Realist Art

Karlis Miesnieks (1887.31.I – 1977.25.X) Studied in the studio of J. Madernieks (1910), in Petersburg society of Imperial art promotion school (1911) and he graduated class of theat...

Jason Walker's (CAN based) "Donut Pile" is an oil painting that depicts a pile of varied glazed and powdered donuts all sitting together in the dark.

This is a hand-printed contact photograph using the 170-year-old cyanotype process and very big negatives the same size as the final print. These iconic Monterey pines can be found a...

Born in Milan, Italy Lupetti studied at the Royal Academy in Rome where he received classical training and was apprenticed to the school of restoration at the Vatican. At the age of fourteen he was accepted to attend Brera Liceo Artistico, one of the most prestigious art academies in Italy, graduating at age eighteen and then went on to win honors from the Royal Academy of Fine Arts in Rome eventually receiving the degree of Professor of Fine Arts. In Milan, he helped restore the famed La Scala Opera House, and in Rome he earned the right to help in the restoration of the Masters' Works in the Vatican's Sistine Chapel. Following service in WWII, Roberto came to America sponsored by the famous conductor Arturo Toscanini. A painting he did of the maestro was purchased by the San Francisco Art Commission. He moved to San Francisco where he taught at the Art Institute. As well as decorating churches throughout the U.S., he also painted portraits of such celebrities as Ingrid Bergman, Barbara Stanwyck, and General George Marshall. Roberto Lupetti earned five degrees at the Royal Academy of Fine Arts. Roberto was married to fellow artist Lynn Lupetti...

This is a diptych ofPocket White Anemone (c) and Pocket Juicy Red Strawberry. Both art works are the same size. Pocket Juicy Red Strawberry is an original oil painting by Dani Humb...

Roses in Antique Copper Pot Painted in the Style of Realism Oil Texas Artist 9" x 12" Painted by Texas artist Helene Robinson who has studied under great Texas painters. Artists ...

Original black and white photography by artist Jack Ludlam. Framed. Edition 1/3.

This artwork is a striking circular floral composition, depicting a vibrant bouquet against a textured white background. The centerpiece is a lush arrangement of blue and violet blos...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

A. E. Halliwell (1905-1987) Easter Excursions from London Gouache 26 x 15 cm c.1930 Artist's stamp to reverse Provenance: Family of the artist A.E. Halliwell (1905–1986) was a Brit...

A delicate gouache landscape showing a view of a Renaissance villa overlooking calm blue waters of Lake Como, Italy. Signed lower right, 'F. Catano', (Italian, 19th century); inscri...

Anton Ebert (Austrian, 1845-1896), Portrait of a Woman, Oil on Oval Canvas laid on Board, 19th century, signed "A. Ebert / Wien" to mid right, original ova...

Pears, Grapes and Crystal Egg Tempera, Realism It is painted in egg tempera which goes back centuries in the art world. Notice the reflections in the painting. It appears to be 3...

This mid-1980s landscape photograph, captured by society photographer Slim Aarons, features guests relaxing on the terrace at the villa of Umberto and Pucci Nordio, Portofino This i...

"Sundays Market", Emil Barbarini (1855-1930), The end of 19 century, oil on the wood, 36x57 cm. Signed with the pseudo "E.Rovier" Emil Barbarini (1855-...

JOHN WILLIAM NORTH, ARA, RWS (1842-1924) Courtship - Bicknoller, Somerset Signed with initials l.r.: JWN Watercolour Framed 17.5 by 13.5 cm., 7 b...

Charles Hunt, Jr. was born in Kensington, London, in 1829 and was part of a dynasty of painters. He was the son of the genre painter Charles Hunt (1803-1877) and father to four sons ...

MADONNA II by Artist RenateVogel-Stelling Expressive Realism: Female Nude. Vogel-Stelling: "I let my hand go, and where the brush becomes heavy, I push." A beautiful artwork that l...

This lovely Victorian animal landscape watercolour painting is by Dutch artist Johannes Martinus Vrolyk or Vrolijk. Painted in 1875, the painting is of two working horses, one white ...

