, the position of the arms is an acceptance of the inevitable, which only those who recognize what is to come will have to bear for the time being, which is why the figure in the painting - despite its size - appears almost solitary, alone and exposed to the burden of suffering. In a manner reminiscent of the folds of medieval wooden sculptures...

Henri Honoré Plé (1853 Paris - 1922 Paris), The Victorious David, around1890. Red-brown and brown patinated bronze with terrain plinth mounted on a round base. 42 cm (total height) x...

Herbert Richard Max Bodzin (1936 Hohenlimburg - Weyhe 2025), Steel sculpture, 1974. 85 cm (height) x 25 cm (width) x 25 cm (depth), signed “H. Bodzin” on the base plate and dated “[1...

The painting presents a dynamic abstract composition built from intersecting geometric shapes and rhythmic graphic elements. Wide diagonal bands and angular lines create a strong sen...

The work is created using the fluid acrylic technique and is built on the contrast of deep black, rich green, and bright yellow-gold accents. The composition evokes a powerful natura...

An abstract composition is presented on the canvas, created using the fluid acrylic technique. The work is filled with a sense of movement and layered flow, where streams of paint fo...

This painting depicts an orchid crafted from paste, giving it volume and texture. The orchid is presented in pearlescent hues on canvas. The background canvas is coated with silver a...

Hermann Prell (1854 Leipzig - 1922 Dresden-Loschwitz). Half-length portrait of a Pharisee, 1885. Sketch for the right-hand figure in the painting Judas Iscariot, 1886. Pencil drawing heightened with opaque white and black chalk on beige-grey wove paper (papier vélin), 34 x 27.8 cm (visible size), 52 x 45 cm (mount), signed, dated and inscribed "H. PRELL 1885 zu 'Judas'". Minor browning, collection stamp on the reverse. - In the shadow of betrayal - About the artwork This painting is the sketch for the head of the Pharisee offering the coins to Judas in one of Herrmann Prell's major works, the painting Betrayal of Judas, completed in 1886. The painting belongs to the Staatliche Kunstsammlungen Dresden and is illustrated in Adolf Rosenberg: Prell, Bielefeld and Leipzig 1901, p. 21 (Fig. 19). It is especially highlighted in Thieme-Becker (vol. 27, p. 376). Hermann Prell, Betrayal of Judas, 1886 The monumental head, which fills the picture and is distinguished by its ornamented robe, is almost a lost profile, which in the executed painting is justified by the Pharisee's turning towards Judas. Despite the fact that the sitter withdraws from the viewer by turning away, it was necessary to artistically elaborate the motivation for the purchase of one of Christ's disciples, which is why the drawing focuses on the expression of the face, while the 'accessories' are treated in a more summary manner. In characterising the face, Hermann Prell performs a balancing act: since the Pharisee, despite his destructive actions, is an actor in the history of salvation, the head must show a dignity appropriate to the event, but at the same time the physiognomy must also bear witness to the scheming attitude that led to the betrayal. To solve this dilemma, Prell draws on the traditional depictions of the heads of the apostles, shading the face to indicate the obdurate darkness of the spirit and moving the base of the nose slightly upwards while the mouth falls away, thus giving a physiognomic expression to the motivation of the action. The fatal drama of the betrayal is expressed in the monumentalisation of the head and in the thunderous white highlights that contrast with the darkness of the chalk. As a study, considered by the artist to be a work in itself, this drawing reveals the pictorial problems and brainstorming of monumental painting. About the artist In 1872 Prell, who was one of the most important exponents of monumental painting of his time, began studying painting with Theodor Grosse at the Dresden Academy of Art and continued with Carl Gussow at the Berlin Academy in 1876. Hans von Marées taught him in Rome in 1878. More influential on his work, however, were Arnold Böcklin and Max Klinger, with whom Prell had been friends since his student days and with whom he worked together on several occasions. Prell's first major work, which established his reputation as a monumental painter, were the frescoes in the banqueting hall of the Architektenhaus in Berlin in 1881/82, commissioned by the state and depicting the different periods of architecture. Prell then went to Italy for two years to study fresco painting. Other major commissions followed. These included monumental frescoes in the town halls of Worms (1884), Hildesheim (1882-92), Gdansk (1895) and Dresden, the staircase of the Silesian Museum of Fine Arts in Breslau (1893/94), the throne room of the German Embassy in Rome (1896-99) and the staircase of the Albertinum in Dresden (1900-1904). From 1886 Prell taught at the academy of arts in Berlin and in 1892 he was appointed professor at the academy of arts in Dresden. His students included Osmar Schindler and Hans Unger...

