Oil Paintings, American and European, by King Art
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Catalogue: Fine Art: Paintings (473)

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Suprematist Composition: El Lazar Markovich Lissitzky

Catalogue: Fine Art: Paintings: Oil: Europe: Russian: Pre 1940   item# 1280750 (stock# 2672)

Suprematist Composition: El Lazar Markovich Lissitzky
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King Art
414-276-6779


POR 

Lazar Markovich Lissitzky, 1890 – 1941, better known as El Lissitzky was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian Avant Garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.[1] Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation).[2] Lissitzky, of Jewish оrigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its antisemitic laws. When only 15 he started teaching; a duty he would stay with for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in collaboration with Van abbemuseum and the leading worldwide scholars, the Lissitzky foundation was established, to preserve the artist's legacy and preparing a catalogue raisone of the artist oeuvre.


Portrait of Young Lady: George Raab

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1940   item# 1280746 (stock# 2671)

Portrait of Young Lady: George Raab
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King Art
414-276-6779


POR 

George Raab, Sheboygan, Wisconsin, 1866-1943. Raab began studies under Richard Lorenz at the Wisconsin School of Design. Raab was studying in Europe between 1891 and 1898, when his name did not appear in the Milwaukee city directories. He was, in fact, at the Weimar Art School under the Norwegian-born painter Carl Frithjof Smith (1859-1917) and reportedly in the Académie Colarossi in Paris, receiving instruction from Gustave Courtois. The combination of Courtois’ academic technique, the Munich style, American tonalism, and developments of French impressionism, as well as Art Nouveau, influenced Raab. An undated still-life features cloisonnisme techniques of Gauguin or Emile Bernard. Raab is closely identified with impressionism. Raab toured Italy in 1897, when Symbolism was prominent. As in France, there was a wealth of aesthetic activity. Raab was part of a period of intense cultural experimentation. Most likely, Raab would have visited the great museums to study old masters, whose destruction the Italian futurists would soon be urging.In Wisconsin in 1899, Raab became one of the founding members of the Society of Milwaukee Artists (1900). The group held exhibitions in the Milwaukee starting in 1901. Raab taught at the Milwaukee Art Students League and at the Wisconsin School of Art, and was named curator of the Layton Art Gallery in 1902. He became director of the Art Institute and Art School in Springfield, Illinois but soon left to direct the Decatur (Illinois) Art Institute. Raab later he became director of the School of Fine Arts at Millikin University, also in Decatur. He returned to Milwaukee in 1937. Besides painting, Raab executed outstanding block prints and sculptural reliefs. In the 1930s, Raab reflected Wisconsin regionalism. This versatile artist was an important educator and he was influential within his own local area. He died in Milwaukee on 24 September 1943.Pulication include: Lidtke, Thomas and Peter C. Merrill. George Raab: Prominence in 19th Century Regional Art. Traveling exh. cat. West Bend, WI: West Bend Art Museum, 1994; Merrill, Peter C. German-American Artists in Early Milwaukee: A Biographical Dictionary. Madison, WI: Friends of the Max Kade Institute, 1997, pp. 101-104.


Impressionist Nude in Studio: Warren Brandt

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 2000   item# 1280741 (stock# 2670)

Impressionist Nude in Studio: Warren Brandt
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King Art
414-276-6779


