Berlin - Paintings

"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...

"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...

Veit Hofmann (*1944 Dresden), Rare Animal, 1987. Oil on light card, 42 cm (height) x 30 cm (width), monogrammed “V[eit]H[ofmann]” lower right and dated “[19]87”, titled “Seltenes Tie...

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...

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,...

Beautiful oil painting of an idyllic property in Berlin Pankow. Dated 1895. Pankow is a district in Berlin and the residence of many former politicians and famous people. Oil on c...

Inspired by a photo that the artist took of a Wisteria vine overflowing from the top corner of a building in Berlin. This work creates an analogue to the physical twisting aspects of...

Painting Flowers To Fight Off Anxiety (Dead Flowers In A Water Jug) Gestural movements were used to capture and reflect the details and emotions of the flowers mentioned in the ti...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

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...

Artwork will be shipped rolled in a tube. For other shipping options please contact us. At Escat Gallery we are committed to maintaining the highest standards of trust and professio...

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 (...

Interior of a farmhouse with tiled stove. Oil painting by Amelie Ruths. Dimensions without frame. Frame may have minor damage in places.

Antique oil painting, the cook. Illegibly signed. Probably Dutch artist. Oil on canvas. Dimensions without frame. Frame damaged. Free shipping only without frame.

I Keep Thinking This Is Over, This Is Not Over / Red Green Purple Blue Created by lying on the ground and using a 2 meter stick to paint, this action is an intentional loss of con...

Oil paint was initially pushed around in swirl-like motions with a palette knife. Over several months the canvas was layered with different patches of colour. This is part of the ar...

Horst Miesler, View of the Berlin Cathedral and the Spree. Dimensions without frame 60.5 cm x 85 cm Dimensions with frame 73.5 cm 98.5 cm

Oil Painting, 19th Century. Interior Scene with Family and dog. "The Alcoholic" Antique oil painting in museum quality. With a royal seal. Early 19th centu...

After many uncertain layers, the piece began to approach yellow from lime green. This shift was created by adding several washes of lemon yellow paint, each with slightly less green....

This is a beautiful one-of-a-kind original impressionist painting. The piece ships ready to hang with artist signature on the bottom. The item ships from the Germany.

"Permeation Purr" is a captivating painting that explores the interplay between sound, cats, and botanical imagery in a mesmerizing blend of black, blue, and white hues. The canvas e...

"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...

This panting dances on the edge of a female figure, but can also be turned around and was intended to be entirely abstract. Extra large prints are available of this, as well. The ori...

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...

Taking inspiration from a photo of a turquoise lake in Switzerland. The piece has since moved away from form to become painted horizontal lines and dripped vertical lines. About the...

Oil paint was pushed around in swirl-like motions with a palette knife and layered over several years with different patches of colour. The resulting piece is contrasting and vibrant...

A performance piece made with musician Makoto Sakamoto at Loophole on 30.11.22. Static circles, static noise, static lines. “We didn’t discuss what we were going to do beforehan...

Antique oil painting, atmospheric seascape. 19th century. Oil on canvas. Unsigned. Dimensions without frame 80 cm x 122 cm. The painting and the frame are in an age-appropriate co...

Exploring how those yellows and greens work with each other, talking about new life. The changing light, flowers and socialising of Spring and how it felt particularly strong in cont...

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, ...

Heinz Roder (1895-1965), Low Mountain Landscape with Rocks, oil on painting cardboard, 30 x 40 cm (visual size), 40 x 50 cm (frame), signed and dated "[19]34" at lower right. In a de...

Signed, dated and titled on the verso.

Rainy Days and Autumn Leafs No. 76 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, s...

Gottfried Seelos, antique oil painting, home of Walther von der Vogelweide. Signed and dated. According to an antique note on the back, the painting come...

Decorative oil painting with a magnificent wooden frame by A. Just. Autumnal forest path. Dimensions with frame. Includes certificate of authenticity.

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...

Oil on vinyl, diameter: 30 cm. In this last series Sound and Vision, the line remains the only motif of the compositions, but it is illustrated on a new medium which is none other th...

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...

Water surface with partial reflections from the trees in the background. Oil on linen. Painted with a lot of paint, applied with brush and palette knife. The edges of canvas are col...

a vineyard somewhere in south-east Bulgaria :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No ::...

Rudolf Höckner, Forest Landscape. Hamburg, Wedel, Germany. Oil on canvas. Dimensions with frame in cm 63 x 82.5

"Masterpiece of floral elegance by Klaus Clausmeyer" Immerse yourself in a magnificent piece of art history: The oil painting by the renowned German painter Klaus Clausmeyer (1887 -...

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...

These works explore our relationship with the incredible biodiversity of our planet Earth. Visual representations of flowing colours, smells, sounds and the feeling of our life sourc...

'Robe 4' by Fides Becker Acrylic and Egg Tempura on Canvas and Deco Fabric 160 x 140 cm, 2005 The leading theme of the artist’s interventions is the staging of temporality, transi...

A beach from the german baltic sea, around Prerow. Oil on linen. Painted with a lot of paint, applied with brush and palette knife. The edges of canvas are colored in a brownish oc...

Hermann Schütte (1893 Osnabrück - 1973 Hamburg), White Mask on Violet Ground. Enameled copper plate on wooden base, 37 x 29.5 cm, monogrammed and dated "S[chütte] [19]62" in the lowe...