Bronze 67,5 cm signed restored Partina original Émile Louis Picault (1833–1915) was a French sculptor known for his dynamic bronze works, often depicting mythological, allegorical,...

Freedom is always about pure energy and inner strength, and since ancient times, the horse has been its most powerful archetype. In this work, the image of the horse becomes a condui...

This artwork is part of the series Return to Herself, dedicated to a woman and her body as a place of return to oneself, to an inner rhythm, rest, and silence. It explores a state in...

Walter Helbig (1878 Falkenstein - 1968 Ascona), Adoration of the Magi, 1918. Hand-colored linocut, 30 cm x 22.5 cm (depiction), 50 cm x 35 cm (sheet size), signed “W.[alter] Helbig” in pencil lower right, inscribed “Adoration of the Magi” lower left and dated “1918”. Below this a handwritten dedication “with heartfelt Christmas greetings”. - Paper somewhat darkened and with slight creases, thumbtack holes in the corners - The Rider of the Sun - The 'apocalypse' of World War I brought about a return to sacred art. Walter Helbig belonged to the circle of the 'Brücke' and the 'Blauer Reiter'. With his reinterpretation of religious themes in an expressionist formal language, Helbig shaped an avant-garde neo-sacred art. This is symbolically expressed in the silhouette of the rider against the sun-like yellow background. It refers to the awakening initiated by the Blue Riding, which is now linked back to the sacred. The rider and horse "look" at Mary and the Christ Child, who occupy the entire field. Opposite them are the three kings, the eldest of whom kneels before Christ and offers him a gold-filled casket. The expressionist lines give rise to a tower that rises into the "sun", so that the gift has become a Gothic church, expressing the hope that the fallen world will be resurrected in the name of Christ. This dimension of meaning is emphasized by the magical effect of the color scheme. About the artist In 1895, Walter Helbig began studying at the Dresden Academy of Art, where he became friends with the future Brücke artist Otto Müller, with whom he lived in Dresden from 1903 to 1905. While studying in Italy from 1897 to 1899, he met Arnold Böcklin and Adolf von Hildebrand. After completing his studies, he first worked for Otto Gussmann, painting churches. From 1905 to 1909 he worked as a freelance painter in Hamburg. In 1909, through the mediation of Otto Müller, Helbig made the acquaintance of artists from the 'Brücke'. In 1910 he exhibited at the founding exhibition of the Berlin 'Neue Sezession'. In the same year, he moved to Switzerland, where, together with Hans Arp and Oscar Lüthy, he founded the 'Moderne Bund' in Weggis, to which Cuno Amiet and Giovanni Giacometti also belonged. At the second exhibition of the 'Moderne Bund' in Zurich in 1911, Henri Matisse and Robert Delaunay were represented alongside artists from the 'Blauer Reiter'. In 1913, Helbig traveled to Paris with Arp and Lüthy. After the dissolution of the 'Moderne Bund', Helbig was represented at the first Dada exhibition in Zurich in 1914. In 1919, he joined the Berlin 'Novembergruppe'. After the devastation of World War I, Helbig turned increasingly to religious themes in his work. In 1924, like many other artists of his time, he moved to Ascona for financial reasons, where he became a naturalized citizen in 1938. There he founded the artists' association "The Great Bear", to which Marianne von Werefkin...

Elegant oil on canvas still life by A. Rudolphi, signed lower left and dating from around 1900. The composition features a delicate arrangement of grapes in a silver bowl, halved pea...

"Lion" depicts the majestic presence and serene strength of the lion, a symbol of power and dignity. An expressive palette and textural brushstrokes...

The picture is oils on canvas Giovanni Battista Ruoppolo (1629–1693) was an Italian Baroque painter from Naples, known primarily for his still-life works. He is considered a key fig...

shipped in roll A New Adventure She knows how to draw attention — red dress, stockings, veil. Too bold? Exactly as planned. Naivety is a carefully staged role, and mystery is part ...