POR 

Warren Brandt was born in Greensboro, North Carolina on February 26, 1918-2002 He studied at Pratt Institute from 1935 to 1938, Washington University, with Philip Guston and Max Beckmann and the Art Students League with Yasuo Kuniyoshi. He was head of the Art Department of Salem College from 1949 to 1950. He taught at Pratt Institute from 1950 to 1952 and was an instructor at Guilford College in Greensboro, North Carolina in 1952. He was named chairman of the Art Department of the University of Mississippi from 1957 to 1959, taught at Southern Illinois University from 1959 to 1961; School of Visual Art, New York City from 1962 through 1963 and Director of the New York Studio School in 1967. He became a Member Academician of the National Academy of venerable tradition of studio still life. His roots are in Matisse and Bonnard - simply curvaceous line, precious gobs of paint and elaborate studio set-ups. His is an earthy celebration of the abundance of things. What is so ingratiating about Brandt's work is how much he loves it, loves paint, loves his cluttered studio. Publications include: Gerrit Henry in Art in America, March 1987, Who's Who in American Art, R.R. Bowker 1993-94, Dictionary of Contemporary American Artists, edited by Paul Cummings. He has a very extensive exhibition record and is in many museums and collections including: The Metropolitan Museum of Art, New York The Hirshhorn Museum and Sculpture Garden, Washington, D.C., The National Collection of Fine Arts, Washington, D.C, Museum of Art, Carnegie Institute, Pittsburgh, PA, The Museum of Fine Arts, Santa Fe, NM, The Rochester Museum, Rochester, NY, The Lannan Foundation, Los Angeles, CA, Washington Museum of Modern Art, Washington, D.C., The James Michener Foundation, Austin, TX, The Chrysler Museum, Norfolk, VA, The Parrish Art Museum, Southampton, NY, Springfield Museum of Art, Springfield, MO, RCA American Communications, Inc., Princeton, NJ, Paul, Weiss, Rifkind, Wharton and Garrison, New York, H.J. Heintz Corporation, Pittsburgh, PA, Chase Manhattan Bank of North America, New York, Smithsonian American Art Museum, Washington DC, Metropolitan Museum of Art, NY, Museum of New Mexico


Portrait of Girl in Candlelight: Godfried Schalcken

Catalogue: Fine Art: Paintings: Oil: Europe: Dutch: Pre 1700   item# 1280738 (stock# 2669)

Portrait of Girl in Candlelight: Godfried Schalcken
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King Art
414-276-6779


POR 

Godfried Schalcken or Gottfried Schalken (1643 – November 16, 1706), was a Dutch genre and portrait painter. He was noted for his mastery in reproducing the effect of candlelight, and painted in the exquisite and highly polished manner of the Leiden fijnschilders. Godfried Schalcken was born in 1643 at Dordrecht, and he studied under Samuel van Hoogstraten in Dordrecht before he moved to Leiden, into the studio of Gerard Dou (1613–1675), one of Rembrandt's most famous pupils. His earlier genre pictures very closely resemble Dou's work. He worked in Leiden until c. 1675, then returned to Dordrecht until 1691, after which he settled in The Hague, where he continued to paint until his death, near age 63, in 1706. He also visited England (1692–1697), but his uncouth manners and bad temper alienated him from the society there. In 1703 he was employed by Johann Wilhelm, Elector Palatine in Düsseldorf. He died in The Hague. Schalcken painted several portraits, of which the half-length of William III of England, now in the Rijksmuseum, Amsterdam, is a good example. Like Dou, Schalcken specialized in small scenes lit by candlelight, a technique that found favour with the fijnschilders (fine art painters). Examples are in Buckingham Palace, the Louvre, Vienna and Dresden. His painting, Lady, Come into the Garden (Buckingham Palace), was singled out by his pupil Arnold Houbraken as representative of his oeuvre. Other good examples are Old Woman Scouring a Pan and Soldier Giving Money to a Woman (London, National Gallery), Ceres Seeking Proserpine and Old Man Writing (Louvre), Woman (National Museum of Serbia), Girl Blowing Out Taper (Munich), Girl Reading Letter (Dresden Gallery), The Boy Angling (Berlin); and Toilet by Candle (The Hague). The Buckingham Palace collection also possesses an interior by Schalcken. His history paintings are less-well known. The atmospheric work of Schalcken provided the inspiration for Sheridan Le Fanu's gothic horror story Strange Event in the Life of Schalken the Painter (sic), which was adapted as Schalcken the Painter, and broadcast by the BBC on 23 December in 1979.


Adoration of the Magi: Dominico Ghirlandaio

Catalogue: Fine Art: Paintings: Oil: Europe: Italian: Pre 1492   item# 1280736 (stock# 2668)

Adoration of the Magi: Dominico Ghirlandaio
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King Art
414-276-6779


