Berlin - Art

Hans Thoma (1839 Bernau - 1924 Karlsruhe), Stooped Old Man with Walking Stick and Cigarette, circa 1900. Watercolor and pastel on paper, mounted on cardboard, 29.5 cm x 23.5 cm (shee...

"“The Knowing Path” continues the exploration in the Untamed series — delving into those deep impulses that cannot be constrained or subdued. This work is about inner freedom — the ...

"Still Life with Flowers and Fruits" is a vibrant and dynamic painting that showcases a harmonious blend of flowers, fruits, and tableware. Created with a rich, expressive palette, ...

" This painting is included in the series ""Blue"", it is about special moments, people, situations and feelings. Oil paints are used in the work, relief is given by mastichin. Paint...

This vibrant and expressive painting features a small exotic bird perched on a moss-covered branch. Its plumage delights the eye with a rich palette: bold red accents blend harmoniou...

George Lilanga (1934 Kikwetu - 2005 Dar es Salaam), Sculpture of a red figure, circa 1995. Polychrome wood, 80 cm (height) x 40 cm (width) x 25 cm (depth), signed on the carved base ...

The painting "Frida" explores the depths of the human soul through the image of the renowned Mexican artist. Inspired by Frida Kahlo's unique personality, this piece conveys her com...

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...

Anonymus, Porträtbüste von Homer, um 1900. Braun patinierte Bronze auf gestuftem Marmorpostament montiert, 34 cm (Gesamthöhe) x 12 cm (Breite) x 10 cm (Tiefe), 6,4 kg. - hintere Eck...

Kunsttöpferei Kandern (1897-1927), Bulbous vase with clay-colored gradient glaze on a black-blue ground, between 1914 and 1927. Terracotta, marked 'KTK' on the underside and identifi...

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...

The picture is made on canvas, in three-dimensional style. I used light green acrylic, in different shades, which symbolizes the birth of a new life. I also added a golden color as a...

This vibrant painting features a dynamic combination of colors and textures, creating a striking visual contrast. The central focus appears to be a large, stylized yellow flower with...

Curt Gitschmann (1876 Breslau - 1933 Berlin), Gerhart Hauptmann, around 1912. Brown patinated bronze mounted on marble plinth, 43 cm (total height), 20 cm (width) x 20 cm (depth) cm,...

a Piece of Berlin - alles ist möglich (Pieces of Berlin) -2010 100x100cm 2/3, Lambda C-Print signed with Certificate unmounted Florian Reischauer's project 'Pieces of Berlin' Ber...

shipped in roll Sunset Wind is a work from the Inner Landscapes series, filled with motion, light, and uplift. It conveys a state where youthful energy and the joy of accomplishment...

shipped in roll Kseniya Rai is an artist whose work is devoted to the pursuit of inner peace and positive energy in an ever-changing world. Through her art, she seeks to convey a se...

"Hot Hot Summer" is both a visual delight and a playful provocation. This artwork explores themes of desire, indulgence, and the sweet loss of control. Ice cream melts between the fi...

shipped in roll In this work, the night becomes a space of freedom and play. The woman-rider controls not only the horse but also the situation — her power lies in calmness, self-acc...

Ev Grüger (1928 Altenburg - 2017 Hofheim), Interior with Chair and Geometric Figures, circa 1958. Oil on canvas, 70 cm x 67 cm, unframed, signed “Grü[ger]” lower right. - In good co...

This painting reflects the joy of existence, space transformation, and meditation. The figure sits in a meditative pose, arms raised, embracing the energy of the universe. Surrounded...

Detlef Baltrock (*1954 Stuttgart), Untitled, 1985. Watercolor, 29.5 cm x 21 cm (visible dimensions), 41 cm x 32 cm (frame), signed “Baltrock” lower center and signed “[19]85”, label ...

The painting “Spiral of Life” is created on canvas using structural paste. At the heart of the composition lies a powerful spiral leading toward the center of the canvas. Rhythmic l...

This is an abstract work on canvas, created in mixed media using paper, modeling paste, acrylic, and spray paint. The composition is built on an expressive combination of rich gold, ...

George Lilanga (1934 Kikwetu - 2005 Dar es Salaam), Sculpture of a blue figure, around 1995. Polychrome wood, 72 cm (height) x 22 cm (width) x 20 cm (depth), signed on label on carve...

