Berlin - Paintings

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...

This work represents pink lines that stand out against a black background like a glow coming out of the night. It is a celebration of love, tenderness and passion between two beings....

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...

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...

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....

Green and yellow oil paint was pushed around in swirl-like motions with a palette knife. As a final action the green acrylic background was covered by orange oil paint. This is part...

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, resulting in a piece th...

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...

Purple and turquoise oil paint was pushed around in swirl-like motions with a palette knife. This is part of the artist’s ongoing practice, where he intuitively paints for a few ho...

Purple and turquoise swirled together. Purple and turquoise oil paint was pushed around in swirl-like motions with a palette knife. This is part of the artist’s ongoing practice, ...

Studio towels were sewn over four cobblestones, and used to make imprints on a cotton canvas. The performance went for 30 minutes at the opening of “Light Green, Dark Purpleâ€

Oil paint pushed with a palette knife to create swathes and streaks of colour. The resulting piece is contrasting and vibrant with green, white, orange, blue and yellow. This is par...

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...

“After three years of working with oil paint, I finally got to the “balanceâ€

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...

The Chaos Of The Soul And The Physical Destruction Of The Self Oil paint is layered and swirled to express movement and emotions through colour. This is part of the artist’s on...

It began as a list of observed and projected mood cycles throughout the year, and then became a painting. The painting went on to become a song "After writing a bass groove, I look...

Oil paint pushed with a palette knife to create swathes and streaks of colour; orange, blue and white. This is part of the artist’s ongoing practice, where he intuitively paints f...

I Can’t Tell If I’m Experiencing Heartbreak, Or I Just Think That I’m Experiencing Heartbreak / Wisteria Vine An abstracted version of a digital drawing of a wisteria vine t...

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...

Decorative, antique oil painting, with an elaborately carved pompous frame. Scottish, British artist. Shore landscape. According to the advertising sign on the back of the frame, th...

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

'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...

Acrylic ink and paint on canvas, 2024. Signed, titled and dated on the back. Ready to hang. The artwork comes directly from the artist's studio. Height: 53 in ( 134,5cm), Width: 4...

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...

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

A nun walks trough an irish town. :: Painting :: Contemporary :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed: Y...

Oil paint on cardboard 1971 by Fritz Edler, Germany ( 1894-1994 ). Signed and dated lower left: Edler 71 Verso portrait of a young woman. Estate stamps on top- and lower right. Frame...

Antique Oil Paintig by Willy Belling, Still Life with Flower Vase Signed lower right. Dimension measured with frame. Frame slightly damaged.

Acrylic ink on canvas, 2018. Signed, titled and dated on the back. Ready to hang. The artwork comes directly from the artist's studio. Height: 19.69 in ( 50 cm ), Width: 19.69 in ( 5...

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

Antique painting, 19th century, oil on canvas, Reading Researcher, Cleric. Signed lower right. Franz Mark. Dimensions without frame. Frame partially damaged.

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

Antique painting, Stormy Coastal View, 19th Century, by H. Schnabel. Oil on canvas. Signed and dated lower right. Unframed. Including certificate of authenticity.

Acrylic painting on canvas, 2021. Signed, titled and dated on the back. Ready to hang. The artwork comes directly from the artist's studio. Dimensions: Height 52.4 in ( 133,1 cm ), ...

Peter Götz Pallmann, Venice, Busy harbor view with coffee Visitors Dimensions without frame 50 x 60 cm Dimensions with frame 67 x 77 cm

Asemic writing, drawings, paints and real plants. Acrylics, red wine, marker, spray paint, watercolour, dry pressed Rose petals, dray pressed Datura flower, wax spray on primed i...

Acrylic ink on canvas, 2017. Signed, titled and dated on the back. Framed with 24 carat gilding. The artwork comes directly from the artist's studio. Height: 36.81 in ( 93,5 cm ), Wi...

acrylics, house paint, spray paint, tempera, marker, oil pastels and red wine marks on primed polyester fabric the work can be hanged as a tapestry or framed :: Painting :: Abstra...

a landscape with reeds, water, sky and clouds after sunset :: Painting :: Contemporary :: This piece comes with an official certificate of authenticity signed by the artist :: Ready ...