POR 

Domenico Ghirlandaio, Italian, 1449-1494, Florence. Oil on panel in sepia tones. He lived when the Italian Renaissance was gathering speed and producing an astonishing succession of painters of genius. "Now that I have begun to get into the spirit of this art, I wish they would give me the walls of Florence to paint the whole circuit with stories." This is said to be Ghirlandaio's reaction to painting.popes, princes and members of the newly flourishing class of merchants. Banks gave him plenty of walls in Rome and Florence to cover with scenes from scripture and from the lives of saints. Through most of the scenes he scattered recognizable portraits of people of the day. Ghirlandaio seems to have been a born portrait artist. His full name was Domenico di Tommaso Curradi de Daffo Bigardi. Like many Renaissance painters, he began as a goldsmith, learning his trade from his father. His name is a nickname, meaning "garland maker", coming from the gold and silver garlands made in his father's shop and fashionable among Florentine ladies. The boy learned drawing by designing jewelry, and became so facile that, sitting in the shop doorway, he could catch the likenesses of passers-by. He entered the studio of Baldovenetti and became one of the most distinguished mosaicists and painters of his time. His designs were more correct and graceful than had ever been known before. He established a flourishing workshop in Florence with his two younger brothers. He had little inclination for the avant-garde of the day or for the movements we associate with Botticelli (with whom he worked at the Sistine Chapel). It is probable that Michelangelo owed more to the sound craftsmanship of Ghirlandaio, to whom he was apprenticed, than he cared to acknowledge.


Vase De Fleurs: Georges Rouault

Catalogue: Fine Art: Paintings: Oil: Europe: French: Pre 1940   item# 1280109 (stock# 2667)

Vase De Fleurs: Georges Rouault
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King Art
414-276-6779


POR 

Georges Rouault, 1871-1898, Paris. Vase De Fleurs is oil on canvas, 36cm H by 23cm W (14 2.5/8" by 9 1/8") It is signed LR G Rouault and signed verso plus test colors of paint in strips. His father was a cabinet-maker in a piano factory. His paternal grandfather was a lover of art, an admirer of Manet and Daumier, who hoped the child would become a painter. When Rouault was a teenager he was apprenticed to a stained glass maker. This early contact with stained glass influenced immensely his later career as painter and printmaker. At the same time he attended evening classes at the Ecole des Arts Decoratifs, and studied painting at the Louvre. He entered the Ecole des Beaux Arts under Elie Delaunay, who died soon after. He became the favorite pupil and a close friend of Gustave Moreau. Moreau died in 1898 and the same year Rouault's parents left France to be with their daughter in Algeria whose husband had just died. Rouault was named Director of the new Musee Gustave Moreau. He turned to painting landscapes; he had a period of bad health which he spent in Evian. Rouault always saw himself as an artisan, an anonymous laborer making devotional images. He used black outline to reinforce the brilliancy of color and expressive gesture in the manner of mosaics or medieval miniatures. He drew freely from various sources in order to give conventual overtones to his modern statement of human dilemma. His preoccupation over the years with the plight of prostitutes, tragicomic clowns and biblical martyrs, who as outcasts from society, suffer the burden of insoluble ethical demands, reflects the existential dread of despair he, as an artist, suffered himself. In 1891 he entered the Ecole des Beaux-Arts, where with Matisse, he was a pupil of Symbolist painter Gustave Moreau, a brilliant and sympathetic teacher. Rouault was Moreau’s favorite student and he became the first curator of the Musée Moreau which opened in Paris in 1903. In 1902 Rouault helped to found the Salon d’Automne, an independant exhibition for those artists rejected by the official Paris Salon, where he showed alongside the Fauves. Although Rouault associated with Matisse and the Fauves, he did not adopt their brilliant colors or their typical subjects; instead he painted characters such as clowns, acrobats, dancers, outcasts and judges in jewel-like colors outlined in thick black lines reminiscent of Vincent Van Gogh. His sympathies were for the poor and downtrodden, and he commented that his imagination was stimulated by "the contrast between brilliant, scintillating things intended to amuse and this infinitely sad life." In 1894 he was awarded the first prize at the Concours Chenavard and, in 1910, Rouault would have his first one man show at Galerie Drouet in Paris. Rouault married Marthe le Sidaner, the sister of Impressionist painter Henri Le Sidaner, in 1908—they would have four children. Rouault’s achieved financial success after Ambroise Vollard became his art dealer-publisher in 1917 and he gained an international reputation through the 1930s. In 1937 he had his first American one-man show at Pierre Matisse Gallery in New York City and in 1938 the Museum of Modern Art held an exhibition of his graphic prints. Rouault adeptly worked in the various printmaking techniques of woodcuts, lithographs and etchings, often for book illustrations commissioned by Vollard. From the 1930s and on Rouault, a staunch Catholic, devoted himself almost exclusively to religious themes in his art interpreting the works in an almost icon-like austerity with intensively bright colors reminiscent of medieval stained glass windows. He believed in the teaching of the Gospel and stated that his “only ambition is to be able to paint a Christ so moving that those who see Him will be converted.” Rouault spent the last decade of his life working to achieve the high standard of perfection he had set for himself. After the sudden death of his dealer Vollard in 1939, Rouault eventually gained back some 400+ paintings from the estate, of which, he destroyed 315. Georges Rouault died on February 13, 1958 at the age of 87. He received the national honor of a state funeral. In 1908, Rouault married Martha Le Sidoner. They had four children. Rouault exhibited with the Fauves, though he was never closely associated with that movement. His work from then until the end of his life was concerned with printmaking, designing costumes and scenery, illustrating books, etc.