Layers Object No. 12 is a unique ink drawings on Alu-Dibond painting by contemporary artist Doris Marten, dimensions are 55.5 × 121 cm (21.9 × 47.6 in). The artwork is signed, sold u...

Unidentified artist, Portrait head of Gottfried Bischoff, 1953. Patinated bronze mounted on a natural stone base, 40 cm (total height) x 24 cm (width) x 25 cm (depth), monogrammed on...

Ellinor Michel (1939 Berlin - 2007 ibid.), Self-Portrait, 1969. Oil on canvas, 32 cm x 25 cm (image size), 34 cm x 27 cm (frame), signed “Ello Michel” and dated “1969” on the lower r...

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

What Plants Dream Of is a dance of lines and forms, reminiscent of flowers born in the imagination. The painting transforms ornament into a stream of energy, where every curve is a t...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Johannes Friedrich Heinrich Hänsch (1875-1945), Red blooming war landscape with dead soldier, 1918. Watercolor and gouache on paper, 15 x 24.5 cm (image), 27 x 37 cm (sheet size / frame), monogrammed and dated "19JH18" at lower left. - Paper slightly darkened About the artwork Despite the relatively small format, the watercolor with an internal frame depicts a panoramic view of a flat landscape stretching to the horizon. As far as the eye can see, the poppies bloom in flaming red. The flowers are not rendered individually, however, creating an almost cohesive red surface. The bright red is interspersed with vegetal green. A complementary contrast that creates an intense color effect. In this color contrast, a white area breaks through from the middle ground, widening towards the foreground and surrounding a brown hole. Next to it, in blue, is the actual protagonist of the painting, the first thing that catches the eye: a dead soldier. Next to him is his helmet, revealing the empty interior. The brown, hollow shape corresponds to the hole in the ground. A shell funnel is surrounded by bright ash, which, like the inverted helmet, becomes a sign of death. The soldier's arms point to the funnel, while the empty helmet paraphrases the calotte of the skull and, like the funnel, thematizes the empty darkness of death. The soldier's body, however, is intact and not - as in Otto Dix's triptych "The War" - a dismembered corpse. Instead, Johannes Hänsch activates the landscape, especially the color, to illustrate a blooming landscape of death that extends from the shell funnel in the foreground to the rising column of smoke on the horizon. If the soldier's body is intact, the tangle of barbed wire emblematically placed over the empty helmet also appears tattered. On the right side of the picture, the barbed wire even seems to stretch its arms to the sky in horror. Against the background of this allegory, the content of the bright red also becomes clear: the landscape is drenched in blood, literally a sea of blood, and the single unknown soldier stands pars pro toto for all those who died on the battlefield. Dying in war is not dying in community, but in solitude. In order to emphasize the isolation in death, Johannes Hänsch has set the blue of the soldier in the axis given by his body in the middle ground of the picture into the red sea. A master of landscape painting, Hänsch succeeds in creating a natural-looking landscape allegory that illustrates the horror and death of war, without depicting the brutality of war itself. This singular 'war memorial' of the unknown soldier is the opposite of heroization and yet the dignity of the deceased soldier is preserved through the integrity of his body. About the artist As the son of the sculptor Adolf Haensch, the young Johannes received his first artistic training in his father's Berlin studio. However, he eventually decided to become a painter, and in 1897 he entered the Berlin Academy of Arts. He initially studied under Paul Vorgang and Eugen Bracht, and was particularly influenced by Bracht's increasingly colourful landscape painting. In 1901 he moved to the class of Friedrich Kallmorgen, with whom he spent several weeks on excursions into nature. In 1905 he became a master pupil of Albert Hertel, who taught him watercolour painting. From 1903 to 1933 he exhibited annually at the Great Berlin Art Exhibition, the exhibitions of the Berlin Artists' Association and the Munich Glaspalast. In 1905 he was awarded the Carl Blechen...

This acrylic painting on canvas combines the purity of white orchids with the raw elegance of natural materials. The artwork is created on a high-quality linen canvas covered with se...

Light’n’Lines No.40 (Perfect Stranger) is an abstract painting by contemporary German artist Doris Marten, featuring a striking composition of vertical lines in vibrant hues of red, ...

