Berlin - Art

This painting captures one of nature’s most elegant flowers — the fuchsia — rendered in rich, vibrant shades of purple, magenta, and crimson. The voluminous petals seem to glow again...

Klaus Oldenburg (*1942 Berlin), Eccentric discharges of a turquoise-yellow core, around 1975. paint and cast resin on chipboard, 39 x 59 cm (inside dim...

Karl Ludwig Mordstein (1937 Füssen - 2006 Wilszhofen), Undeutlicher deutlich, 1982. Color etching, e.a. (Epreuve d'artiste) 4/9, 22.5 x 28 cm (image), 40 x 45 cm (sheet), 43 x 48 cm ...

Hans Richard von Volkmann (1860 Halle (Saale) - 1927 ibid.), Clay jug on a bench. Pencil and Watercolour on paper. 20 x 26,7 cm (visible size), 37 x 45 cm (frame), dated and monogrammed lower left "Februar 1890 - HR. V. V." - Minimally tanned. Framed behind glass in a passepartout. About the artwork Using the technique of his early youth - pencil and watercolour - Hans Richard von Volkmann depicts a still life. However, this is not a conventional indoor still life, but an open-air depiction, painted outdoors and not in the studio. It is therefore an open-air painting, characteristic of von Volkmann's oeuvre, which could have been painted in the Willingshausen colony of painters, where open-air painting was programmatically practised there and the artist stayed there that year. And indeed, this painting is a manifesto of open-air painting. Von Volkmann demonstrates that leaving the studio for the light of nature leads to an entirely new quality of art. To prove this, he uses the genre of still life, which can be described as the studio subject par excellence. Moreover, light plays an essential role in the classical still life. It is the real protagonist of the still life. And it is precisely this moment, essential to the still life, that von Volkmann exploits to demonstrate the potential of plein-air painting: He presents the objects as they appear in the sunlight. The date of February and the bare branches in the foreground make it clear that this is a clear winter day in bright sunlight. The delicate plant in the foreground casts a clearly defined shadow, as does the jug. However, the shadow is most pronounced on the jug itself: The underside of the handle appears almost black, making the top, and therefore the jug itself, shine all the more brightly. The shining of the objects in the sunlight is also visible on the bench. As complementary phenomena to the shadow zones, light edges can be seen on the boards of the seats and the upper foot of the bench shines entirely in the light. To achieve this intensity of light, von Volkmann activated the bright white of the painting ground. By depicting the objects in glistening sunlight, von Volkmann demonstrates that this quality of light is only to be found outdoors. And this light leads to a new way of looking at the objects themselves. The jug on the bench seems like an accidental arrangement, as if the artist had stumbled upon this unintentional still life and captured it with fascination. And in this fascination there is a moment of realisation that refers to the objects themselves. It is only when they shine brightly in the sunlight that their true nature is revealed. In this way, sunlight allows the objects to come into their own, so to speak. Sunlight, which is not present in the studio, gives the still life an entirely new dimension of reality, which is also reflected in the colours interwoven by the sunlight: The bench and the jug stand in a harmonious grey-pink contrast to the green of the implied meadow. The emphasis on the jug as the central subject of the picture also implies that the watercolour has not been completed. This non finito inscribes a processuality into the picture, making it clear that something processual has been depicted, the temporality of which has been made artistically permanent. This is why von Volkmann signed the painting and dated it to the month. About the Artist Von Volkmann made his first artistic attempts at the age of 14. He painted many watercolours of his home town of Halle. This laid the foundation for his later outdoor painting. In 1880 his autodidactic beginnings were professionalised with his admission to the Düsseldorf Art Academy. There he studied under Hugo Crola, Heinrich Lauenstein, Johann Peter Theodor Janssen and Eduard von Gebhardt until 1888. Von Volkmann then moved to the Karlsruhe Academy, where he was Gustav Schönleber's master pupil until 1892. In 1883 he came for the first time to Willingshausen, Germany's oldest painters' colony, at the suggestion of his student friend Adolf Lins...

My subject is nature. For me, nature is overwhelming, the richest thing there is, and even dangerous. It is something to embrace but it is also something that can swallow you whole. ...

Jean-Baptiste Robie (1821 Brussels - 1910 ibid.). Still life with meadow flowers. Oil on wood, 24.5 x 18.5 cm (inside measurement), 37 x 31 cm (frame), signed and dated (difficult to...

Johannes Heisig (*1953 Leipzig), "My treasure, my sanctuary" - To the Christmas Oratorio by Johann Sebastian Bach. Lithograph on strong yellowish laid paper with watermark, 53 x 39.5...

"Loading" is a reflection on the moment when a miracle begins to take form. The painting features pink hydrangeas, symbolizing the gentle, almost imperceptible unfolding of something...

In "Thousand and First Petal," an elephant emerges from the heart of a lotus, creating a striking contrast between strength and fragility. The background, though predominantly white,...

"On the Wave of My Soul" is a painting about memories and faith in dreams. While creating it, I revisited my childhood — those moments when the future seemed endlessly bright, filled...

