Portrait from the French Revolution Titled Le Terreur by Claude-Marie Dubufe

Whimsical oil painting titled Le Dance dated 1944. Painting measures 25" wide, 2.25" deep and 37" high.

A well executed miniature of Marie Antionette from the late 19th century after an original portrait by Elisabeth Louise Vigée Le Brun (1755-1842). Thi...

Copy of a painting titled "Nude" showing classical rendering of partially clothed nude on bed with pillows.

The 4 seasons are represented on these canvases signed, countersigned and titled on the back "RASKY". These are oils on canvas in good condition. These 4 canvases are large and will ...

We kindly suggest that you read the entire description, as with it we try to give you detailed technical and historical information to ensure the authenticity of our objects. Painting oil painting on canvas is made with mixed technique brush and spatula; the author used traditional brushes for a first draft giving shape to the whole drawing with an expert, loose wrist play and with sure and decisive brushstrokes; the representation, in this case, is not a pure exercise of virtuosity, in fact, the author communicates us his intimate essence manifesting it through the language of colors, shapes, and composition. The artist finished his work with the technique of spatula painting, named after the protagonist's instrument, redistributing the colors densely and consistently, making the painting take on a special body and depth. The painting is signed but we are unable to give definite information about the author, however, we confirm its extraordinary aesthetic and engaging vividness; the painting was made in 1989 in the author's studio in Paris whose intentions were to celebrate the 200th anniversary of the French Revolution (1789). The painter was inspired by both French Expressionism and Symbolism; Expressionism exalts the emotional value of art; it is the artist's desire to communicate inner feelings, while with Symbolism, painters tend to go beyond the objective representation of reality to focus instead on the subjective vision, in which inner feelings, emotions, and experiences are evoked above all. Our painting is overflowing with the symbolism of the French Revolution; it is practically an evocative essence of it. This important and overwhelming historical event is powerfully present in the soul of the artist who wanted to overbearingly communicate to us his deepest emotions by transposing them entirely in the painting with strong and vivid colors, he did not want to simply allude or hint but to express, indeed "shout" his own deep interiority. In his intentions, the painting schematically and symbolically represents a standard-bearer of the French Revolution wearing the classic "Phrygian" hat. The author used only the three colors white, red, and blue that characterized the flags of the French Revolution; they were the new banners, which opposed the traditional emblem of the monarchy, the lilies on a white field. Three were the colors because three were the goals of the Revolution: liberty, equality, and fraternity, and they represented the three classes into which French society of the time was divided: the clergy (blue), the nobility (white), and the third state (red). The "Phrygian" cap (Latin for pileus) painted in red in the painting also has a high symbolic value, In Roman times it was worn by the " freedmen" to show that they were now freed slaves but in the French Revolution it became the very symbol of Liberty; a similar cap was worn by the freed Marseilles convicts in 1792, and was the symbol of the Jacobins during the French Revolution. Due to this fact, in addition to its historical meaning of freedom, it was later adopted as a symbol of the revolution itself, a symbol immortalized on the "Marianne," the very emblem of France, in Eugène Delacroix's famous painting "Liberty Leading the People...

painting by Cortey de Bagnes signed back "peint par Cortey de Bagnes " representing as written directly on the painting "portrait of the Virgin Mary" Felix Cortey born and died in Ch...

Introducing the exquisite masterpiece, the "Original Oil Painting Titled THE OLYMPIAN" by the talented artist Simona Elkin. This captivating artwork is a true gem that will effortles...

Georges Rouault (French, 1871-1958) - Étude pour le Portrait de Marie Thérèse Bonney. A large specimen painting for Rouault beautifully framed in a shadow fashion making a grandiose ...

Painting, oil on canvas from the early 20th century, depicting the Pont Marie. Oil on canvas, painting from the early 20th century, depicting the Pont Marie, framed, signed. Frame: ...

Portraits of the monarchs Louis XIII and Anne-Marie of Austria as hunters. Oil on canvas. Possibly Madrid school, 17th century. Pair of full-length portraits showing the characters against natural backgrounds, with landscapes with mountains in the distance and trees. The male character, who looks directly at the viewer, has dark hair and a fine moustache, and is dressed in a ruff, a doublet, leather gloves, a blued breastplate with gold details, breeches, white silk stockings and cavalier boots. The lady, who modestly lowers her gaze, has her head partially covered with a hat decorated with a brooch and white feathers; she is dressed in a ruff and a dress with a wide-skirted doublet and skirt, wide-mouthed gloves and a short cloak with a decorated edge gathered around the left arm and placed over the right side of the skirt. Alongside these “hunting” dresses, they appear carrying firearms and accompanied by large dogs. The king's dog is standing alertly, turning his head to one side. The queen's dog is sitting looking at her, with a collar and a rope that she holds in her left hand. The male subject is clearly the French King Louis XIII (Fontainebleau, 1601-Saint-Germain-en-Laye, 1643), monarch of France and Navarre (1610-1643), son of Henry IV of France and Marie de Médicis and father of Louis XIV of France. Compare with other portraits: by Rubens, painted around 1622-1625 at the Norton Simon Museum (Pasadena, California, USA); by Philippe de Champaigne, painted in 1635 and kept at the Museo del Prado (Madrid, Spain); the painting by Frans Pourbus the Younger from the 1920s at the Musée des Beaux-Arts in Chambéry (France); etc. Louis XIII married Anne of Austria, daughter of Philip III of Spain, in 1615. This was brought about by the marriage agreement of Fountainebleau (1611), which stipulated the future wedding of the Prince of Asturias, Philip IV, with the French princess Isabella of Bourbon, and that of the French monarch with Anne. Anne Maria Mauricia of Austria and Austria-Styria (Valladolid, 1601-Paris, 1666) was an Infanta of Spain and Portugal as the daughter of Philip III of Spain and Margaret of...