Germany - Art

Takashi Murakami (Japanese, b. 1962) Gargantua on Your Palm, 2022 Medium: Porcelain plate (fine bone china) Dimensions: 10 1/2 in diameter 26.7 cm diameter Edition of 250: Printed s...

HK1906YP (Abstract work on paper) Ink, enamel, collage on paper - Unframed. This work is part of one of 4 on-going series of large works on paper...

Dutch School, Elegant Couple, Tavern Interior Scene, Cabinet Piece, A PAIR

Please note, the whites areas in the painting are trully white as opposed to bluey as shown in the pictures. Painting is signed at the front. COA provided keywords; surrealism, humo...

Very expressive acrylic painting in large format, which is inspired by daydreaming - and perhaps also can inspire to dream. Modern color composition in brown, purple, yellow, red, wh...

Günther Uecker (German, born 1930) Splitter, 1991 Medium: Lithograph on wove paper Dimensions: 30 x 42 cm Edition of 200: Hand-signed an numbered in pencil Condition: Excellent

The photographers note regarding this work is "Skiing vacation to Immenstadt in the Allgaeu area, Germany 1930s." This work comes to you as a new Fine Art Print on Hahnemühle Willia...

An epic pictorial history of the City by the Bay Starting with an early picture of a gang of badass gold prospectors who put this beautiful Northern California city on the map, this ambitious and immersive photographic history of San Francisco takes a winding tour through the city from the mid–nineteeth century to the present day. Enjoy eye-catching views of the city’s most enduring landmarks and symbols: the Golden Gate Bridge, Chinatown, the picturesque trams that wind up and down the famously steep hills, the popular waterfront, its beautiful bay, and its spectacular cityscapes and vistas. San Francisco’s counterculture movements that shaped our collective consciousness are also featured prominently: the beats of North Beach, the hippies of Haight-Ashbury, the gay communities of Castro, and the Black Panthers of neighboring Oakland. Some of the city’s most famous residents also make appearances: Robin Williams, The Grateful Dead, Angela Davis...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Absurd scenery in the middle of nowhere: a section of a giant cat's head suddenly appears out of nowhere, an event that lets seemingly random passing...

Painting, 19th Century, Portrait of an African Boy, signed, oil on canvas. Dimensions with frame 65cm x 73cm

This work is exclusive to IdeelArt. Working in the emotionally charged, gestural tradition of painters like Cy Twombly, Joan Mitchell and Georges Mathieu, Daniela Schweinsberg exten...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Silver Gelatine Print by Erich Andres, ca 1950. Andres was born 1905 in Germany and passed away 1992. He started his career as a photographer in 1920. He was one of the first photogr...

Jacqueline Lee "Jackie" Kennedy Onassis (July 28, 1929 – May 19, 1994) was an American socialite, writer, and photographer who became First Lady of the United States as the wife of P...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Rupprecht Geiger (German, 1908-2009) Untitled (#11 from Zurückgehen, Weitergehen, Fortgehen), 1966 Medium: Screenprint on paper Dimensions: 12 3/5 × 11 1/5 in 32 × 28.5 cm Edition o...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

"Les petits fleurs" is a 2019 unique oil on canvas painting by German mid-career artist Michael Pröpper. Comes with certificate on back. It depicts people walking...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

Edition 7 A stunning naked breast which looks like a Kaleidoscope. These stunning photographs of Sieff’s subjects in Paris, in their homes, on the shores of Normandy, and in the ga...