In the painting, a dark teapot, shimmering with gold, stands gracefully to one side, while two modest bowls, each cradling delicate green leaves, rest quietly on the other. A dialogu...

Johannes Heisig (*1953 Leipzig), "Threatening to defeat me once and for all" - To the Christmas Oratorio by Johann Sebastian Bach. Lithograph on strong yellowish laid paper with wate...

Have you seen the volcano ?! It is strength and power. Do you think this item can be stolen? I tried this ... with a crimson border. The paint is specially coated with a glossy varni...

Manfred K. Schwitteck (*1948), Still life with fish bones, pencil and pencil sharpener, 1992. watercolor over pencil on handmade paper, 31.5 x 45 cm (visible size), 47 x 61 cm (frame...

Heinrich Haberl (1869 Passau to 1934 Munich), Sturmhaube, c. 1900. drypoint, 14 x 10 cm (platemark), 28 x 21 cm (sheet size), 39 x 29 cm (passe-partout), titled "Sturmhaube" in lead at lower left and inscribed "Kaltnadelradierung", signed and locally inscribed "Heinrich Haberl Mchn. [Munich]" at lower right, inscribed again in lead on verso and with old collection stamp. - slightly darkened, fixed and mounted - The target in sight - About the artwork The theatrical "role-portrait" is to be seen against the background of the Rembrandt cult, which reached its climax at the end of the 19th century. The soldier seems to have stepped straight out of Rembrandt's Night Watch (1642) to fix something outside the picture with an alert and ready gaze. The steeply rising brim of the morion frames the gaze and thus perspectivises it as the actual 'pictorial action'. The gaze represents both the vigilant defence and the visionary goal of the battle. Not only the subject, but also the style of the etching needle reflect Rembrandt's understanding of the times. Strong contrasts of light and dark are created in a virtuoso free stroke, without losing the effect of the reflections on the helmet and in the eyes. This shows a kinship with the early prints of Lovis Corinth, who also saw himself as an artist in the role of the knight. Against this background, Haberl's picture can also be seen as a representation of his artistic self-image. About the artist Heinrich Haberl first attended the art school in Nuremberg and from 1892 studied at the Munich Academy. There he was a master student of Johann Leonhard von Raab, Rudolf von Seitz, Franz von Defregger...

Bronze 54 x 23 cm signed Auguste Moreau (1834–1917) was a French sculptor known for his romantic and decorative style, often working in the tradition of the Belle Époque. He was p...

Eugène Laurent (1832-1898), The Beachcomber Inscribed "E. Laurent" on the base plate in the cast. H 63 cm Eugène Laurent studied at the École des Beaux-Arts in Paris and was awa...

oli on canvas signed bottom left 34x44 cm Karl Eduard Onken (also known as Carl Eduard Onken) was an Austrian landscape painter and etcher of German origin. Here are some key ...

This painting captures the fleeting beauty of tulips. The delicate flowers, embraced by the young woman, symbolize the transient nature of life’s most exquisite moments. Their soft p...

This painting is made with acrylic on canvas using a special technique. The acrylics are thickly applied to give a three-dimensional effect. The colour scheme is chosen in such a way...

oli on canvas signed lower left Nicolas Constant Pierrat (1829–1910) was a French artist-painter primarily known for his landscapes, still lifes (especially of flowers and game), a...

The painting depicts large clematis flowers against a light wall with a tiled texture. The flowers are rendered in rich shades of purple, with delicate yellow and white centers, whic...

oil on canvas 100x 90 cm unsigned It depicts a woman wearing an ornate hat and is characterized by vivid, unnatural colors and an expressive painting style.

The picture is painted in a vibrant colour combination and carries the positive energy of the birth of the new. Painted with a special acrylic technique that creates volume in each m...

The picture is painted with acrylic and gold paint. The picture is made in a special technique, so the strokes look volumetric.The image of fire is always expression, movement, life,...

This painting depicts a woman infused with energy, attuned to her inner voice and the vibrations of the world. She sits atop sand dunes in the desert, as if resting on waves, and aro...

Amid the muted tones of autumn’s twilight, a white pumpkin rests at the center, radiating a quiet, pure beauty. The dark gray background, with hints of deep purples and petrol blue, ...

This vibrant and dynamic painting captures the image of an exotic parrot perched on the branches in a tropical setting. The artist uses bold, saturated colors to convey the magnifice...

Warm Evening with Tea" is a painting permeated with soft light and the aroma of a summer garden. Lush flowers in a vase seem to whisper stories of quiet evenings, and a cup of tea s...

Evening Tea" is a painting permeated with soft light and the aroma of a summer garden. Lush flowers in a vase seem to whisper stories of quiet evenings, and a cup of tea standing ne...

Evening Temptation" is a painting that captures the sensual notes of a cozy evening. At the heart of the composition lies a vase with flowers, sculpted in the form of a woman's body...

