Stone Landscape Paintings

Oil on marble 18,5 x 35 cm (25 x 41,5 cm with frame) = 7.3 × 13.8 in (9.8 × 16.3 in with frame) Signed lower left A marble landscape, heavenly Jerusalem, an ancient city lashed by w...

Shizico Yi embarked upon an odyssey this summer, surrendering to the irresistible garden which is compelling her to create a series of plein air paintings that transcended the bounda...

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing an...

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing and conveying its contents, with particular involvement of methodologies from geography, anthropology, sociology to cultural studies. Her works have been in the past approached to the works of Anselm Kiefer (b. 1945) and Giovanni Battista Piranesi (1720-1770), but in Gullotta's paintings the absence of color makes the spaces particularly ethereal, allowing them to be ideally lifted to new places and to new life. We often speak of a "brain drain," but in this case we are truly happy to be able to say that this is a "return," and an important one: an artist of international caliber who has decided to entrust her return to her homeland to Almach Art...

Fading Habitat by Candy James [2022] original and hand signed by the artist Cotswold Natural Earth Pigments, Charcoal, Limestone & Ink on Canvas Image s...

Marble powder, mortar, glue. 93 cm x 74 cm. This artwork is sold unframed, with a certificate of authenticity signed by the artist. Focusing his artistic research on the gesture, Chilean-French artists Franco Salas Borquez...

"Snow in Japan " abstract painting acrylic on linen canvas 120x60cm white send in wooden crate reading "Land of Snow" by Yasunari Kawabata, I wanted to paint in white something graph...

Evelyn Metzger 1911-2007 Biography from an exhibit catalog published by Frank Partridge Inc in 1964. As a child, Evelyn Metzger attended the drawing classes of George Bridg...

Marble powder. 95 cm x 130 cm. This artwork is sold unframed, with a certificate of authenticity signed by the artist. Focusing his artistic research on the gesture, Chilean-French ...

Marble powder. 95 cm x 87 cm. This artwork is sold unframed, with a certificate of authenticity signed by the artist. Focusing his artistic research on the gesture, Chilean-French a...

Unframed Manuel Capdevila i Massana (Barcelona, ​​December 28, 1910 - April 18, 2006) was a Catalan painter and goldsmith, son of the goldsmith Joaquín Capdevila y Meya and father o...

Mary Magdalene Roman classicism of the 17th century Circle of Gian Domenico Cerrini (Perugia, 1609 - Rome, 1681) Oil on slate 54.5 x 47.5 cm. Framed 74 x 68 cm. A female character who has always been a favorite in art for her often contrasting faces, Mary Magdalene is beautifully portrayed here according to the canons of ideal beauty imposed by the classicism of the early 17th century With his hands he holds the ampoule of ointment (Maddalena mirrofora), its typical iconographic element, which the sinner used to perfume the feet of Jesus, who also refers to the episode of the discovery of the resurrection, when Mary went to the sepulcher for sprinkle the body of the Messiah with perfumed balm. Our Maddalene fully reflects the canons of classicism, whose aesthetic ideals tended to idealize the subjects portrayed: the Saint is in fact rendered with a classic pose, almost like an ancient statue, her hair neatly lifted by the wind and an ethereal expression, as well as the his white face. In particular, the work recalls, for style and compositional taste, the compositions of the Perugian Giovanni Domenico Cerrini, one of the most distinguished exponents of Roman classicism, and among the main collaborators of Guido Reni in his workshop in Rome. According to various sources, he would have also worked for Domenichino, until he himself acquired an independent artistic personality in Rome. Enjoying soon the favors of the Roman patrician families Spada and Rospigliosi, in particular thanks to the cardinals Bernardino Spada and Giulio Rospigliosi, Cerrini soon achieved great success, receiving many positions of the Roman curia and aristocracy. The painting is made in oil on a slate support, according to a widely used technique starting from the first half of the sixteenth century. On a collector level, painting on marble...