Attributed to Frans Francken II (1581-1642) – "Adoration of the Magi" Medium: Oil on canvas Dimensions: 136 x 162 cm (unframed), 141 x 166 cm (framed) Provenance: Private collectio...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features a woman sunbatheing, wearing a novelty straw sun hat with built-in sunglasses, Venice. Th...

An original silver gelatin print by Robert Vavra, nationally acclaimed equine photographer.

Renata Boeck enjoying breakfast in bed at the Regency Hotel in New York, 1964. Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Slim Aarons Monocled...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634-1692) New College...

This is a fine circa 1910 pencil drawing of a Scottish society lady. Executed by one of the leading artists of the day in the circle of John Lavery it is a very striking and fascina...

Max Clarenbach (1880 Neuss - Cologne 1952), Evening. Etching, 18 x 41 cm (platemark), 33.5 x 57 cm (frame), inscribed "Abend" in pencil at lower left, signed and dated "M. Clarenbach. 28.III.[19]09". Framed and mounted under glass. - Somewhat browned and slightly foxed. About the artwork The horizontally elongated etching depicts the panoramic view of a small town as seen from the other side of the river. There are gabled houses on the left and a mighty church spire on the right. The bourgeois houses and the large religious building indicate the urban character. These buildings are rendered in dark tones to emphasise the lighter row of houses in the centre of the picture, closer to the water. The chiaroscuro contrast creates two parallel planes that open up a space for the imagination of what the city could be. The imagination is stimulated by the almost entirely dark, barely recognisable buildings, while the arm of the river leading into the city further stimulates the imagination. However, as the silhouette of the city as a whole is reflected in the water, the parallel planes are perceived as a band of houses that stretches across the entire horizontality of the etching and seems to continue beyond the borders of the picture. The reflection has almost the same intensity as the houses themselves, so that the band of buildings merges with their reflection to form the dominant formal unit of the picture. Only the parallel horizontal hatching creates the convincing impression of seeing water, demonstrating Max Clarenbach's mastery of the etching needle. The water is completely motionless, the reflection unclouded by the slightest movement of the waves, creating a symmetry within the formal unity of the cityscape and its reflection that goes beyond the motif of a mere cityscape. A pictorial order is established that integrates everything in the picture and has a metaphysical character as a structure of order that transcends the individual things. This pictorial order is not only relevant in the pictorial world, but the picture itself reveals the order of the reality it depicts. Revealing the metaphysical order of reality in the structures of its visibility is what drives Clarenbach as an artist and motivates him to return to the same circle of motifs. The symmetry described is at the same time inherent an asymmetry that is a reflection on art: While the real cityscape is cut off at the top of the picture, two chimneys and above all the church tower are not visible, the reflection illustrates reality in its entirety. The reflection occupies a much larger space in the picture than reality itself. Since antiquity, art has been understood primarily as a reflection of reality, but here Clarenbach makes it clear that art is not a mere appearance, which can at best be a reflection of reality, but that art has the potential to reveal reality itself. The revealed structure of order is by no means purely formalistic; it appears at the same time as the mood of the landscape. The picture is filled with an almost sacred silence. Nothing in the picture evokes a sound, and there is complete stillness. There are no people in Clarenbach's landscape paintings to bring action into the picture. Not even we ourselves are assigned a viewing position in the picture, so that we do not become thematic subjects of action. Clarenbach also refrains from depicting technical achievements. The absence of man and technology creates an atmosphere of timelessness. Even if the specific date proves that Clarenbach is depicting something that happened before his eyes, without the date we would not be able to say which decade, or even which century, we are in. The motionless stillness, then, does not result in time being frozen in the picture, but rather in a timeless eternity that is nevertheless, as the title "Abend" (evening), added by Clarenbach himself, makes clear, a phenomenon of transition. The landscape of the stalls is about to be completely plunged into darkness, the buildings behind it only faintly discernible. The slightly darkened state of the sheet is in keeping with this transitional quality, which also lends the scene a sepia quality that underlines its timelessness. And yet the depiction is tied to a very specific time. Clarenbach dates the picture to the evening of 28 March 1909, which does not refer to the making of the etching, but to the capture of the landscape's essence in the landscape itself. If the real landscape is thus in a state of transition, and therefore something ephemeral, art reveals its true nature in that reality, subject to the flow of phenomena, is transferred to an eternal moment, subject to a supra-temporal structure of order - revealed by art. Despite this supratemporality, the picture also shows the harbingers of night as the coming darkening of the world, which gives the picture a deeply melancholy quality, enhanced by the browning of the leaf. It is the philosophical content and the lyrical-melancholic effect of the graphic that give it its enchanting power. Once we are immersed in the image, it literally takes a jerk to disengage from it. This etching, so characteristic of Max Clarenbach's art, is - not least because of its dimensions - a major work in his graphic oeuvre. About the artist Born into poverty and orphaned at an early age, the artistically gifted young Max Clarenbach was discovered by Andreas Achenbach and admitted to the Düsseldorf Art Academy at the age of 13. "Completely penniless, I worked for an uncle in a cardboard factory in the evenings to pay for my studies.” - Max Clarenbach At the academy he studied under Arthur Kampf, among others, and in 1897 was accepted into Eugen Dücker...

