Berlin - Paintings

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...

Antique, oval still life, with fruits and lobster. Oil painting. Signed lower right. Dimensions are without frame. The painting and the frame have m...

Layers Object No. 16 is a unique ink drawings on Alu-Dibond painting by contemporary artist Doris Marten, dimensions are 41 × 91 cm (16.1 × 35.8 in). The artwork is signed, sold unfr...

This artwork is created using the liquid acrylic technique on canvas. The color palette ranges from soft purple and lilac shades to deeper, rich burgundy and red tones. The painting ...

From the series Zero Thinking “Gravity” examines the moment when form begins to yield — not abruptly, but almost imperceptibly. The work exists in a state of quiet transition, where ...

shipped in roll “Spring Flowers” is built around a memory of early spring days, when the grass turns vivid and saturated, full of life. It captures that moment when everything begins...

Tenderness and Power This work reflects on the paradox of strength revealed through vulnerability. The orange blossoms, vivid and luminous against the profound blue background, embod...

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 ...

The work is created in the fluid art technique using acrylic on canvas. The composition is built on smooth, flowing movements of paint, forming multilayered transitions of pink, mage...

An abstract painting created using the fluid acrylic technique (fluid art). The composition is built around a strong diagonal movement that runs across the canvas. A light turquoise...

This work is a meditation on the bird’s-eye view as a rare gift of our time. The ability to observe landscapes from above reshapes not only scale, but perception itself. What for tho...

Alla Victorovna Kraschina-Shadov (*1958), Small Box, 1999. Oil on canvas, 59 cm x 59 cm (image size), 63 cm x 63 cm (frame), monogrammed and dated 1999 on the lower right, also signe...

shipped in roll "Where Birdsong Smells Like Strawberries" In this piece from the Inner Landscapes series, the aesthetics of modern impressionism merge with expressive line dynamics, ...

The work is created in the fluid art technique using acrylic on canvas. The composition is built on a harmonious combination of pink, fuchsia, and powdery tones, softly transitioning...

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...

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 painting **"Feminine Spring"** is created in the fluid art technique, conveying a sense of lightness, movement, and renewal inherent in spring. The composition resembles a cross-...

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...

This captivating diptych celebrates the energy and fluidity of water. Flowing layers of blue and green interact in organic movement, creating depth, lightness, and a sense of natural...

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...

An abstract canvas created with fluid acrylics, built around the rhythm of spirals and circular currents. Against a warm sand-gold ground, large swirling forms unfold in layers of tu...

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, ...

The painting is created on a round canvas using the acrylic pouring technique. The composition is built on a combination of deep crimson, burgundy, and delicate pink shades. The pai...

This piece is filled with a sense of movement and crystalline depth. The liquid acrylic forms soft, wave-like layers that flow into one another, reminiscent of ocean currents. Shade...

"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 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, ...

This emotionally rich painting portrays the quiet presence of a beloved dog beside a woman, capturing a moment of stillness, trust, and unspoken connection. The work reflects the dee...

“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...

Ev Grüger (1928 Altenburg - 2017 Hofheim), Still Life with Sculpture, Flute, and Painting Supplies, 1956. Oil on canvas in gallery frame, 60 cm x 80 cm (image size), signed “Grü[ger]...

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...

"Daffodils for Victory" is a painting about rebirth and the power of life. It has become a symbol of the triumph of good over evil, of life over death. The daffodils depicted on the...

Wild Red Flowers Acrylic and oil sticks on canvas Wild Red Flowers is a vibrant contemporary painting from the Inner Landscapes series, where landscape becomes less a depiction of a ...

This painting is created on canvas using acrylic paints and depicts a lively and vibrant composition with numerous colorful butterflies filling the entire space, as if they are flutt...

Wilhelm Feldmann (1859 Lüneburg - 1932 Lübeck), Impressionist autumn landscape with lake, around 1905. Pastel on cardboard, 46 cm x 31 cm (inside dimension), 52 cm x 37 cm (frame), s...