In Katharina Husslein's floral-themed paintings, her profound connection to nature and deep inspiration drawn from flowers are unmistakable. Through her textural and abstract approac...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Jan Hillebrand Wijsmuller (1855 Amsterdam - 1925 ibid.), Late Summer River Landscape, oil on canvas, relined, 34 x 56 cm (inside measurement), 43 x 64 cm (frame), signed J[an] H[illebrand] Wijsmuller at lower right. - in good condition, the frame with isolated bumped spots - Realistic Impression - About the artwork The panoramic landscape format shows a river landscape, with the course of the river, which curves to the right, leading the eye into the depths of the picture and tempting it to continue the landscape in the imagination beyond the visible area. At the same time, however, the fact that the landscape is not visible through the bend in the river focuses our gaze on the entirety of the landscape depicted, without prompting us to focus on distant details. Accordingly, the brushstroke is not designed to render details with realistic precision. In the front left area of the river there is even a completely free brushwork, trained by Impressionism, which nevertheless remains committed to representational and convincingly suggests the movement of the water. Regardless of the distance of the observer, the entire picture is painted with the same broad brushstroke, so that the landscape is given as an impression. And yet this impression is not ephemeral, as in the case of French Impressionism, to put it exaggeratedly, but reveals to us the essence of the landscape in all its richness. This is why the Dutch variant of Impressionism is always also a realism, although the pictures appear less progressive, but still contain a dimension of landscape painting that is lost with progress. In the impression, the reality of the landscape is revealed, and this happens as we experience the landscape in the visual impression. Wijsmuller does not depict houses or people in order to allow the experience of the landscape to fully unfold. The experience is determined first and foremost by the river, which does not flow into the picture from our point of view, but towards us. Where the river begins to bend, the water is churned by a rapids. Toward us, the riverbed widens and the water comes to rest, covering the entire width of the foreground like a mirror. The stillness of the water corresponds to the evening mood of the late summer landscape, in which the warm tones of the evening light blend with the yellow and brown tones of the plants. A gentle, almost idyllic reality, carried by the brushstroke, yet animated by a liveliness that is also made visible by the brushstroke. The broad, dynamically placed brushstrokes evoke the movement of the treetops and animate even the immobile reeds, while the trunks on the right bank, executed in virtuoso white strokes that seem like markings, make the sunlight shine. On the other bank, a carpet of light also spreads out, its energetic effect again expressed in the brushstroke. The dynamic of the landscape is further enhanced by the complementary color contrasts between the greens, yellows, and browns on the one hand and the blue of the all-encompassing sky on the other. A contrast that is intensified by the reflection in the water. The evening coming to rest of the landscape is thus at the same time an all-encompassing contrasting and yet in itself harmonious movement. This reality becomes accessible to us as an experience in the impression of the landscape. About the artist Jan Hillebrand Wijsmuller entered the Royal Academy of Arts in Amsterdam in 1876 and studied under the innovative Professor August Allebé, who was famous for the Amsterdam Impressionism, also known as the Allebé School. In 1877, Wijsmuller transferred to the Hague Academy of Art, and thus to the Hague School, and then completed his studies at the Brussels Academy of Art. Returning to the Netherlands, Wijsmuller opened his own studio in Amsterdam. In 1883 he won the prestigious Young Artist Award, donated by Willink van Collen, which made Wijsmuller a well-known and sought-after artist. Wijsmuller was a member of the Societät Arti et Amicitiae Amsterdam and the Pulchri Studio in The Hague. Wijsmuller belongs to the second generation of the Hague School. While Vincent van Gogh described the protagonists of the first generation to his brother Theo as "the great gray people," the second generation, and Wijsmuller in particular, used a much more colorful palette. His oeuvre makes him a major player in Dutch Impressionism...

Barber Schaumann is a contemporary artist known for her vibrant, abstract interpretations of the female form. Her work combines bold colors with modern, geometric shapes, blending el...

"Look at a tree, a flower, a plant. Let your awareness rest upon it. How still they are, how deeply rooted in Being. Allow nature to teach you stillness." — Eckhart Tolle Morning Se...

The portrait depicts a beautiful girl in the prime of her youth, when her whole life is ahead and full of hope. Despite the fact that it depicts a specific person, this portrait can ...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

"Walk in the autumn forest by A. or O. Hamel". Düsseldorf, Germany. Dimension without frame: 106 cm x 82 cm). Frame slightly damaged in places. Major damage to the upper left corner...

Damien Hirst (British, born 1965) Beautiful, Tastefully Sensuous Explosion Painting (H12-2), 2023 Medium: Giclée print on poly-cotton artist canvas mounted on birch plywood stretcher...

Günther Uecker (German, born 1930) Prägedruck (from Nagelbuch-Portfolio), 1970-1971 Medium: Relief print on wove paper Dimensions: 34.6 x 34.5 cm Edition of 500: Hand signed in pencil

#1630 (Abstract painting) Oil on Canvas - Unframed. Boecker begins each new work by penciling in his composition. But the work ultimately is about the colors and layers that will ev...

"Lush garden” is a captivatingly vibrant oil painting in impressionistic style. I renowned for their exquisite interpretation of natural landscapes. Painted on a medium-sized canvas,...