Vibrant oil on canvas by Italian painter Riccardo Damiani, executed in the late 20th century and signed lower right. The composition depicts three ladies at a shallow stream, their r...

Light’n’Lines No.39 (If you could read my mind) is an abstract painting by contemporary German artist Doris Marten, featuring a striking composition of vertical lines in vibrant hues...

Rudolf Kaesbach (1873 Gladbach - 1955 Berlin), Forest idyll, around 1915. Bronze, gold and golden brown patina, with cast plinth, mounted on a marble base (5 cm high), total height 36 cm, dimensions of the bronze: 31 cm (height) x 17 cm (length) x 12 cm (width). Weight 4,6 kg, signed on the plinth "R.[udolf] KAESBACH". - a few rubbed areas, overall in excellent condition for its age - Soulmate - The bronze sculpture depicts a young woman in an intimate exchange with a deer that accompanies her. The animal pauses to turn toward her, while the nude beauty slows her pace to look into the deer's eyes and tenderly caress it with her hand. The woman and the deer are in inner harmony. Even though her lips remain motionless, she speaks the language of the animal with which she is deeply connected. The golden patina, which contrasts with the more naturalistic coloring of the deer, gives the young woman the appearance of a saint, even if she cannot be identified as such. At the same time, she evokes memories of Diana, the goddess of the hunt, or a nymph. But she lacks the ferocity. In her innocent naivety, she is more like a vestal virgin, who is not at home in the solitude of the forest. And yet, the young beauty, moving unclothed in the heart of nature, looks like a priestess with her hair tied up and a carefully carried bowl on her way to a sacred grove. In order to open up the above-mentioned associations, Kaesbach deliberately designed the female figure in such a way that she cannot be identified as a specific person. He has created an allegory of natural femininity, characteristic of Art Nouveau, in which the deer is far more than a companion animal. It displays the same gracefulness as the young woman, and the inner resemblance between the two makes the deer appear as her other self. In animal terms, it embodies her inner being, which also gives the deer an allegorical character. About the artist Rudolf Kaesbach studied sculpture at the Hanau Academy and worked in a bronze foundry in Paris in 1900. In order to work as an independent artist, he opened a workshop in Düsseldorf, where he cast bronzes from models he designed. In 1902 he made his debut at the German National Art Exhibition in Düsseldorf. The following year Kaesbach went to the academy in Brussels. There he was inspired by contemporary Belgian sculpture, especially the work of Constantin Meunier. He moved to Berlin, where he opened a studio in the villa district of Grunewald and devoted himself to life-size marble sculptures and the design of bronzes. From 1911, he regularly presented his works at the major art exhibitions in Berlin, as well as in Düsseldorf and Malmö. Between 1936 and 1939, he also created models for the Rosenthal porcelain factory. From 1939 to 1944, Kaesbach was represented at the major German art exhibitions in Munich. GERMAN VERSION Rudolf Kaesbach (1873 Gladbach - 1955 Berlin), Waldidyll, um 1915. Gold und goldbraun patinierte Bronze mit gegossener Plinthe, auf einem Marmorsockel montiert (5 cm Höhe), Gesamthöhe 36 cm, Maße der Bronze: 31 cm (Höhe) x 17 cm (Länge) x 12 cm (Breite). Gewicht 4,6 kg, auf der Plinthe mit „R.[udolf] KAESBACH“ signiert. - vereinzele beriebene Stellen, insgesamt in einem altersgemäß ausgezeichneten Zustand - Seelenverwandtschaft - Die Bronzeplastik veranschaulicht eine junge Frau im innigen Austausch mit einem sie begleitenden Reh. Das Tier hält inne, um sich zu ihr hochzuwenden, während die nackte Schönheit ihren Schritt verlangsamt, um dem Reh ebenfalls in die Augen zu schauen und es zärtlich mit der Hand zu liebkosen. Die Frau und das Reh sind in einem inneren Gleichklang. Auch wenn ihre Lippen unbewegt bleiben, spricht sie die Sprache des Tieres, mit dem sie auf eine tief empfundene Weise verbunden ist. Die im Kontrast zur naturalistischeren Einfärbung des Rehs aufstrahlende goldfarbene Patina lässt die junge Frau wie eine Heilige erscheinen, auch wenn sich nicht als Heilige identifizierbar ist. Zugleich ruft sie Erinnerungen an die Jagdgöttin Diana oder eine Nymphe hervor. Dafür fehlt ihr allerdings die Wildheit. In ihrer unschuldigen Naivität gemahnt sie vielmehr an eine Vestalin, die freilich nicht in der Waldeinsamkeit zu Hause ist. Und doch wirkt die sich unbekleidet im Herzen der Natur bewegende junge Schönheit wie eine Priesterin, die sich mit hochgebundenem Haar und der vorsichtig getragenen Schale und dem Wege zu einem Heiligen Hain befindet. Um die gennannten Assoziationen zu eröffnen, hat Kaesbach die Frauenfigur bewusst so gestaltet, dass sie nicht als konkrete Person identifizierbar ist. Damit hat er eine für den Jugendstil charakteristische Allegorie natürlicher Weiblichkeit geschaffen, bei der das Reh weit mehr als ein Begleittier ist. Es weist dieselbe grazile Anmut wie die junge Frau auf und der innere Gleichklag der beiden lässt das Reh als ihr anderen Ich erscheinen. Es verkörpert – ins Animalische übertragen - ihr inneres Wesen, wodurch auch dem Reh ein allegorischer Charakter zukommt. zum Künstler Rudolf Kaesbach studierte an der Akademie Hanau Bildhauerei und war im Jahr 1900 in einer Pariser Bronzegießerei tätig. Um sich als eigenständiger Künstler betätigen zu können, eröffnete er in Düsseldorf eine Werkstatt, in der er Bronzen nach selbstentworfenen Modellen goss. 1902 debütierte er auf der Deutschen Nationalen Kunstaustellung in Düsseldorf. Im Folgejahr ging Kaesbach an die Akademie nach Brüssel. Dort wurde er von der zeitgenössischen belgischen Bildhauerei, insbesondere vom Werk Constantin Meuniers, inspiriert. Zurückgekehrt zog er nach Berlin, wo er im Villenviertel Grunewald ein Atelier eröffnete und sich neben dem Entwurf für Bronzen der lebensgroßen Marmorbildhauerei widmete. Ab 1911 präsentierte er seine Werke regelmäßig auf den Großen Berliner Kunstausstellungen, aber auch in Düsseldorf und Malmö. Zwischen 1936 und 1939 fertigte er zudem Modelle für die Porzellan-Manufaktur Rosenthal an. Von 1939 bis 1944 war...

