Pal Fried

Pal Fried Original Oil Painting On Canvas Signed Western Horse Animal Artwork

Lush Tree Lined Towpath on the River Lagan in Northern Ireland by 20th Century Irish Artist, Jim Matthews Art measures 30 x 20 inches Frame measures 36 x 26 inches This unique orig...

Title: Shepherd in the Pyrenees Artist: Enric Porta i Mestre (1898–1993) Technique: Oil on canvas Style: Post-Impressionism with Expressionist influences Dimensions: Unframed: 23.6 x 31.9 in Framed: 29.9 x 38.2 in Signature: Signed in the lower right corner as "E. Porta". Date: 1956 (according to the inscription on the back). DESCRIPTION OF THE WORK Shepherd in the Pyrenees by Enric Porta i Mestre depicts a rural scene with a striking sense of introspection and evocative charm. The painting portrays a shepherd tending to his flock amidst the mountainous landscape typical of the Catalan Pyrenees. The composition captures the serenity and beauty of nature through vibrant colors and dynamic brushstrokes. The work reflects a Post-Impressionist style with loose, bold strokes and vivid tones, combined with Expressionist influences in its ability to evoke emotions beyond the physical depiction. The energetic and textured brushwork infuses the painting with a lively rhythm, while the rich palette of greens and blues immerses the viewer in the landscape's tranquil atmosphere. In this piece, Porta i Mestre showcases a mastery of color and light, illustrating his deep connection to his homeland and its rural life, which served as a source of inspiration throughout his career. ARTIST BIOGRAPHY Enric Porta i Mestre (La Pobla de Segur, 1898–1993) was a Catalan painter known for his landscapes, still lifes, and costumbrist depictions. Trained in Lleida and Barcelona, Porta debuted in 1922 with an exhibition in the Catalan capital. He later moved to Paris to further his artistic studies, where he connected with avant-garde artists such as Miquel Villà...

flowers ,violet, violets MAYA KOPITZEVA (Gagra, Georgia, 1924 - 2005) Maya Kopitzeva’s works have been acquired by the Russian Ministry of Culture, by the Foundation for the Rus...

Victor Lagerström (1864–1948) Sweden Portrait of an Elderly Man, 1913 oil on canvas signed “V.L” and dated “13” unframed: 24.5 × 22 cm (9.65 × 8.66 in) framed: 42 × 39 cm (16.54 ×...

Masterfully designed scene of an attractive young Redhead sitting by a canoe under a tree with hanging Spanish moss. It is rendered in a quick Arts and Crafts style that is both abstract and representational. The viewer can stare at it endlessly and still discover new pictorial relationships. Every brush stroke and every dab of paint is perfectly placed. Signed lower left. Most likely for Saturday Evening Post or Colliers. Provenance: Grapefruitmoon Gallery Lauderbacks existing illustration works are quite scarce Louderback is a painter/illustrator of the Golden Age of Illustration...

La Corderie et le Pain de Sucre by Paulémile Pissarro (1884-1972) Oil on canvas 65 x 54 cm (25 ⁵/₈ x 21 ¹/₄ inches) Signed lower left, Paulémile- Pissarro- Signed and titled on the r...

Paris Street in the Snow with Figures - Vintage Oil Painting by Italian Artist, Pietro Griffo (1934 - 1995). Original - Signed Art measures 30 x 24 inches Fram measures 34 x 28 inch...