Gerhard Richter Abstrakte Bilder, 2024 Medium: Set of 4 hybrid prints on handmade paper Dimensions: 39 2/5 × 27 3/5 in 100 × 70 cm Edition of 500: Not signed, hand-numbered

Another one from my signatory Spirits Of Skies Collection. This one comes in colors of flaming yellow, neon red and orange, and various red tones, against a distant appearing backgr...

A striking black-and-white studio portrait by Klaus Redenbacher captures the essence of late 1960s counterculture. The young woman, pictured in profile, wears a richly patterned head...

Longing For Paradise IV (Abstract painting) Oil on canvas — Unframed. This artwork is exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resistant tube. This metho...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Tom Sachs (US American, b. 1966) NASA Chair (Space Program: Rare Earths), 2020 Medium: Screenprint and felt-tip pen on Samsonite folding chair ...

The visual language of the power of the sun is represented through these paintings. Through painting and sculpture, Gregory Robin conveys the feeling of being present in a living, b...

„Save the marine animals“ written in ICAO-Alphabet, which is indespensable while sailing. 100 x 100 cm / 39“ x 39“ in Acrylics on canvas / texture free rolled shippi...

One of the photographers at Mauritius Publishing based in Berlin was Karl Heinrich Lämmel. Born on 30 July 1910 in Riesa, Saxony, he has been missing since April 1945. In the thirtie...

Bernhard Pankok (1872 Münster - 1943 Baierbrunn), General Wilhelm von Blume, 1915, aquatint etching, 34 x 29.5 cm (sheet size), 26 x 22 cm (plate size), signed in the plate at upper left, in pencil at lower right and dated in pencil at lower left. - At lower left old collection stamp, at the right broad margin with a small spot, otherwise very good condition. About the artwork The 1915 aquatint etching of General Wilhelm von Blume is based on a 1912 oil painting in the LWL-Museum für Kunst und Kultur in Münster. A second oil portrait of the general by Pankok is in the Staatsgalerie Stuttgart. When Pankok painted the first oil portrait in 1912, the general had already been retired for 16 years. It is therefore a retrospective portrait. Accordingly, the orientation of his head is such that he is looking back in both the oil painting and the etching. Without fixing on anything in particular, he looks thoughtfully inwards and reflects on his life. Uniformed and highly endowed, it is his military activities in particular that he is reviewing attentively and, as his gaze reveals, quite critically. Pankok has literally written the sum of his experiences on Wilhelm von Blume's face: The physiognomy is a veritable landscape of folds, furrows, ridges and gullies, all the more striking against the flat background. It is clear that each of the medals was also won through suffering. However, by breaking the boundaries of the picture, his bust appears as an unshakable massif, which gives the general a stoic quality. The fact that the design of the portrait was important to Pankok can be seen from the different versions, the present sheet being the third and probably final revision, which Pankok dates precisely to 18 February 1915. Compared with the previous state, the light background now has a dark area against which the sitter's face stands out, the dark background in turn combining with the uniform to create a new tension in the picture. Pankok's taking up of the portrait of the high-ranking military veteran and its graphic reproduction can also be seen in relation to the First World War, which had broken out in the meantime. In the face of modern weapons of mass destruction, Wilhelm von Blume's warfare and military writings were relics of a bygone, more value-oriented era. About the artist After studying at the Düsseldorf Art Academy from 1889 to 1891 under Heinrich Lauenstein, Adolf Schill, Hugo Crola, and Peter Janssen the Elder, Bernhard Pankok went to Munich in 1892, where he worked primarily as a graphic artist for the two major Jugendstil magazines "Pan" and "Jugend," which established his artistic success. Through this work he met Emil Orlik, with whom he had a lifelong friendship. In 1897, he exhibited his first furniture, and in 1898, together with Richard Riemerschmid, Bruno Paul and Hermann Obrist...