North Cape, Norway Oil on canvas :26 x 39 in. Frame:35 x 48 in. Signed & dated München 1886. Michael Haubtmann wa...

Pastoral pencil on paper sketch by a celebrated Filipino artist, Jose V. Blanco. The drawing depicts Filipino women and children sorting out mangoes...

"Vachere au Bord de L'Eau" is an original etching and aquatint by Camille Pissarro, the 8th state. It can be found in the catalogue raisonne Delteil #93. It features a woman sitting ...

This vibrant and colorful piece, "Loyal Followers", is a 14x11 equine oil painting on canvas featuring a red coated huntsman atop his horse in a green grassy field during a fox hunt....

This superb atmospheric British Edwardian portrait oil painting is by noted Scottish artist Howard Somerville. Painted in 1911 it is a half length portrait of Miss Blanche Stuchbury,...

Pink Roses (vase) 20" x 24" oil on copper Florence Academy Floral Still-life "Pink Roses" is a realist still life painting of pink roses in porcelain vase w green accents. Situa...

This early 1960s portrait photograph, captured by society photographer Slim Aarons, features curlers on a rink, or curling sheet, in St Moritz, Switzerland, March 1963 This is an es...

Gouache on paper This artwork is offered by ClampArt, located in New York City Born in California, John Button (1929-1982) was educated at University of California, Berkeley. After...

Original Oil Painting signed by the Artist on the lower right corner.

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

Summer Garden Study I by Dylan Lloyd [2022] original and hand signed by the artist Oil on Canvas Image size: H:30 cm x W:24 cm Complete Size of Unframed Work: H:30 cm x W:24 cm x D:...

Luke Frazier (Born 1970) Utah Artist Image Size: 30 x 48 Frame Size: 39 x 57 Medium: Oil "Guadalupe Romance" Biography Luke Frazier (Born 1970) Luke Frazier grew up hunting and fishing in the mountains of northern Utah. These early forays into nature instilled a kinship with the wildlife, and a passion for the outdoors. As a child he spent hours scribbling, sketching and sculpting wildlife. Later, his formal art training occurred at Utah State University, where he earned a Bachelors of Fine Arts degree in painting and a Masters of Fine Arts degree in illustration. Every year, Frazier travels through Alaska, Canada, and the American West painting and photographing animals in their environment. His love of fly fishing and hunting is apparent in his work. Influenced by the art of Winslow Homer, Edgar Payne, Bruno Liljefors...

A large contemporary gallery wrapped canvas, the painted image is extended around the edges so no additional framing is necessary. Supplied ready to hand. Painted with professiona...

Composing non-living objects is completely different- especially when it comes to birds. I know it can maybe seem macabre at first, but I love photographing both living and non-livin...

Zorn, Anders. S. LOEB (SOLOMON LOEB). H&H76, Asplund 115, Delteil 113. Etching, 1897. Unsigned (signed in the plate). Apparently the 2d or 4th State of 4. All of the states are descr...