Signed post impressionist oil on canvas figure in landscape circa 1910 by French painter Lucien Levy-Dhurmer. The piece depicts a man in Arab dress seated on a high hillside platform praying amongst white clouds. We can see the faint online of a town below. Signature: Signed lower right Dimensions: Framed: 32"x40" Unframed: 24"x32" Provenance: Private French collection The authenticity of this work has been confirmed by Jean-David Jumeau-Lafond A certificate from Jean-David Jumeau-Lafond is available upon request Lucien Lévy-Dhurmer did not follow the conventional route for education in fine arts but was nevertheless a pupil of the painters Raphaël Collin, Vio and Wallet. He was an ornamental painter in an earthenware factory in Golfe-Juan from 1887 to 1895, which influenced his use of pastel. He travelled to Italy in 1895. Around 1902 he painted the portraits of Rodenbach, Pierre Loti and Marguerite Moreno. Although he had not been instructed by Puvis de Chavannes or Gustave Moreau, he seemed to have much in common with those visionary 'painters of the soul' who had been exhibiting at the Salon de la Rose-Croix for several years: Edmond Aman-Jean, Louis Welden Hawkins, Henri Martin, Charles Maurin and Alphonse Osbert. Following the example of some of these artists, Lévy-Dhurmer admired Italian Renaissance art, evidence of which can be seen in pastels such as Woman with a Medal, Medusa, Circes and Florence. His translation of the Symbolist themes in the scores of Beethoven ( Appassionata), Fauré or Debussy into different hues made him seem like a visionary, but his aesthetic seems to have changed to some extent after 1900, when his landscape painting became more prominent. In fact, only his presentation and style changed. He continued to suggest feelings, interpretations and emotions but without relying on any traditional allegories. He became involved in the Intimist movement, along with Ernest Laurent, Charles Cottet, Henri le Sidaner and René Ménard, whose pastels presaged the Classicism of the 1930s. He exhibited at the Salon des Artistes Français in Paris from 1882. From 1906 he was associated with the Salon de la Société Nationale des Beaux-Arts. He showed his works in individual exhibitions, notably in 1896 at the Galerie Georges Petit in Paris, which was a very successful exhibition and earned him admiration in artistic and literary circles alike. Several decades later the exhibition Around Lévy-Dhurmer ( Autour de Lévy-Dhurmer) at the Galeries du Grand Palais in Paris in 1973 revealed a tendency in art which had been largely unknown until then and which remained on the margins of the great innovative movements of the 20th century, but which was nonetheless of a quality which could not be ignored. Lévy-Dhurmer obtained a distinction from the Salon des Artistes Français in 1896 and a bronze medal at the 1900 Exposition Universelle in Paris. He became a Chevalier of the Légion d'Honneur in 1902. Museum and Gallery Holdings Bayonne (Mus. Basque): Portrait of Pierre Loti (1896, pastel) Brest (MBA): Circes Detroit (AI): Vase with Dragonflies (1890, earthenware with iridescent glaze) Mulhouse: Harvest New York (Metropolitan Mus. of Art): Flower Pot (c. 1893, earthenware with metallic glaze) Paris (Mus. d'Orsay): Portrait of Georges Rodenbach (c. 1895, pastel on paper); The Woman with a Medal (1896, pastel on paper on card); The Lost Explorer...

Marc Chagall 1887-1985 Russian Couple sur le lit (Couple on bed) Signed 'Marc Chagall' (lower right) Oil and India ink on canvas Marc Chagall's exquisite work, Couple sur le lit,...

A beautiful woman sits at an open window, gazing down at a small bird who has landed nearby in this serene portrait by Charles Levier. Warm orange tones are played off their complements in shades of blue, the artist utilizing several different layers of oils to create a subtle and relaxed view of a spring day near the sea. Beyond the window a small chapel sits on a peninsula, surrounded tranquil blue waters. This work, like many of Levier's, belongs to the French figurative movement of the Glorious Thirty (Les Trente Glorieuses) - the golden period of thirty years after WWII which were a time of great hope and prosperity in France. Inspired by Hollywood cinema, Charles Levier sought harmony in composition and purity of color and form. His said that his creations represented "a light and delicate world, of dark and subtle shades and colors." Levier worked in a somewhat abstracted, cubist style. Additionally he often employed the French technique of "cloisonnism" (after the French for "partition"), a style of post-Impressionist painting with bold and flat forms separated by dark contours, also seen in this work. The term was coined by critic Edouard Dujardin on the occasion of the Salon des Indépendants, in March 1888 and was commonly used by artists like Émile Bernard, Louis Anquetin, Paul...