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

Jürgen Möbius (*1939 Großenhain), Tectonic Tension. Oil on hardboard, 47.5 x 60 cm, 49 x 61.5 cm (frame), signed lower right "Möbius" and dated "[19]81". - Upper left corner with a small chip, light scratches and a little rubbed in places. Provisional gallery frame with traces of use. - Archetypes of Painting - About the artwork The form structure in front of the eye is overlapped by the frame. Thus, the frame does not open up a space in which something is presented, but rather shows the seemingly arbitrary section of a comprehensive context that cannot be framed as such. We see forms that stand in a structure of tension with each other, whereby the individual black and brown forms, which continue almost endlessly beyond the frame, already show a tension in themselves, since they are not only forms, but also surfaces - form surfaces, while the light blue surface ground is at the same time forms that appear as surface forms. The formed surfaces and surface forms are nested within each other and form a structure that encompasses all elements. The angular arrangement of the black and brown shaped surfaces gives the structure a tectonic character. The tension is thus heightened to the point of paradox, since the black shape at the front is overlapped by the brown shape at the bottom in the center of the picture, which would be impossible in real space. It is precisely through this "paradox" that Möbius demonstrates that the paradoxical is reality within painting. It is, so to speak, the most original possibility of painting, which distinguishes it from the other arts. In combination with the tectonic formations, Jürgen Möbius creates an archaic primordial painting, which, however, should not be confused with the autonomous color and form cosmos of Suprematism à la Kasimir Malevich. Instead of homogeneous, perfectly colored forms, here the colors are deliberately applied unevenly, and the light blue is mixed with the brown in a manner determined by the brushstroke. At the edges of the surface forms, the uneven application of paint allows the wood of the unprimed hardboard to show through. In this way, Möbius illustrates that we are dealing with a painting that has been created by an act of painting - an act, however, that takes hold of the original principles of painting and thus realizes painting as such. 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...

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

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

a boat after sunset, in the background parts of a floodgate, sky reflections with a red lamp :: Painting :: Contemporary :: This piece comes with an official certificate of authentic...

Acrylic ink and color on canvas, 2017. Signed, dated and titled on the back.. Framed. It comes directly from the studio of the artist. Height: 25.19 in ( 64 cm ), Width: 17.32 in ( 4...

Acrylic painting on canvas, 2020. Framed. The artwork comes directly from the artist's studio. Dimensions: Height 33.19 in ( 84,3 cm ), Width 25.2 in ( 64 cm ), Depth 1.73 in ( 4,4...

Antique maritime oil painting, "Sailors in the backlight" by W. L. Range This captivating oil painting by W. L. Range is a loving tribu...

Jürgen Reichert - Maler Freischaffender Künstler, Farbflächenmalerei, lebt und arbeitet in Berlin. Blaues Wunder 2000 Acryl auf Leinwand 180 x 150 cm ...

Decorative Painting by: R. Holst, 1944, Walk through the forest, mother with child and dog. Signed and dated lower right. Dimensions without frame: 61 ...

Acrylic paint on board, 2018. Signed, dated and titled verso. Framed. It comes directly from the studio of the artist. Height: 24.41 in ( 62 cm ), Width: 16.54 in ( 42 cm ), Depth: 1...

Oil on canvas. Unsigned. Dimensions include the frame. The painting and the frame are in an age-appropriate condition. Canvas has two small holes. These can be professionally restor...

A painting from a double exposure photo of mountains and flowers. However I did not like it, so cut out a small section. :: Painting :: Abstract Expres...

Acrylic paint and ink on raw canvas, 2018. Signed, titled and dated on the back. Ready to hang. It comes directly from the studio of the artist. Height: 48.03 in ( 122 cm ), Width: 4...

Antique oil painting, Bruno Jüttner, nude of a North African young lady Rare half-nude by the well-known German painter. Age-related condition. A pressure mark in the center left....

"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 -...

I'm continuing a series of work I started in 2018, on gesture, expression and the message that hands can convey. Color also plays an important role, since it is a vector of emotions....

Come on people, say yeah! Do you feel the rock'n'roll spirit and the excitement of the live performance? This is an original hand painted artwork by Ewen Gur. Technique used: acryl...