Berlin - Figurative Paintings

"Loading" is a reflection on the moment when a miracle begins to take form. The painting features pink hydrangeas, symbolizing the gentle, almost imperceptible unfolding of something...

"I'll Call You in the Midnight" captures a moment of silence and inner focus. A woman slowly brushes her hair, savoring the rare time spent alone. In her gestures, there is a sense o...

"Red Bikini" captures a moment of transition between two states: carefree freedom and the anticipation of a new encounter. A woman putting on a dress with her red bikini draped over ...

shipped in roll “Dreamline” captures the moment a woman steps into a journey driven not by directions, but by desire. She’s not following a map — she’s drawing her own invisible lin...

shipped in roll Very wet Oil on canvas Pop art aesthetics / Contemporary figurative painting In this work, the body becomes a symbol — a sign of heat, presence, and vitality. It los...

This work brings together two rhythms — the pulse of the outside world and the stillness within. Good Vibes is a visual meditation on the power of memory: how a fleeting scent, a war...

"Leave Me Alone" is a manifesto of inner freedom and the beauty of personal emotions. Painted in vivid, lively colors, the work captures the richness of feelings that arise when one ...

shipped in roll Secret Spot explores the theme of hidden desires and memories that often remain in the shadows of consciousness, waiting for the moment to be revealed. The artistic f...

shipped in roll "Freiheit" (Freedom) captures a fleeting but powerful moment of authenticity. The high heels, casually held in one hand, contrast with the bare feet touching the gra...

A contemporary portrait of a young woman, captured in a moment of silence and inner reflection. This painting speaks of trust in oneself - a quiet inner space where there are no clea...

This piece is a meditation on self-acceptance and inner peace. It's a call to embrace your true nature and cultivate self-love. In a world obsessed with trends, status, and constant ...

shipped in roll Kseniya Rai is an artist whose work is devoted to the pursuit of inner peace and positive energy in an ever-changing world. Through her art, she seeks to convey a se...

This painting reflects the subtle transformations we experience within ourselves. The flowers appear to dissolve and shift, symbolizing the ever-changing nature of our emotions and s...

“You & Me” tells a story that belongs to someone — perhaps to those who once shared quiet afternoons by the water, where time seemed to pause. These four paintings capture fragments ...

Gertrude Degenhardt (1940 New York - 2025 Greifswald), Two Fantastic Scenes, 1970. Oil on hardboard, each 27.5 cm x 22.5 cm (pictures), 38 cm x 33 cm (frame), each signed “G. Degenha...

"Eternal Spring in the Garden of My Soul" is an ode to inner renewal and endless life energy. The painting features geraniums — a symbol of resilience and beauty — set against a shim...

This painting depicts a woman infused with energy, attuned to her inner voice and the vibrations of the world. She sits atop sand dunes in the desert, as if resting on waves, and aro...

Vibrant oil on canvas by Italian painter Riccardo Damiani, executed in the late 20th century and signed lower right. The composition depicts three ladies at a shallow stream, their r...

This painting reflects the joy of existence, space transformation, and meditation. The figure sits in a meditative pose, arms raised, embracing the energy of the universe. Surrounded...

The painting depicts a young woman immersed in sleep. Her peaceful face reflects tranquility and serenity. In the background, an ornamental representation of the sun can be seen, sym...

Antique Rococo Oil Painting, around 1800, Royal Dance in the Garden Oil on canvas. Canvas relined. Stretcher renewed. Dimensions are without fra...

This painting embodies the harmony between nature and the inner world of a person. The woman seems to dissolve into a swirl of soft shades of green, pink, and blue. Her pose radiates...

J.Strebele oil on canvas signed lower left 110 x 98 cm The raising of Lazarus is one of the best-known and most significant miracle stories in the New Testament. Source: It is...

The picture is oil on canvas. baroque picture Catherine II the Great (born Sophie Auguste Friederike von Anhalt-Zerbst-Dornburg, in Orthodoxy Yekaterina Alekseyevna, April 21 [May ...

Ludwig Gschossmann, Summer beach landscape with riders, horses, people. Munich artist. Dimensions WITHOUT frame in cm 50 x 60 Dimensions WITH frame in cm 68 x 78 This picturesque ...