Joanne Tod (b. 1953) is a renowned Canadian painter acclaimed for her unwavering approach to realism, technical precision, and critical wit. She is also one of the country's most celebrated living portrait artists. Tod has frequently depicted institutional buildings such as banks, museums, and post offices to explore the architecture of authority and trust. These essential urban institutions shape our lives whether we acknowledge them or not. In her paintings, decorative elements such as columns and classical façades convey importance and permanence, while demanding our respect or even dependence. Tod highlights the aesthetic characteristics of these edifices, showing how power can be conveyed through beauty and awe. This painting is a portrait of the New York Life Insurance building, located at Place d'Armes in Old Montreal. The city was once known as a powerhouse of commerce, particularly in the 19th century, with most of the corporate headquarters based in this area. At the time of completion, circa 1899, this building was the tallest structure in the city and one of the most prestigious office buildings. Today this structure remains impressive, standing out with its striking red sandstone exterior, elegant clock tower and lavish interior. Tod is originally from Montreal, so her Place d'Armes paintings have a special resonance for her. See another painting from the series here. Tod captures the decorative features of the historic building in "New York Life." Painting in her signature realist style, she treats each surface with care, applying thin layers of paint to amplify the brighter hues. The veined marble...

JOHN DRONSFIELD (1900-1951) Costume Design Watercolour and pen and ink Unframed, in mount only 34 by 24 cm., 13 1/2 by 9 ½ in. (mount size 47.5 by 37 cm., 18 3/4 by 14 1/2 in.) J...

A view of the seaside pool at the Hotel St. Caterina, Amalfi, Italy, September 1984 Experience the timeless allure of the Amalfi Coast with Slim Aarons' captivating photograph, "Pool on the Amalfi Coast...

Artist: Artyom Abrahamyan, Work: Original Painting, Handmade artwork, One of a Kind Medium: Watercolor on Paper Year: 2025 Style: Classic Art Title: Robin Size: 12 x 16 inch, (30x4...

This lovely British Victorian landscape oil painting is by noted artist Sam Bough. It was painted in 1855 after Bough had moved to Hamilton Lanarkshire in Scotland to focus on painting landscapes alongside fellow artist Alexander Frazer. The location is the ancient forest of Cadzow in Lanarkshire which they both favoured. The landscape is of a rough path through ancient oaks heading towards more dense forest with white cattle grazing to the right. A superb balanced composition and an excellent example of Bough's skill in landscape painting. Signed lower left and dated 1855. Provenance. Christie's stencil verso 519GG. James Bourlet & Sons label verso. Condition. Oil on canvas, 28 inches by 18 inches unframed and in good condition. Frame. Housed in an ornate gilt Victorian frame, 35 inches by 25 inches framed and in good condition. Samuel Bough RSA (1822–1878) was an English-born landscape painter who spent much of his career working in Scotland. He was born the third of five children in Abbey Street, Carlisle in northern England, the son of James Bough (1794-1845), a shoemaker, and Lucy Walker, a cook. He was raised in relative poverty, but with a keen encouragement in the arts. He was self-taught but mixed with local artists such as Richard Harrington and George Sheffield, and was strongly influenced by the work of Turner. After an unsuccessful attempt to live as an artist in Carlisle he obtained a job and as a theatre scenery painter in Manchester in 1845, later also working in Glasgow in the same role. Encouraged by Daniel Macnee to take up landscape painting he moved to Hamilton from 1851-4 and worked there with Alexander Fraser. In 1854 he moved to Port Glasgow to work on his technique of painting ships and harbours. His paintings were noted for their sensitivity to atmosphere and light, were often of cloudy shorelines and busy harbours. He also began supplementing his income by illustrating books, before moving to Edinburgh in 1855. On coming to Edinburgh he lived in a terraced house at 5 Malta Terrace in the Stockbridge area of the city. Following Turner's example, he became a skil ful painter of seaports. He was buried in Dean Cemetery Edinburgh on 23 November 1878. The grave bears a bronze medallion of his head by William Brodie...

Landscape. 1942. Oil on cardboard, 36.5x47.5 cm Alfejs Bromults (1913.3.IV - 1991.11.I) His first professional education was at National University a...