The painting “Still Life with Crab” combines elements of piquancy and intrigue. The central place is occupied by a vase of flowers, depicted in the fo...

In "Nymph of Eden" the artist continues her exploration of human sexuality and identity through mythological images. Inspired by ancient Greek mythology, where nymphs symbolized nat...

"Nothing superfluous." The painting is inspired by spring, when everything is just beginning to awaken, like man and his awakening, when everything superfluous is cut off.

I create my paintings by applying many translucent layers, just as people are made up of different layers, among them layers of other people's opinions, influences as well as memorie...

"Nothing superfluous." The painting is inspired by spring, when everything is just beginning to awaken, like man and his awakening, when everything superfluous is cut off.

A work from the series "Secrets of Memories". I create my paintings by applying many translucent layers, just as people are made up of different layers, among them layers of other pe...

“Man is the cruelest animal," says Zarathustra. "When gazing at tragedies, bull-fights, crucifixations he hath hitherto felt happier than at any other time on Earth. And when he in...

Moscow. "On the red square". Kremlin, St. Basil's Cathedral. Russian art. Very good condition. Unframed. Solovykh Gennady Ivanovich (1932, Moscow). Member of the Union of Artists ...

Fritz Kohlstädt (1921 Stuttgart - 2000 Pforzheim), Farmstead on Bornholm, 1990. Watercolor on heavy paper, 56 cm (height) x 78 cm (width), signed and dated lower left, signed, dated,...

Fritz Kohlstädt (1921 Stuttgart - 2000 Pforzheim), Cliffs of Bornholm, 1988. Watercolor on heavy paper, 56 cm (height) x 78 cm (width), signed and dated lower left, signed, dated, an...

Fritz Kohlstädt (1921 Stuttgart - 2000 Pforzheim), On the Hunte near Oldenburg, 1990. Watercolor, 56 cm (height) x 78 cm (width), signed and dated lower left, signed, dated, and insc...

Landscape painting, harvest field with windmill and mountains. Dimensions without frame. Frame damaged. Free shipping only without frame.

Painted plein air on location in a wild garden in Poland adding etheric oils. :: Painting :: Expressionism :: This piece comes with an official certificate of authenticity signed by ...

Tropical river landscape in sunset glow, signed, dated, Joseph Firmenich 1868, oil on canvas. Very decorative and large painting. Canvas has been res...

Acrylics, house paint, dry pressed Rose petals, dry pressed Datura flowers (4), varnish (partial) on industrial floor paper. I attempted to create a symbiosis between natural bio sh...

Reinhard Bartsch 1927 Berlin - 1990 Berlin oil on canvas 55x 40 cm signed lower right Reinhard Bartsch (1927–1990) was a German painter and graphic artist, born and active in B...

"Singing Disintegration" is a mesmerizing painting that explores the interplay between botanical elements and abstract forms in a captivating blend of blue, black, and white hues. Th...

"Anyway you look at it" is a bright artwork depicting nature, a forest, leaves. At the same time it is an abstract work with realistic connotations. Please have a look at the detail...

"Permeation" is a captivating painting that invites viewers to explore the interconnectedness of nature within a serene garden setting. Bathed in hues of white, blue, and subtle hint...

oil on hardboard Signed lower left 63x47 cm Albert Herzfeld (1865–1943) was a noted German painter Life, Work & Persecution Originally, Herzfeld was active in his family’s text...

Vibrant and emotionally charged watercolor and gouache on paper by Lothar Malskat (German, 1913–1988), signed lower right. Depicting a sunflower in intense close-up, the work transfo...

Honoured Artist of the RSFSR, People’s Artist of the USSR, Member of the USSR Academy of Arts, Winner of the I. E. Repin State prize.

signed oil on plywood 95 x 110 cm Full name: Paul Matthes Born: 1872 in Königsberg then East Prussia, today Kaliningrad, Russia Died: 1956 in Potsdam, Germany Profession: Paint...

Lithograph image by Fred Thieler handmade paper hand signed Fred Thieler was born on March 17, 1916, in Königsberg. In 1936, he began studying medicine, which he had to abandon in...

Henri Carnier, 19th century busy European harbor view Signed lower left. Frame damaged. Dimensions without frame: 32 cm x 48 cm With frame: 50.5 cm x 66.5 cm From 1900 Karl Kaufma...

enamel on metal plate marked on the back Born on November 16, 1740, in Lobenstein (Vogtland), and died on August 31, 1829, in Braunschweig. Berlin Classicism Entrepreneur, lacq...

The automaton has been completely overhauled and tuned. The spring housing has been adjusted. Comb has been completely tuned. The case has been overhauled. 10 plates are included...

signed oil on cardboard 30x42 cm oil on cardboard signiert Carl-Adam Heinisch (1847 – 1923) was a German painter born in Neustadt in Schlesien and died in Munich. Heinisch is ...

Robert Banks "Siesta in Ruvo - Apulia" 1969 Italy. Behind glass. Property of Mrs. Pit. Masur. Measurements with Frame.