Impressionist Art

Title: French Impressionist Harbour Scene with Fishing Boats and Whitewashed Houses By Fanch Lel Size: 15 x 18.25 inches (height x width) Oil painting on cardboard, unframed Conditio...

Impressive early American impressionist coastal seascape oil painting. Feels like a Maine scene with a bustling dock! Nicely framed. Oil on canvas. Signed illegibly. Image size,...

Original painting by Daria Kusto. acrylic on canvas. The magic flow reality... A dreamy, deep-blue elephant walking through a starlit sky, blends cosmic energy with gentle symbolism....

Artist: Varvarov Anatoly Viktorovich Title: Air Corridor, Sise: 55x47.5 inches, (1140x120 cm) Medium: Oil on Canvas Hand painted, original, one of a kind. "Air corridor" is an arresting image of freedom and soaring ambition. The photorealistic blue sky is teeming with swallows in graceful flight while paper planes...

Henry Thomas Clark (American, 1929-2000) Untitled, 20th Century Oil on canvas 16 x 18 1/8 in. Framed: 21 x 23 x 1 3/8 in. Signed lower left: Clark

Fresh Paint oil/panel 11 x 14 unframed 16.5 x 19.5 framed Fresh Paint is an oil painting on canvas by award winning contemporary artist Michael Budden that showcases a beautiful boat...

I like to draw bouquets of flowers in different vases. They are especially interesting in glass vases. Sun glare, reflection in water and play of colors. It's just very exciting.

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

Firmado por el artista en la parte inferior Estado de conservación bueno La obra se presenta sin enmarcar Medidas obra: 82 cm altura x 94 cm ancho. :::::::::::::::::::::::::::::::...

Small-scale yet bold multi-colored abstracted figurative landscape of a horse rider in a canyon (a study after Edgar Payne’s works) by Tiffanie Mang (Ameri...

James Taylor Harwood Wasatch Range, Utah Inscribed "Wasatch Range, Utah" on the stretcher Oil on canvas 16 x 31 inches Provenance Blanche M. Swan Private Collection James Taylor Ha...

Les Gitanos is a black and White etching realized by Edouard Manet in 1862.  Titled in the lower. Second state and lifetime impression realized by Société des Aquafortistes, with f...

In this painting, I've blended acrylic and oil, embracing expressionist and impressionist techniques to capture a vibrant, emotional landscape. It’s a symphony of colors and textures...

Artist: Vahe Yeremyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2023 Style: Impressionism, Title: Meadow, Size: 30" x 56" x 1'' inc...

From the series Rhythms of streets 4 acr. on canvas size - 31,5" x 31,5" (80cm x 80cm), 2023 Night city. A modern day city and a night city are two completely different cities. Dark...

Born in Cambridge, Massachusetts in 1891, John Gilmore Wolcott graduated from Harvard in 1914 and continued studies in art with Charles Woodbury. He was active in the Boston art scen...

Charles Henry Miller (American, 1842-1922) Untitled (Cows and Trees), c, 1885 Oil on canvas 18 x 24 in. Signed lower left: Chas. H. Miller, N.A. Charles Henry Miller was a noted artist and painter of landscapes from Long Island, New York. The American poet Bayard Taylor called him, "The artistic discoverer of the little continent of Long Island." Miller was educated at Mount Washington Collegiate Institute, and graduated in medicine at the New York Homeopathic Institute in 1864. Before his graduation, he had occasionally painted pictures, and in 1860 he exhibited The Challenge Accepted at the National Academy of Design, in New York City. He lived in Queens at the summer estate, Queenslawn, originally purchased by his parents. He went abroad in 1864 and again in 1867, and was a pupil in the Bavarian Royal Academy at Munich under the instruction of Adolf Lier...

This artwork captures a serene pastoral scene dominated by majestic mountains looming in the background. The towering peaks are rendered in cool, subdued blues, creating a dramatic c...

This artwork "California Coast" 1978 is an oil painting on hard board by noted California artist Robert Wee, 1927-2021. It is signed at the lower right corn...

Known for his evocative, snow-covered landscapes, Koeniger brings this subject to life with his bold, confident brushwork and keen eye for natural light. The composition centers arou...

A beautiful 1930's French impressionist oil on board depicting a view of the Montmartre neighbourhood of Paris, with the domes of Sacré-Coeur church in the background. Charming stre...

Colin Scott Provincetown Harbor Signed lower right Oil on board 15 x 20 inches

Oil on canvas by François Charles Cachoud (born in 1866 in Chambéry, Savoy and died in 1943) is a painter known today for his night effects and his chiaroscuro. Its artistic criteria...

Paulette Van Roekens Picnic Scene Signed lower center Oil on canvas 12 1/8 x 14 1/4 inches Painter Paulette van Roekens was born in France and attended the Philadelphia School of D...

Impressive early American impressionist flower still life oil painting. Framed. Oil on canvas. Signed. Image size, 30.5H by 21.5L.

FRANCES H. GEARHART and Sisters (THE GEARHARTS) SEA TREASURES...

OIL PAINTING Antique 19th Century Fine Quality Piece Gold Gilt frame OLD MASTER OIL PAINTING BRITISH SCHOOL 19th Century in a Gold Frame Description. 19th century Piece “Good C...

European artist, second half 20th century signed lower corner oil on canvas, framed framed: 25 x 35 inches canvas: 20 x 30 inches provenance: private ...