Decorative Painting by: R. Holst, 1944, Walk through the forest, mother with child and dog. Signed and dated lower right. Dimensions without frame: 61 ...

enamel on metal plate marked on the back Born on November 16, 1740, in Lobenstein (Vogtland), and died on August 31, 1829, in Braunschweig. Berlin Classicism Entrepreneur, lacq...

oil on panel signed 45 x37,5x 3 cm Theodor von der Beek (1838–1921) was a German painter, primarily known for his portraits and genre subjects, and a member of the Düsseldorf School...

Charming pair of winter landscape paintings by Polish artist Jan Wolski (circa 1907–1990), each finely executed in oil on panel and signed lower right. The compositions depict horse-...

"Hot Hot Summer" is both a visual delight and a playful provocation. This artwork explores themes of desire, indulgence, and the sweet loss of control. Ice cream melts between the fi...

Hermann Schütte (1893 Osnabrück - 1973 Hamburg), White Mask on Violet Ground. Enameled copper plate on wooden base, 37 x 29.5 cm, monogrammed and dated "S[chütte] [19]62" in the lowe...

oil on canvas unsigned

The Girl Whose Hair Smells Like Spring This contemporary portrait of a young woman captures a tender connection between femininity and nature. Her hair seems to carry the scent of e...

Pair of decorative antique oil paintings, portraits. 19th century. Signed and dated. Dimensions with frame in cm EACH PAINTING 53 x 63

This painting reflects the subtle transformations we experience within ourselves. The flowers appear to dissolve and shift, symbolizing the ever-changing nature of our emotions and s...

Gustl Stark (1917 Mainz - 2009 ibid.), Small Nude, 1946. Oil on canvas, marouflaged, 54 x 25 cm (picture), 30 x 60 cm (frame), signed "Stark" top left, verso twice signed "Gustav Stark", inscribed by hand as "Small Nude" and dated by hand "1946". With label of the exhibition of the Bundeshaus Bonn from 1956. - Rubbed area in the lower third of the body, at the same level a retouch in the ochre background. I provisional frame. - Abstract Figurativity - About the artwork During the war, Gustl Stark suffered a particularly severe blow for an artist: he lost his right arm. Nevertheless, he continued to devote himself to art, and the painting, created in 1946, immediately after the end of the Nazi reign of terror, testifies to the dawn of a new era. At the same time, the work is a rare example of the artist's early figurative work, as Stark turned entirely to abstract painting as early as 1950. And even this painting is by no means purely figurative; rather, it already illustrates Stark's turn toward abstraction. We see a female nude, but one that remains faceless. This can be read symbolically and in relation to the immediate past epoch, which, in the face of horrors, silences and blinds - literally renders faceless. In this sense, the figure is positioned to 'look back'. But she does not look. While this meaning may resonate and make the painting an important work of the immediate postwar period, Gustl Stark is primarily concerned with something else here, namely art itself. The absence of the face leads to the body becoming something flat. Due to the de-individualization, we do not see a concrete person with his individual features, but a body surface. And indeed, the body is constructed through an extremely planar design. Even the contour lines that form the corporeality have a planar rather than a linear character, especially where they merge into shadow zones of almost the same color. And the surfaces themselves are not modeled. The incarnate parts do not show any plastic gradations; the corporeality is completely withdrawn into the plane, which is also true for the hair. In addition, there is no uniform background against which the figure could appear; rather, the area next to the hair is kept bluish, creating a succession of earth-toned colored areas, which again binds the figure to the surface. Last but not least, the flatness is also forced by the painting technique. Gustl Stark paints directly, a la prima, onto the coarse canvas, whereby the structure of the painting support remains visible in the picture, and in places - around the hair, for example - the canvas itself can be seen. This structural all-over lends the picture a certain flatness. Gustl Stark thus uses the very motif that stands for the corporeality of art par excellence - the female nude - to transform the spatiality of the traditional picture into a flatness characteristic of modern art. And yet, a strong impression of corporeality is created, without being produced by a painterly modeling of the body. The oscillation between flatness and corporeality creates the intense tension of this groundbreaking painting. In Gustl Stark's oeuvre, as a consequence of the abstraction we see here, the figurative is completely stripped away in a further step, which is also a loss when looking at this early key work. About the artist Gustl Stark was the son of a woodcarver and, after an apprenticeship as a decorative painter, attended the State School of Arts and Crafts in Mainz from 1936 to 1937. Although he was severely wounded in the war and lost his right arm, he studied at the Würzburg School of Painting and Drawing from 1943-1944 and then at the Academy of Fine Arts in Nuremberg from 1944-1948. He won a state scholarship at the state art competition in Bad Ischl. Numerous study trips to Sylt, Paris, Switzerland, Austria, Italy, Holland and Belgium followed. Gustl Stark worked in Mainz and was the first artist there to focus on abstract painting. His work quickly gained international recognition, including the Salon Réaliés Nouvelles in Paris. From 1963-1970 he taught at the State University Institute for Art and Work Education in Mainz and from 1970-1975 at the Johannes Gutenberg University. Gustl Stark became particularly famous for his color embossed prints, for which he invented his own technique. Gustl Stark received numerous awards for his work. He received the Art Prize for Painting of the City of Mainz in 1962, the State Prize of Rhineland-Palatinate in 1984, and the Gutenberg Bust of the City of Mainz in 1987. Selected Bibliography Hans Vollmer (Hrsg.): Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts, Vierter Band, Leipzig 1958, S. 344. Hans H...