Jürgen Möbius (*1939 Großenhain), Black form surfaces on red painterly ground. Oil on hardboard, 50 x 60 cm, 51 x 61 cm (frame), signed "Möbius" and dated "[19]81". - Small paint chip in upper right corner, otherwise good condition. Gallery frame with slight signs of wear. - The Double Origin of Painting - About the artwork In the painting black, optically dominant forms can be seen, which in their arrangement at right angles to each other have a proto-architectural character. They are, so to speak, always already given original forms. At the same time, however, the forms are surfaces of color, and thus genuine painting. In order to make the painterly character of the painting clearly visible, Jürgen Möbius has applied red-toned strokes that have preserved the brushstroke. These are traces of an act of painting. The diagonal layers of red strokes merge into the upper white area, which oscillates between brushwork and homogeneous flatness, while the central white field, into which a black bar protrudes, has a decidedly planar character. The sharp contrast between the autonomous black surface forms, reminiscent of Kasimir Malevich, and the free brushstroke, which is not bound to any motif, creates an enormous pictorial tension, which is conveyed by the white, but at the same time is intensified by the virulent black-and-white contrast. In addition to the tense contrast of form and color, there is also a contrast between the dynamic of the brushstroke and the static of the black surface forms, whereby the diagonal alignment of these forms also gives the static a dynamic, while at the same time the layered brushstrokes have something static about them. Added to this structure of tension is the fact that the painting ground, the unprepared hardboard, is clearly present as such in the picture. In this way, it becomes clear once again that we are not dealing with an autonomous cosmos of form and color, as in Suprematism, but with a painting created by the artist's hand. With this work, Jürgen Möbius explores the possibilities of painting and thematizes painting in terms of its twofold origin, the trace of the guided brush and the painterly form, which gains its independence precisely by absorbing the brushstroke into itself. About the artist From 1959 to 1965 Jürgen Möbius studied painting at the University Institute for Art and Work Education in Mainz. He also studied philosophy and art history at the University of Mainz. Afterwards he worked as a freelance artist in Mainz. At first, Möbius created material reliefs and installations, then, around 1974, he turned increasingly to conceptual art and added cinematic means. During this phase he wrote the manifesto-like essay "Principles of Supranatural Landscape" (1979). From 1981 on, Möbius concentrated on painting and searched for artistic ways to "treat intellectual and sensual perception equally in the fusion of representational and abstract pictorial elements" (Wolfgang Zemter). He found inspiration on his study trips to Thailand and Sri Lanka. "The pure painting of Jürgen Möbius flows through us as a timeless expression of memory and energy, ploughing our perception and bringing us the happiness of seeing authentic, immovable form. - Philippe Büttner Selection of solo exhibitions 1969 Galerie Würzner, Düsseldorf / Galerie Gurlitt, Mainz 1972 Städtische Galerie, Mainz 1973 Galerie Schloss Ringenberg Rathaus, Kleve 1974 Röderhausmuseum, Wuppertal 1976 Galerie Glasing, Osnabrück / Städtische Galerie, Herne 1977, 1997, 2004 Märkisches Museum, Witten 1979 Studio M, Bamberg / Staatstheater, Darmstadt 1980 Galerie Stolànovà, Wiesbaden / Mittelrheinmuseum, Koblenz 1982 Galerie Dornhöfer, Mainz 1984 Galerie Neumühle, Schlangenbad 1985 Landesmuseum, Mainz / Kunstverein, Ludwigshafen / Nassauischer Kunstverein, Wiesbaden 1986 Museum, Bochum / Galerie der Stadt Iserlohn 1987, 1990 Galerie Klaus Kiefer, Essen 1987, 2000 Galerie Ulrike Buschlinger, Wiesbaden 1988 Kunsthalle Darmstadt 1988, 1992, 1996, 1999 Galerie Leonhard, Basel 1992, 2002 Galerie Zulauf, Freisheim 1994 Galerie Remy, Vallendar 1995 Sendezentrum des Zweiten Deutschen Fernsehens, Mainz 2001 Collegium oecumenicum, Bamberg / MVB Forum für Kultur und Wirtschaft, Mainz 2006 Adam Gallery, London Selection of group exhibitions 1969 ‘International Graphic Arts’, Galerie Dalléas Bordeaux, Paris 1975 ‘Deutscher Künstler-Bund’, Dortmund 1979 ‘Man and man’s Images’, Märkisches Museum Witten 1980 ‘Love-Dokuments of our Time’, Art Hall Darmstadt and Art Association Hannover 1982 ‘Work - Progress – Position’, Nassau Art Association Wiesbaden 1983 ‘Principle Hope – Utopic Aspects in Art and Culture of the 20th Century’, Museum Bochum 1986 ‘Selfportraits’, Gallery Klaus Kiefer Essen 1987 ‘The Dying and Death’, Gallery Klaus Kiefer Essen 1989 ‘Where are You, Revolution – Freedom, Liberty, Egality, Fraternity to-day’, Museum Bochum 1990 ‘Flight – a Problem within the Memory of Man’, Kunsthalle Darmstadt ‘Art and War 1939 – 89’, House of Cultures Berlin 1991 ‘Material and Form’, Pillnitz Castle Dresden and Pfalz Gallery Kaiserslautern 1995 20 Years Exhibitions, Chrämerhuus Langenthal, Schweiz 1998 ‘Works on Paper’, Klaus Kiefer Gallery Essen 2000 ‘Acquisitions 1900 – 2000’, Mittelrhein-Museum Koblenz 2001 ‘Strange Pictures’, Klaus Kiefer Gallery Essen 2002 ‘10 Years Buschlinger Gallery’, Buschlinger Gallery Wiesbaden 2004 ‘Eternal Space – Pictures and Sculptures’, Dome of Bamberg 2005 Art Fair Chicago, Adam Gallery, London Selected Bibliography Mittelrheinisches Landesmuseum (Hrsg.): Jürgen Möbius - Neue Bilder, Mainz 1985. Kunstverein Darmstadt (Hrsg.): Jürgen Möbius. Bilder 1985 - 1988. Kunsthalle Darmstadt, 26. Juni - 14. August 1988. Red. Dorit Marhenke, Lyrik Marcus Schiltenwolf, Düsseldorf 1988. Gabriele Prusko (Hrsg.): Jürgen Möbius. Mit Texten von Philippe Büttner und Ralph Mieritz, Basel 1992. Wolfgang Zemter (Hrsg.): Jürgen Möbius - Aktuelle Arbeiten. Märkisches Museum der Stadt Witten, Bönen 1999. Wolfgang Zemter (Hrsg.): Jürgen Möbius. Flieger in meinem Zimmer und Beruhigte Zone, Bönen 2004. Dama Gallery...