Blick aufs Meer Gaston Sebire, French (1920–2001) Oil on Canvas, signed lower right Size: 36 x 28 in. (91.44 x 71.12 cm) Frame Size: 44 x 36.5 inches Provenance: Wally Findlay Gallery

Title: French Oil painting of a Outdoor Market Scene in Impressionist Style By Fanch Lel (French b. 1930) Size: 6.5 x 8 inches (height x width) Signed: Bottom left Oil painting on bo...

Antique Canadian impressionist winter landscape oil painting by Joseph Archibald Browne (1862 - 1948). Oil on board. Signed. Framed. Measuring 15 by 19 inches overall and 10 by 14 pa...

Up for sale another beautiful mystery painting. An impressionistic little gem with very accomplished broken brushstroke technique. Painting is signed and dated upper right but I cann...

The Artists Model Nude Lady Model French School, circa 1970's signed oil painting on card, unframed size: 17.5 x 24.5 inches condition: overall very good, a very few light markings...

“Morning Light” is a stunning oil painting on an MDF board measuring 30x30 cm. The artist has beautifully captured the tranquility of a winter morning, bathed in soft light and delic...

Portrait of a Pekingese Dog English artist, late 19th century Watercolour drawing on board, unframed drawing: 7.25 x 5 inches Provenance: Private collection, UK Condition: This paint...

Paulette Lee works from her studio on Route 66 in South Pasadena, California. Her loose, expressive painting style is influenced by the Russian Masters of the 19th and 20th Century. ...

Lovely French oil painting on canvas depicting rows of lavender growing in a Provencal field. The farm house stands to the right and with distant hill...

Very impressive early 20th century impressionist winter landscape. A view of the Palisades. Great color and a panoramic view. Nicely framed.

Portrait of an Elegant Lady by John Arthur Machray Hay (Scottish, 1887-1960) signed and dated 1910 oil on canvas, unframed canvas: 30 x 24 inches provenance: private collection, UK c...

Henry Ward Ranger Seascape, circa 1905 Estate stamp lower right Oil on academy board 11 1/4 x 13 7/8 inches A key person in the establishment of the Old Lyme, Connecticut art colon...

Fishing Schooners and Sailboats at a dock, "Fischerschoner und Segelboote an einem Dock" by Rudolph Guba (German/American, 1884-1950) Impasto work which depicts several sailing ves...

Judd Mercer's (US based) "Spring Magic" is an gouache painting that depicts the tilted landscape of a hill covered with trees and young saplings all dusted with the snow of a past wi...

Signed oil on canvas board figures in cityscape circa 1940 by sought after French impressionist painter Edouard Cortes. The work depicts an autumnal scene of the the Arc de Triomphe,...

A dynamic and highly detailed 1932 oil painting by Allan C. Sawyer, this work captures an exhilarating regatta with a fleet of classic sailboats cutting through wind-whipped waves. P...

This bright and cheerful painting is notated as “A Boating Party - Sudbury River”. It is by listed American artist Henry Orne Rider (1860-1943). Born in Salem, Massachusetts, Rider ...

Impressive early American impressionist view of New York City oil painting by Johann Berthelsen (1883 - 1972). Framed. Oil on canvas. Signed. Image size, 12H by 16L.

The Studio Model French Impressionist artist, circa 1890's oil on canvas: 27.5 x 16.5 inches provenance: private collection, France condition: very good and sound condition

Rainy parisian afternoon Acr. on canvas painting. Size of painting - 25cm x 25cm , Cloudy Parisian afternoon. A bush with flowers, cool shadows and an unusual atmosphere of mystery o...

William Edward Bloomfield Starkweather Bathing Hour, Belle-en-Mer, France, 1908 Signed lower left Signed, titled and dated on verso Oil on canvas 27 x 36 inches Provenance Estate of...

Oil on canvas by Roger GRILLON (1881-1938), France, 1914. "Bathers". With frame: 114x94 cm - 44.9x37 inches ; without frame: 92x73cm - 36.2x28.75 inches. 30F format. Signed lower lef...

Artwork sold with frame (43x45 cm) Matteo Sarno (1894–1957) was an Italian painter renowned for his impressionistic landscapes and seascapes, particularly those depicting the coasta...

Winter Farm II oil/canvas panel 6 x 8 image unframe, 9.63 x 11.63 framed Signed LL I enjoy playing with light in my paintings and creating a mood while trying to push the range of co...

Oil painting on Canvas, a reclining odalisque Nude 20Th Additional Info: Title: reclining odalisque nude Medium: original oil on canvas Signature: Signed lower right Provenance: pr...

Evening Journey oil/panel The image measures 8 x 12 unframed, 11.5 x 15.5 framed. Evening Journey is a beautiful oil painting on panel by award winning contemporary artist Michael B...

Title: French Impressionist Oil Painting of Fishing Boats in a Harbor By Fanch Lel (French b. 1930) Size: 9.5 x 13 inches (height x width...

Otto Henry Schneider: 1865-1950. Well listed American artist with auction records over $22000 who is mostly associated with southern California San Diego. He studied at Art Institute...

Wonderful Impressionist view of St. Marks Square, Venice. Pam Masco was an American from Massachusetts, and a graduate of the School of the Boston Museum of Fine Arts (1976). She was married to the English artist John Heseltine. Her work is in well-known private and corporate collections and has been shown at the Royal Society of British Artists, the Royal Watercolour Society and other London Galleries as well as in the Provinces. She travelled throughout the U.S.A. and Europe and painted American and European subjects, portraits, landscape and figure compositions, still life and interiors. From 1978 she was involved in drawing, painting, technical painting courses, watercolour and graphic design. She illustrated for major British and American publishers until 1988. Authors include Bruce Chatwin...