"One More Day to Go" is a painting about the quiet moment before an inner journey begins. In stillness, movement is already forming. The woman in the frame stands as a symbol of some...

‘Teppiche' Acrylic and Eggtempera on Canvas, 115 x 85 cm, 2016 Fides Becker The leading theme of the artist’s interventions is the staging of temporality, transience, and change. ...

Willard Dixon’s work can be found in numerous distinctive private and public collections, as well as the San Francisco Museum of Modern Art (SFMoMA), the Metropolitan Museum of Art in New York, and the Oakland Museum of California. Dixon's work is collected worldwide. 'The Track no. 6' is 32 x 48 inches. Oil on canvas. It is traditionally framed in thin, minimal natural oak with an outer dimension of 32.5 x 48.5 inches. Artist signed and dated. Condition is excellent. Painted in 1989. From Andra Norris Gallery in California. Born: Kansas City MO, 1942 Education: Art Students League, New York, NY Cornell University Brooklyn Museum School San Francisco Art Institute, M.F.A. 1969 Awards and Commissions N.E.A. Fellowship Grant- 1989 California Supreme Court Mural Commission- 1998 Las Vegas Federal Courthouse Commission, G.S.A.-1998 Teaching 1989-90: San Francisco State University 1975: San Francisco Art Institute Realism Seminar 1974-76: Academy of Art College, San Francisco, CA 1973-74, 1976: California College of Arts and Crafts, Oakland, CA 1971-72: California State University, Hayward, CA One Man Exhibitions 2015: Willard Dixon Portraits College of Marin Fine Art Gallery, Kentfield 2014: SFMOMA Artists Gallery, San Francisco, CA. 2008: SFMOMA Artists Gallery, San Francisco, CA. 2005: Fischbach Gallery, NYC,NY 2005: Dolby Chadwick Gallery, San Francisco, CA 2004: Fischbach Gallery, NYC, NY. 2002: Earl McGrath Gallery, Los Angeles, CA 2002: Bolinas Museum, Bolinas, CA 2001: Hackett Freedman Gallery, San Francisco, CA 2000: Fischbach Gallery, NYC , NY 2000: Hearst Art Gallery, St. Mary’s College, Moraga, CA 1998: Hackett Freedman Gallery, SF, CA 1997: Tatistcheff/Rogers Gallery, Los Angeles, CA 1996, 1995: Contemporary Realist Gallery (now Hackett Freedman Gallery) 1994: Fischbach Gallery 1993: Contemporary Realist Gallery 1992: Fischbach Gallery 1991: Earl McGrath Gallery, 454 North, Los Angeles, CA 1990: Fischbach Gallery 1989: William Sawyer Gallery, San Francisco, CA 1988: Gallery 454 North, Los Angeles, CA 1987: Fischbach Gallery 1987: Gallery 454 North 1986: William Sawyer Gallery 1985: Fischbach Gallery 1984: Harris Gallery, Houston, Tx 1984: William Sawyer Gallery 1983, 1982: Fischbach Gallery 1981: William Sawyer Gallery 1980,1979: Tortue Gallery, Los Angeles, CA 1976, 1975: William Sawyer Gallery 1973, 1972: William Sawyer Gallery Selected Group Exhibitions 2017: SHIFT / with Elizabeth Barlow, Kim Frohsin, Erin Parrish...