shipped in roll Secret Spot explores the theme of hidden desires and memories that often remain in the shadows of consciousness, waiting for the moment to be revealed. The artistic f...

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...

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 ...

Flemish Baroque painting. Romantic scene. Signed and dated. J. HOREMANS 1760. This 100% authentic painting captivates with its powerful colors. A real eye-catcher. Dimensions witho...

Patterns 150.0 x 100.0 x 1.0, 1.0 lbs Acrylic Hand signed by artist Artist's Commentary: "Patterns (2010) The collection reveals patterns that we select and follow, either consciously or subconsciously, in our life. patterns which may affect significant aspects of our life." About the Artist: "Leila Rezvani...

shipped in roll “Dreamline” captures the moment a woman steps into a journey driven not by directions, but by desire. She’s not following a map — she’s drawing her own invisible lin...

It is very interesting to observe the cells that are formed in this technique. And the combination of white, pink and burgundy looks very noble. Note: This painting is painted on can...

Morning Passage Oil on linen canvas, 2026 shipped in roll Morning Passage explores the quiet dialogue between architecture, light, and the open sky. Framed by a monumental arch, ...

Antique Flemish Baroque painting, 17th century, portrait, Medici. Oil on canvas. The painting is probably attributed to the Flemish painter Justus Sustermns. Pictured is most likel...

This artwork is created using the liquid acrylic technique on canvas. The painting features a swirling, dynamic composition, with intricate patterns formed by the merging of various ...

This series of paintings is part of a visual journey into our relationship with forests, jungles and the sacred Tree of Life. Through painting and sculpture, Gregory Robin conveys t...

Woman in the Garden from the Gardens series Acrylic on canvas shipped in roll Woman in the Garden explores the garden as a place held somewhere between memory and imagination. A fe...

Antique oil painting, mountain landscape. 20th century, signed. Dimensions with frame.

This piece is created using the fluid acrylic technique, which produces elongated vertical streams of color that flow smoothly into one another. Against a light turquoise background,...

Very decorative, 17th century, old master painting, oil on canvas, King Alexander Magnus, the great. Illustration of two children, putti, with wreaths of flowers on a board (or maus...

signed lower right Oli on cardboard 75x62 cm internal mas 52x 38 cm This work was not examined by the Rehs Galleries in New York. Antoine Blanchard was the pseudonym of French p...

This painting embodies the harmony between nature and the inner world of a person. The woman seems to dissolve into a swirl of soft shades of green, pink, and blue. Her pose radiates...

The painting is created with acrylics on canvas, depicting a seascape with golden sand. The upper part of the composition features dynamic, textured brushstrokes in gold and brown, e...

Judith with the head of Holofernes, antique oil painting after Cristofano Allori. Painting has been restored. Dimensions without f...