This is an exclusive handprinted limited edition cyanotype. "Pacific Ocean Currents" is a handmade cyanotype print of rough water texture resembling Pacific Ocean swell. Details: + ...

Howard Scott Loose Talk Can Cost Lives Lithograph 51 x 36 cm 'Closed for the duration...Loose talk can cost lives.' In both the United Kingdom and the United States, there was a ...

Regatta. Watercolor, paper, 63 x 87 cm Zigmunds Šņore was born in 1942 in Latvia. His works has been exhibited since 1969 and are held in private collections in Latvia, USA, Swede...

For sale we have this large portrait depicting two young girls in white dresses, standing side by side and posing for the painting. Painted by John Peoli and the Girls happen to be J...

Artist: Lowell Nesbitt (1933-1993) Title: Impossible Series (Stone Leigh) Year: 1984 Medium: Oil on canvas Size: 18 x 18 inches Inscription: Signed, dated by the artist, verso LOWEL...

Bathers enjoy the sun by the pool at the Hôtel du Cap Eden-Roc, Antibes, France, 1978. Aarons' iconic photograph depicts the legendary hotel made famous by Fitzgerald's Tender is the...

This late 1960s landscape photograph, captured by society photographer Slim Aarons, features a couple walking on Caleta Beach holding hands, Acapulco, Mexico, 1968. This is an esta...

"Great Blue IV" (2024) by Lee Andre is a beautiful charcoal illustration of a crane mid-flight. Born in Korea and adopted at age five by a family in Minnesota, Lee Andre's early pen...

"Cherry on Top" Oil on Canvas, 6 x 6 inches. Painting of Chocolate Cupcake with White Frosting and Red Cherry on Top of a Pale Blue and Pin...

Pomona reexamines portraits of individuals throughout history to illustrate the premise that history flows into the present in an ever-changing state. And, with each new context, we view people and events through a contemporary lens specific to that moment. Pomona appropriates and contextualizes original portrait elements to create reinvented portraits using technique and patterning that brings a contemporary context and perspective to these historically inspired portraits. My current body of work, Contemporary Histories, explores this phenomena by re-interpreting historical portraiture using a contemporary visual language. It is my intent to create a modern visual lens through which to view these individuals and their legacies, as they continue to flow into the present in ever-changing states. As a keen example of how history changes and morphs over time, I have selected portraits of women who chose an alternate path from the traditional ones prescribed in their times. Some of these individuals overtly stepped outside the traditional roles prescribed for women to realize their goals. Others astutely maneuvered within the social system they lived in to obtain their aspirations. Whether altruistic or nefarious, these women and their actions altered the future cultural landscape. Through a 21st century lens, we view them as women with minds of their own, who made choices to control their own lives and futures. Often, in stark contrast to how they were viewed and how their actions were recorded in their own times. For a modern visual language, a combination of fine and decorative arts has inspired my approach to this subject. Employing several formal contemporary tenets, most notably, rather than place the figure in a 3-dimensional space, as in the originals, the figures reside in flat graphic picture planes of damask designs, repetitive patterns or botanical grounds as modern settings for their modern legacies. These graphic backgrounds symbolize what was historically considered a woman’s proper domain, in particular, gardening and needle crafts, such as; quilting, embroidery and sewing. Formally, unlike the originals, I am working alla prima, rather than with a base grisaille and delicate layers of glazing. While, the patterned and botanical environments, along with gold leaf applications, contemporary compositions and color palettes are formally influenced by a spectrum of 19th - 21st century artists and artisans; from Gustav Klimt and the Wiener Werkstatte to Henri Rousseau, Tamara de Lempicka and Will Cotton. BIO Honora Jacob...

The seaside swimming pool at the Hotel Taormina, Sicily, August 1975. Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Chromogenic...

When creating "Marble IV", I immersed myself in an artistic challenge that sought to capture the very essence of transparency and luminosity. This work, part of a series of hyperreal...

This mid-1950s photograph, captured by society photographer Slim Aarons, features American writer C.Z. Guest (Mrs F.C. Winston Guest, 1920 - 2003) and her son Alexander Michael Dougl...