A portrait of a woman who holds your gaze with quiet intensity. Her eyes suggest a secret knowledge, something unspoken yet deeply felt. Through bold color contrasts, abstract forms,...

Thomas Röthel (*1969 Ansbach), Gradual Rotation, around 2005. Steel with rust patina mounted on stone plate. Overall dimensions: 38 cm (height) x 34 cm (width) x 27 cm (depth), weigh...

"Flight to Paradise" Feel everything pause — and the flight begins. "Flight to Paradise" is a visual journey to a place where it’s always warm, bright, and free. Bold, expressive bru...

A graceful bird is depicted on a 40×40 cm canvas, painted with acrylics. This is a female Northern Cardinal, her plumage rendered in rich, artistically reimagined shades of pink, pur...

Rainer Ehrt (*1960 Elbingerode), Graphic portfolio for E. T. A. Hoffmann ‘Miss of Scuderi’, 2003. Seven color aquatint etchings, 53 cm x 38 cm in linen folder, each signed in lead lo...

This painting reflects the subtle transformations we experience within ourselves. The flowers appear to dissolve and shift, symbolizing the ever-changing nature of our emotions and s...

The painting is created with acrylic paints on canvas in the style of abstract expressionism, filled with energy and dynamism through the rich interplay of blue and green shades with...

"Eternal Spring in the Garden of My Soul" is an ode to inner renewal and endless life energy. The painting features geraniums — a symbol of resilience and beauty — set against a shim...

The painting embodies a deep connection between humanity and nature. The woman seems to personify the iris, highlighting that humans are part of nature and that the beauty of the nat...

The painting is made in the technique of liquid acrylic on a square canvas. I chose a pale blue background, a combination of bright colors and the addition of golden acrylic, like a ...

In this painting, a girl is portrayed deep in thought, contemplating the nature of love, creating an atmosphere of tenderness and gentle introspection. Her dreamy gaze reflects her i...

"Whisper of Spring" portrays the serene beauty of a young woman with her auburn hair and scarf gently flowing in the breeze. This movement, captured through rich, textured brushstrok...

Guglielmo de Giorgio, busy street in Paris, France. Decorative oil painting. Dimensions WITHOUT frame in cm 50 x 60 Dimensions WITH frame in cm 6...

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...

Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...

The painting “Flora” depicts a young woman in a serene and contemplative state with her eyes closed, symbolizing inner peace and connection with nature. Inspired by the Roman goddess...

Works from the Blue series have received international recognition, including First Place in the “True Blue” Competition at Blue Koy Gallery (2025) and finalist recognition in the Sc...

The Pearl Fisher (Reflections series) This gesture is the moment of final choice, when in the silence of the morning, a woman defines the measure of her own radiance. In the concludi...

The painting evokes a quiet, cozy atmosphere, where a young woman enjoys the peace of a home evening in the company of her beloved cat. Her gaze, turned to the side, seems to catch i...

Budgie Edition No. 30 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 ...