The painting portrays two elegant, transparent glasses filled with rich, wine-colored mulled wine. The cool tones of the drink contrast beautifully with a golden and beige background...

Attributed to MILLOT, Henri. Portrait of a Lady. Oil on canvas. Unsigned, inscribed Millot on the reverse. 18th century. 85 x 69 cm. Framed. 85 x 69 cm. Portrait of a young woman in ...

Frederick Vezin (1859 Torresdale Philadelphia - 1933 Düsseldorf), Autumn Landscape in the Sunlight, oil on canvas, mounted on cardboard, 32 x 41 cm (inside measurement), 44 x 51 cm (frame), signed and dates lower right "F. Vezin. [19]05". - Cardboard slightly curved, small inconspicuous retouch at the centre of the upper edge of the picture. About the artwork Although the painting appears to be a sketch, Frederick Vezin considered it to be a finished work of art, as evidenced by his signature on the lower right. And it is precisely this sketchy quality that leads to an understanding of the painting, which was certainly created in the landscape itself: the natural phenomena were to be depicted artistically at the moment of their observation. This is not done by meticulously sketching nature, but - and here Vezin follows the teaching of French Impressionism - by illustrating nature in its visual fullness. The artist's eye is, as it were, immersed in the visuality of nature, which is made visible by his hand. The painting is therefore not a reflection of the landscape, but its artistic intensification. This intensification also includes the fact that the foreground of the painting - corresponding to the field of vision - eludes a detail-oriented close-up view. Instead, the spatula-like application of paint, the vertical structure of which corresponds to the structure of the floral growth, has the effect of making nature tangible in its colourful substance. At the same time, the foreground, which remains indeterminate in its concrete objectivity, creates an atmospheric space that connects with the actual protagonist of the picture, the group of trees, which flares up in shades of red and brown. Here, too, the leaves are more speckled than clearly outlined. It is precisely this 'sketchiness' that opens up a visual experience that makes the landscape accessible in its visual fullness, thus revealing its essence. In addition to this abundance, the landscape is presented as a structure of order in that the composition of the picture makes the composition of the landscape visible. For example, the group of trees forms a distinct dark green shadow, which is repeated in the shadows cast by the trees behind it. A patterned diagonal axis is created in the picture, which is composed in this way by the landscape itself. Strictly speaking, this is a cultivated landscape: a fence at the bottom and a low stone wall at the top, running from left to right, are two elements that also have a strong compositional effect. And on the top of the hill, a stone house is embedded in the landscape as the brightest surface in the picture. Nature and culture here form a harmonious synthesis, giving the painting an Arcadian touch. In order to give the landscape as much space as possible, the horizon line is raised, but the design of the sky is also crucial. The clouds, combined with the shapes of the trees, create a bright blue sky. To the European eye, such a sky is reminiscent of a summer landscape. Accordingly, within the seasonal cycle, the blue sky is reserved for summer, and French Impressionism is also primarily an ode to summer. In Vezin's painting, however, the brilliant blue sky stands above an autumnal landscape, some of the trees even defoliated. It can therefore be assumed that the painting was made not in Europe but in the United States, and that it illustrates the proverbial Indian summer, making Frederick Vezin a pioneer of American landscape painting. About the artist Frederick Vezin was the son of a French immigrant to the United States and a German-born mother. This predestined him to promote artistic exchange between the old and new worlds. Having spent part of his schooling in Germany, in 1876, at the age of 20, he enrolled at the Düsseldorf Academy of Art, where he studied with Peter Janssen the Elder, Eduard von Gebhardt and Wilhelm Sohn, among others. He graduated in 1883, settled in Munich and returned to Düsseldorf in 1895, where he lived until his death in 1933. A native of the United States, he travelled to the country frequently and became a popular portrait and society painter. His artistic talent, however, was most evident in his landscape paintings. Trained in French Impressionism, he developed a virtuoso use of colour and a free brushwork that remained tied to the landscape motif, opening up the landscape itself in a new way. Frederick Vezin turned his attention primarily to the landscape of his homeland, becoming a pioneer of modern American landscape...

"Fjord Idyll by Carl Bergfeld" fjord landscape: This painting, masterfully created by Carl Bergfeld and signed in the bottom right corner, celebrates the majestic beauty of a fjordl...

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. ...

Born of the Sea Acrylic on canvas Contemporary abstract landscape There is a reason we are drawn to the sea again and again. Its endless movement, salt air, light and rhythm see...