Klaus Oldenburg (*1942 Berlin), Eccentric discharges of a turquoise-yellow core, around 1975. paint and cast resin on chipboard, 39 x 59 cm (inside dim...

Atmospheric oil painting on plywood, titled “Markt in Venedig” (Market in Venice) on the reverse and signed lower right (signature indistinct). The composition vividly portrays a bus...

shipped in roll “Spring Bloom II” captures a quiet moment of connection between two young women surrounded by blooming spring trees. Soft dresses, fresh greens, and gentle light crea...

Painting, 19th century, oil on canvas, "Young woman with flower basket" Signed, F.Bach. Dimensions with frame 52cm x 72.5cm

signed lower right Oli on cardboard 75x62 cm internal mas 52x 38 cm This work was not examined by the Rehs Galleries in New York. Antoine Blanchard, was born in France on Novem...

'Robe 4' by Fides Becker Acrylic and Egg Tempura on Canvas and Deco Fabric 160 x 140 cm, 2005 The leading theme of the artist’s interventions is the staging of temporality, transi...

The painting, executed in a mixed technique, depicts a beautiful young woman. Her closed eyes emphasize the overall atmosphere of relaxation. Natural beauty, graceful figure, and the...

Reinhard Bartsch 1927 Berlin - 1990 Berlin oil on canvas 55x 40 cm signed lower right Reinhard Bartsch (1927–1990) was a German painter and graphic artist, born and active in B...

Jan Hillebrand Wijsmuller (1855 Amsterdam - 1925 ibid.), Late Summer River Landscape, oil on canvas, relined, 34 x 56 cm (inside measurement), 43 x 64 cm (frame), signed J[an] H[illebrand] Wijsmuller at lower right. - in good condition, the frame with isolated bumped spots - Realistic Impression - About the artwork The panoramic landscape format shows a river landscape, with the course of the river, which curves to the right, leading the eye into the depths of the picture and tempting it to continue the landscape in the imagination beyond the visible area. At the same time, however, the fact that the landscape is not visible through the bend in the river focuses our gaze on the entirety of the landscape depicted, without prompting us to focus on distant details. Accordingly, the brushstroke is not designed to render details with realistic precision. In the front left area of the river there is even a completely free brushwork, trained by Impressionism, which nevertheless remains committed to representational and convincingly suggests the movement of the water. Regardless of the distance of the observer, the entire picture is painted with the same broad brushstroke, so that the landscape is given as an impression. And yet this impression is not ephemeral, as in the case of French Impressionism, to put it exaggeratedly, but reveals to us the essence of the landscape in all its richness. This is why the Dutch variant of Impressionism is always also a realism, although the pictures appear less progressive, but still contain a dimension of landscape painting that is lost with progress. In the impression, the reality of the landscape is revealed, and this happens as we experience the landscape in the visual impression. Wijsmuller does not depict houses or people in order to allow the experience of the landscape to fully unfold. The experience is determined first and foremost by the river, which does not flow into the picture from our point of view, but towards us. Where the river begins to bend, the water is churned by a rapids. Toward us, the riverbed widens and the water comes to rest, covering the entire width of the foreground like a mirror. The stillness of the water corresponds to the evening mood of the late summer landscape, in which the warm tones of the evening light blend with the yellow and brown tones of the plants. A gentle, almost idyllic reality, carried by the brushstroke, yet animated by a liveliness that is also made visible by the brushstroke. The broad, dynamically placed brushstrokes evoke the movement of the treetops and animate even the immobile reeds, while the trunks on the right bank, executed in virtuoso white strokes that seem like markings, make the sunlight shine. On the other bank, a carpet of light also spreads out, its energetic effect again expressed in the brushstroke. The dynamic of the landscape is further enhanced by the complementary color contrasts between the greens, yellows, and browns on the one hand and the blue of the all-encompassing sky on the other. A contrast that is intensified by the reflection in the water. The evening coming to rest of the landscape is thus at the same time an all-encompassing contrasting and yet in itself harmonious movement. This reality becomes accessible to us as an experience in the impression of the landscape. About the artist Jan Hillebrand Wijsmuller entered the Royal Academy of Arts in Amsterdam in 1876 and studied under the innovative Professor August Allebé, who was famous for the Amsterdam Impressionism, also known as the Allebé School. In 1877, Wijsmuller transferred to the Hague Academy of Art, and thus to the Hague School, and then completed his studies at the Brussels Academy of Art. Returning to the Netherlands, Wijsmuller opened his own studio in Amsterdam. In 1883 he won the prestigious Young Artist Award, donated by Willink van Collen, which made Wijsmuller a well-known and sought-after artist. Wijsmuller was a member of the Societät Arti et Amicitiae Amsterdam and the Pulchri Studio in The Hague. Wijsmuller belongs to the second generation of the Hague School. While Vincent van Gogh described the protagonists of the first generation to his brother Theo as "the great gray people," the second generation, and Wijsmuller in particular, used a much more colorful palette. His oeuvre makes him a major player in Dutch Impressionism...