The painting and the preparatory drawing are offered together. Provenance Private collection, Germany, Trier, c. 1980- 2013 Saint John the Baptist Brown ink and wash over red chalk on oatmeal paper 31 x 20.5 cm Inscribed: „Ferrau Fenzonio da Faenza invt. esque … imp. da Fran. Villamena …“. bears the collector's mark of Henry Scipio Reitlinger (1882-1950; Lugt 2274a) on a tiny label glued to the verso On the reverse is a partial drawing of a Pieta, pricked for transfer. Provenance New York, Doyle, 14. October 2015, No. 6 The painting and the preparatory drawing resemble the composition of an engraving after Ferraù Fenzoni by Francesco Villamena. Drawing, engraving and painting are almost identical, except for minor differences. Even the measurements nearly correspond: painting (32 x 25,5 cm), drawing (30 x 20,5 cm), engraving (31,1 x 23,5 cm). Dr. Guiseppe Scavizzi confirmed the attribution of the present panting to Fenzoni and he dates it to c. 1590. The inscription on the drawing reads “Ferrau Fenzonio da Faenza invt. esque. . . imp. da Fran: Villamena . . .”. The engraving’s inscription also lists place and date “Ferra Fensionius inventor/F. Villamoena sculpsit Rome/Aspectu fruitur… antra puer/cum Privilegio… 1613”. Interestingly, the engraving is not mirrored as it is in most printing processes. Painting, drawing and engraving are not reversed but the same. It is remarkable to note that there are further paintings by Fenzoni which were engraved in the same order and not reverted. They also show strong parallels regarding the compositions and the measurements (see for example “Deposition of Christ” ). Ferraù Fenzoni was an Italian painter mainly active in Todi. He is also called Il Faenzone after his birthplace (Faenza). He apprenticed in Rome during the papacy of Gregory XIII and contributed to numerous fresco cycles under pope Sixtus V, such as the Loggia della Benedizioni in the Lateran Palace, the frescoes on the walls and vaults of the Scala Santa of the adjacent Basilica of San Giovanni in Laterano, and the decoration in the Sistine library. His expressive canvases straddle the styles of Mannerism and Baroque. In 1594, he moved to Todi. A “Last Judgement” by him is housed in the cathedral of Todi. He returned to Faenza in 1599, where he decorated chapels in the cathedral from 1612 to 1616. In 1622, he completed a “Deposition”, now in the local Pinacoteca. In 1640, Fenzoni was named “cavaliere dello speron d’oro” by Cardinal Colonna and, on 25th April 1634, he was nominated vicar and “castellano of Granarolo”. Fenzoni‘s style is characterized by a mixture of the Mannerism of the Northern Netherlands and the Italian Baroque. Saint John the Baptist, Old Master, 17th Century, By Fenzoni, Religious Scene, Rome Art...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

“I wanted freedom, open air and adventure. I found it on the sea.â€

Minimalism passion Neutral colors that you can't go wrong with and that definitely always looks classy Abstraction 70 x 200 cm / 28“ x 78“ in Acrylics/mixed media on canv...

The textures within the artworks play a crucial role in their visual impact. The artist employs various techniques to create tactile surfaces, such as layering thick paint, incorpora...

Ai Weiwei (Chinese, b. 1957) Bomb, 2020 Medium: Fine art inkjet print, Hahnemüle German etching 310g paper Dimensions: 95 x 130 cm (37 2/5 x 51 1/5 in) Edition of 100 + 25 AP: Hand-s...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

"ADawn Chorus" is a 2023 unique acrylic on canvas painting by German mid-career artist Dr. Michael Pröpper. Comes with certificate on back. 80 x 60 cm (HxW) It depicts a luminescent play of colors in abstract forms. Comes with Certificate. The artists Michael Pröpper recent works focus on luminescent abstract squares which fill the entire canvas. A painted picture is not in the least a two-dimensional representation of a figurative reality with color and canvas. It is much more. A painted picture is a living force-object, which releases the stored energy and soul for years at every sight. Each of these moments is an encounter with the depth, the feeling, the power and the inspiration that has been inscribed to it. Dr. Michael Pröpper, born 1968, artist and anthropologist, lives and works as a painter and installation artist near Hamburg. Various national and international exhibitions and art fairs, e.g. in Belgium, Denmark, England Italy, Japan, Luxembourg, Namibia, Austria, Sweden. For Dr. Michael Pröpper art and anthropology are two field that enrich each other and are important to one another. It is abut the pictorial reflection on how modern people...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Anni Albers (1899-1994) ST, 1971 Medium: Screenprint on cardboard Dimensions: 83 × 62 cm (32 7/10 × 24 2/5 in) Edition: Hand-signed and numbered Condition: Very good

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

In "Dizzy“, something inexplicable has happened in the middle of a sleepy city; a traffic accident where the fire brigade is trying to rectify and underst...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

“In Bloom (II)“ is a soft composition in light pastel colors, like a wild flowers meadow in the spring. The nature is coming to life, everything is about awakening, hope and posi...