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...

Gustl Stark (1917 Mainz - 2009 ibid.), Small Nude, 1946. Oil on canvas, marouflaged, 54 x 25 cm (picture), 30 x 60 cm (frame), signed "Stark" top left, verso twice signed "Gustav Stark", inscribed by hand as "Small Nude" and dated by hand "1946". With label of the exhibition of the Bundeshaus Bonn from 1956. - Rubbed area in the lower third of the body, at the same level a retouch in the ochre background. I provisional frame. - Abstract Figurativity - About the artwork During the war, Gustl Stark suffered a particularly severe blow for an artist: he lost his right arm. Nevertheless, he continued to devote himself to art, and the painting, created in 1946, immediately after the end of the Nazi reign of terror, testifies to the dawn of a new era. At the same time, the work is a rare example of the artist's early figurative work, as Stark turned entirely to abstract painting as early as 1950. And even this painting is by no means purely figurative; rather, it already illustrates Stark's turn toward abstraction. We see a female nude, but one that remains faceless. This can be read symbolically and in relation to the immediate past epoch, which, in the face of horrors, silences and blinds - literally renders faceless. In this sense, the figure is positioned to 'look back'. But she does not look. While this meaning may resonate and make the painting an important work of the immediate postwar period, Gustl Stark is primarily concerned with something else here, namely art itself. The absence of the face leads to the body becoming something flat. Due to the de-individualization, we do not see a concrete person with his individual features, but a body surface. And indeed, the body is constructed through an extremely planar design. Even the contour lines that form the corporeality have a planar rather than a linear character, especially where they merge into shadow zones of almost the same color. And the surfaces themselves are not modeled. The incarnate parts do not show any plastic gradations; the corporeality is completely withdrawn into the plane, which is also true for the hair. In addition, there is no uniform background against which the figure could appear; rather, the area next to the hair is kept bluish, creating a succession of earth-toned colored areas, which again binds the figure to the surface. Last but not least, the flatness is also forced by the painting technique. Gustl Stark paints directly, a la prima, onto the coarse canvas, whereby the structure of the painting support remains visible in the picture, and in places - around the hair, for example - the canvas itself can be seen. This structural all-over lends the picture a certain flatness. Gustl Stark thus uses the very motif that stands for the corporeality of art par excellence - the female nude - to transform the spatiality of the traditional picture into a flatness characteristic of modern art. And yet, a strong impression of corporeality is created, without being produced by a painterly modeling of the body. The oscillation between flatness and corporeality creates the intense tension of this groundbreaking painting. In Gustl Stark's oeuvre, as a consequence of the abstraction we see here, the figurative is completely stripped away in a further step, which is also a loss when looking at this early key work. About the artist Gustl Stark was the son of a woodcarver and, after an apprenticeship as a decorative painter, attended the State School of Arts and Crafts in Mainz from 1936 to 1937. Although he was severely wounded in the war and lost his right arm, he studied at the Würzburg School of Painting and Drawing from 1943-1944 and then at the Academy of Fine Arts in Nuremberg from 1944-1948. He won a state scholarship at the state art competition in Bad Ischl. Numerous study trips to Sylt, Paris, Switzerland, Austria, Italy, Holland and Belgium followed. Gustl Stark worked in Mainz and was the first artist there to focus on abstract painting. His work quickly gained international recognition, including the Salon Réaliés Nouvelles in Paris. From 1963-1970 he taught at the State University Institute for Art and Work Education in Mainz and from 1970-1975 at the Johannes Gutenberg University. Gustl Stark became particularly famous for his color embossed prints, for which he invented his own technique. Gustl Stark received numerous awards for his work. He received the Art Prize for Painting of the City of Mainz in 1962, the State Prize of Rhineland-Palatinate in 1984, and the Gutenberg Bust of the City of Mainz in 1987. Selected Bibliography Hans Vollmer (Hrsg.): Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts, Vierter Band, Leipzig 1958, S. 344. Hans H...

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 ...

F. Gutmann, 19th Century, Decorative Oil Painting, Snow in the Forest. Dimensions including frame.

Decorative, romantic oil painting Heinrich Hartung "Dinner in the Park" oil on canvas Very good original condition. Signed lower right. Dimensions w...

Decorative antique oil painting. Sailing ship in a stormy sea. Dimensions with frame in cm 71 x 90.5

Antique still life, oil painting, with fruits, tobacco, pipe and sculpture. Very decorative painting. Monogrammed and dated lower left. RB 07 (1907...

Decorative painting, oil on canvas, still life with fruit. Signed lower left, P. Braun Painting has small tear in the canvas. On request, we offer a free restoration. Frame slightl...

Decorative painting, oil on canvas. Oriental market scene. Illegible signed. Dimensions without frame. Frame partially damaged.

Charles Wilton, Buskers in Paris, decorative painting. violin player. Dimensions WITHOUT frame in cm 40 x 50 Dimensions WITH frame in cm 53 x 63

Ludwig Gschossmann, Summer beach landscape with riders, horses, people. Munich artist. Dimensions WITHOUT frame in cm 50 x 60 Dimensions WITH frame in cm 68 x 78 This picturesque ...

Decorative antique oil painting. Atmospheric seascape in the moonlight. Dimensions without frame in cm 79 x 96 Dimensions with frame in cm 84 x 101