The work is created in the fluid art technique using acrylic on canvas. The composition is built on the intense interaction of saturated pink, coral, and crimson tones, complemented ...

The triptych is created in fluid acrylic technique and consists of three vertical panels, each measuring 24 × 30 cm. Together they form a unified composition connected by a continuou...

The painting is created in a mixed media technique using gold leaf. The central image of the composition is a sea turtle — a symbol of harmony, wisdom, and tranquility. The turtle’s...

This painting embodies the dynamics and natural grace of a horse, symbolizing the strength, freedom and pristine beauty of the animal world. The animal's gaze attracts attention - it...

An abstract composition is presented on the canvas, created using the fluid acrylic technique. The painting is built on the flowing movement of paint, creating a sense of depth, text...

"Elegance in Black and Gold" is a striking acrylic painting that captures the essence of timeless beauty through its intricate use of graphic lines and a rich palette of golden hues....

Light’n’Lines No.36 (Blue in Green) is an abstract painting by contemporary German artist Doris Marten. Oil on Alu-Dibond, 31.5 x 78.7 inches (80 x 200 cm). Doris Marten’s work exp...

shipped in roll „Lilies Pond” belongs to the Inner Landscapes series — contemplative landscapes in which nature appears as a memory and functions as an autonomous decorative object. ...

Pilgrim No. 37 is a unique oil on vinyl painting by German contemporary artist Doris Marten, dimensions are 30 × 30 cm (11.8 × 11.8 in). The artwork is signed, sold unframed and com...

The painting depicts a stylized silhouette of a rabbit sitting on its hind legs. The work is created with acrylic on canvas and has a strong decorative and graphic character. The bac...

The painting presents a bold geometric abstract composition built on the contrast between yellow and black. Wide diagonal bands form sharp angular shapes that intersect across the ca...

This is an abstract painting created using the fluid acrylic technique (fluid art), featuring expressive movement and a rich interplay of color. The composition is built on the free...

George Morland (1763 London - 1804 Brighton). Sheltering from the Storm. Oil on canvas, relined, 37.5 x 29.5 cm (visible size), 53.5 x 45.5 cm (...

An abstract composition is presented on canvas, created using the fluid acrylic technique. The work, measuring 30 × 30 cm, has an intimate and concentrated character, making the move...

The work is created using the fluid acrylic technique and is built on the contrast of deep black, rich green, and bright yellow-gold accents. The composition evokes a powerful natura...

An exotic bird is depicted on a 40×40 cm canvas, painted with acrylics. Its plumage shimmers with vibrant shades of green, blue, turquoise, and yellow, creating a sense of living ra...

Impressive and monumental maritime oil painting on canvas by Franz Müller-Gossen (German, 1871–1946), signed and dated ’08 lower right. Depicted is a dramatic scene of sailing vesse...

acrylic on canvas shipped in roll Two bouquets left after the evening. They carry traces of conversation, the breath of night, the freshness of air that still remembers warmth. A few...

FPE Edition No. 12 is a unique oil on vinyl painting by German contemporary artist Doris Marten, dimensions are 30 × 30 cm (11.8 × 11.8 in). The artwork is signed, sold unframed and...

Quiet Grace from the series Reflections Quiet Grace unfolds as a hymn to feminine tenderness and inner strength. The gentle gesture near the face becomes a symbol of self-care, grati...

Else Fürst was a German sculptor and medalist who was murdered by the Nazis. Biographical data: Bronze signed Foundry stamp of the Berlin foundry Kraas. 25 x 73 cm Born: June 25,...

Simply Precious from the series Reflections Simply Precious is the emotional heart of the series — a clear and intimate hymn to feminine value. It speaks of a woman as precious not t...

SOUND AND VISION – Budgies is a unique oil on vinyl installation by German contemporary artist Doris Marten, dimensions are 100 × 100 cm (39.4 × 39.4 in). Every piece is 30 cm in dia...

“Astra” is created on a round canvas using the acrylic pouring technique. The composition is built on the interplay of deep black, white, blue, and brown tones, enriched by two shad...

Just Be Happy This painting is a warm and sincere wish from the artist — a visual expression of joy, lightness, and inner freedom. It is created not for analysis, but for feeling: a...