Cheerful winter landscape with children playing and sledding. Signed lower left. Age-related condition. Dimensions with frame: 48 cm x 58.5 c...

Friedrich August Seitz (1902 Staffort - 1944 Belgrade). Half-length portrait of an elderly man with a beard. Oil on canvas, 42 x 34 cm (visible seize), 58 x 50 cm (frame), signed and...

Felix Samuel Pfefferkorn grew up without parents. Because his parents lost their lives in a bombing raid, he was raised as an orphan. He has been missing since January 1, 1980. His ...

Guglielmo de Giorgio, busy street in Paris, France. Decorative oil painting. Dimensions WITHOUT frame in cm 50 x 60 Dimensions WITH frame in cm 6...

Eugen Felix Prosper Bracht, 1917, Harvesting with a hay wagon and team of oxen. Large and decorative painting by the world-renowned artist Eugen Bracht. Fro...

Decorative baroque painting, oil on canvas. Princely dance in the castle. Dimensions including frame 94 cm x 77.5 cm Dimensions without frame 79cm x 63cm.

Decorative, romantic oil painting Heinrich Hartung "Dinner in the Park" oil on canvas Very good original condition. Signed lower right. Dimensions w...

Josef Mathauser, 19th century, dramatic hunting scene in a wintry forest Decorative oil painting by the well-known Czech artist Josef Mathauser. Signed lower right. Magnificently fr...

Gottfried Seelos, antique oil painting, home of Walther von der Vogelweide. Signed and dated. According to an antique note on the back, the painting come...

Decorative painting, oil on canvas. Oriental market scene. Illegible signed. Dimensions without frame. Frame partially damaged.

"Walk in the autumn forest by A. or O. Hamel". Düsseldorf, Germany. Dimension without frame: 106 cm x 82 cm). Frame slightly damaged in places. Major damage to the upper left corner...

Antique Oil Painting by Egon von Kameke, "Boat Dock" Dimensions measured with frame. Including certificate of authenticity.

Oil painting by Luigi Losito. View of Venice, Italy. Dimensions without frame. Frame may have minor damage in places.

Painting, around 1910, oil on cardboard. Romantic love scene in the forest. Signed, Gaston Bussiere. With beautiful (original) Art Deco frame. Frame has minimal damage in places. Dimensions with frame 67cm x 86cm This painting is offered here for the first time exclusively on 1stdibs! From private, German estate. Gaston Bussière (April 24, 1862 in Cuisery – October 29, 1928 or 1929 in Saulieu) was a French Symbolist painter and illustrator. Bussière studied at l'Académie des Beaux-Arts in Lyon before entering the école des beaux-arts de Paris where he studied under Alexandre Cabanel and Pierre Puvis de Chavannes. In 1884, he won the Marie Bashkirtseff...

Antique oil painting, Bruno Jüttner, nude of a North African young lady Rare half-nude by the well-known German painter. Age-related condition. A pressure mark in the center left....