Fernand Vidal

The moment of the Spirit, 1924

1924

Oil on canvas 73 x 45 cm Inscription lower left: 'A D. Veréchia study for "Mordochea"  Paul Alexandre Alfred Leroy spent a part of his childhood in Odessa and entered the Fine art...

Rudolf Latcher Self portrait, 1928 Oil on canvas 97,3 x 72 cm (106 x 81,5 x 4,5 cm with frame) Signed and dated upper left

Alfred Savignol (Pertuis 1877 - Nice 1959) Oil on canvas 55,5 x 42,5 cm (63 x 50 cm avec l’encadrement) = 21.9 × 16.7 in (24.8 × 19.7 in with frame) Signed lower right In this self...

Self-portrait by Edouard Dumoulin (1898 - 1973) 1928 Oil on canvas 48 x 37 cm (54 x 42 cm with frame 18.9 x 14.57 in (21.26 x 16.54 in with frame) Signed and dated lower left Online...

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

Allegory of art and drinking is a modern artwork realized by Luigi Pellini in the early 20th Century. Mixed colored oil painting on paper on cardboard. Includes frame. Hand signed...

Charles Léandre "Lovers" 1925 Oil painting / canvas on frame 115 x 81 cm Very nice condition! Selling price : 3900 euros

A classical anatomical figure in an artist's studio, surrounded by brushes and a palette, with muted tones creating a contemplative and intimate atmosphere. Contemporary figurative painting by Mark Beard [Bruce Sargeant (1898-1938)] Artist’s Studio n.d. Signed in red, u.r. Oil on canvas 36 x 18 inches $4,000 + $300 framing The pure and brilliant world of Bruce Sargeant’s art seems terribly removed from our own, unhampered by the prevalent inconsistencies of today’s world. Peopled with comely thoroughbreds, his paintings project a world vision unchanged from the models cherished by idealist writers like E. M. Forster and Rupert Brooke in that golden decade that led up to the Great War. Neither buff nor narcissistic, his fair-haired young athletes pose, somewhat uncomfortably, before the painter’s gaze, not wanting the attention yet feeling their duty to submit. Though tantalized by the New World dabbings of Robert Henri and John Sloan, Sargeant found his true inspiration in the art and ethos of fifth-century Athens, where the achievement of the kaloi kagathoi, young men who were “beautiful to look at and worthy of admiration,” were the perfect models for artistic rendering and public adulation. At base, Sargeant’s models, like the sculptures of Lysippus and Praxiteles, are idealized heroes whose achievements on the playing field earn them their renown. However, unlike his precursors, the painter requires no civic responsibility from his ephebes, only physical stamina, gymnastic prowess, and good looks. His work bespeaks a class that existed briefly, but was prolonged and attenuated in the languorous novels of writers such as Denton Welch...