Riccardo Magni Paintings

This tranquil landscape captures a sunlit autumn morning along a quiet stream. Delicate mist softens the background, while a weathered split-rail fence leads the eye through a grove ...

"Misty Sunrise" with soft pastels and glowing water reflections in a peaceful harbor is a quintessential example of Tom Swimm's enhanced realism. This colorful oil exhibits all of t...

This stunning autumn mountain landscape by renowned artist Raphael Lillywhite captures the breathtaking beauty of Colorado’s rugged terrain. Painted in the traditional plein air styl...

Four Sheep in the Field, Realist, Light/ Shadow Oil Painting 36" x 24" Farm The third and fourth photos show thow this painting will look after being professionally taken by 2/23...

This breathtaking original oil on canvas painting by James Emery Greer (1903-1990), titled Battered by Wind and Storms, Sangre de Cristos, offers a striking depiction of Southern Col...

'The Artist's Garden' by Julius Moessel, 1943. Munich Academy, Art Institute of Chicago, Philadelphia Academy of Fine Arts, Corcoran ----- Signed lower left 'Moessel' for Julius Moe...

A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good intentions of critical theorists questioning the va...

World War II Invades Central Park, 1943, oil on canvas, signed lower right, 30 x 36 inches, literature: Barton, Phyllis, Cecil C. Bell, McGrew Color Graphics (Kansas City, MO, 1976),...

Ernest Fiene (1894 - 1965) Low Tide at Noon, Wellfleet, Massachusetts Oil on canvas 26 x 36 inches Signed lower right Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in Paris from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. He was the subject of the first monograph for the Younger Artists Series in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene's paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene's paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene's paintings. Also in 1928 Fiene became affiliated with Edith Halpert's Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled "Changing Old New York," in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene's oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art's exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene's Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art's exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene's landscape paintings attracted numerous commissions as part of the American Scene movement. From 1935-36 Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings from this trip were featured in an exhibition held at the First National Bank in Pittsburgh in October of 1937 by the Pittsburgh Commission for Industrial Expansion. Fiene said of these works that he formed rhythm, opportunity for space and color, and integrity in the Pennsylvania mill and furnace paintings. Fiene received the silver medal for one of the Pittsburgh paintings...

“Winter Landscape with Cabin” is a snow scene landscape painting by William Thrasher executed in oil on canvas; measuring 18 x 24 inches. The piece has a silver-painted frame adorned...

In 1852, twenty-nine year old William Bradford was a failing shopkeeper in Fairhaven, Massachusetts. With a wife and child at home, Bradford, by his own admission, “spent too much time in painting to succeed” in business. Rescued from insolvency by his well-to-do in-laws, this is not the beginning of a narrative that generally leads to a happy ending. Not so with Bradford, who ultimately found international fame and fortune as a painter of arctic seascapes and dramatic marine paintings. William Bradford, the artist, was a lineal descendant of the 17th-century Separatist leader William Bradford, a founder of the Plymouth Plantation, signer of the Mayflower Compact and Governor of the Plymouth Colony. Our Bradford born to a New Bedford ship outfitter in Fairhaven, Massachusetts By the nineteenth century, this line of Bradfords were Quakers, living on the tract purchased nearly two centuries earlier by their pilgrim ancestor. Fairhaven, across the mouth of the Acushnet River from the whaling center of New Bedford was described by a New York journalist in 1857 as “the Brooklyn of New Bedford” (Home Journal, January 3, 1857). Young Bradford displayed an early predilection for the arts, but his Quaker parents were disinclined to support this particular pursuit. After working in his father’s business and then for a dry goods merchant in New Bedford, by 1849 Bradford had set up in New Bedford as a “merchant tailor” offering outfits for “those going to California,” “seamen’s clothing,” custom-tailored “piece goods...

This piece, "Fishing on Round Lake", is an 11x14 landscape oil painting on canvas by artist James Jahrsdoerfer. Featured is an afternoon view onto a...