Sleeping Figure: Enrico Colombotto Rosso

Catalogue: Fine Art: Paintings: Oil: Europe: Italian: Pre 2000   item# 1279071 (stock# 2666)

Sleeping Figure: Enrico Colombotto Rosso
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King Art
414-276-6779


$4000.00 

Enrico Colombotto Rosso, Italian, 1925-2013. Untitled (Sleeping Figure) Oil on canvas,signed Colombotto Rosso (lower right); signed and inscribed (verso) Height 35.2 in.; Width 59.2 in. / Height 89.5 cm.; Width 150.5 cm. Misc Signed, Inscribed verso. His paintings sell at auction up to $9000.


Portrait of a Woman in Green: Marsh Avery

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1960   item# 1276679 (stock# 2665)

Portrait of a Woman in Green: Marsh Avery
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King Art
414-276-6779


SOLD 

MArsh Avery, 1932-, American, Maine. Potrait of Woman in Green, Oil on canvasboard, 17" by 13", signed Marsh Avery LL. Verso Bearing an Esther Stuttman Gallery, 13 E 75th St , NY, 21 Inventory number #1549F Dated 1954. This biography from the Archives of AskART: Following is an exhibition review by Karen Schafer, Gazette.Net, Maryland. September 9, 2008.Painter March Avery may be the daughter of one of America's most respected artists, the late Milton Avery, but he never gave her a single art lesson. She learned early it was best to stay clear of her dad's famous but fussy artist friends. When tough nuts like Mark Rothko, Adolf Gottlieb, Barnett Newman and Marsden Hartley came a calling at Avery's Greenwich Village apartment, she kept mostly out of sight.Asked if she received a morsel of advice or encouragement from some of the 20th century's most important contemporary artists, Avery bursts out laughing. "Artists don't like to talk about anything but their own art – and not just those artists either," she insists. "All artists are egotistical."Even her father resisted offering critiques, let alone any sort of endorsement. In fact, Milton Avery is notorious for saying "Why talk when I can paint." Whenever Avery showed her dad a painting, his only response was "Paint another one."Such tough-love parenting must have worked since the New York City-based artist has been painting for half a century. Her work will be on view at Marin Price Art Gallery in Chevy Chase from Saturday through Thursday, Oct. 9, 2008. March Avery avoided the influences, like world events and abstract expressionism embraced by many artists in the 1930s and ‘40s. Instead, she always adhered to her father's methods: reducing elements to their essential forms, eliminating many details, and instead developed flattened shapes and strong colors.Even today, Avery is most influenced by her father, who died at age 85 in 1965. Without much parental supervision, perhaps she gravitated to his style by osmosis.Perhaps this is why Avery believes her father did want her to become an artist. The artistic life is difficult and demands sacrifices, especially since Milton Avery's success came late in his life.The fledging painter never took a single studio or art history class. Instead, Avery hoped she might discover the definition of "truth and beauty" by studying philosophy at Barnard College. Youthful idealism didn't stop the headstrong artist from returning to her roots."I knew no one but artists, so I knew that is all I would ever be," she says. Clearly dad ruled, and her mom, an illustrator, supported the family for years. The artist remembers her mother "subjugated" by her dad and didn't really come into her own artistically until he died.Taking care of your man may be in the genes. After graduating from college, Avery married her college boyfriend and supported him for many years until he earned a doctorate in English. Once he had a diploma and a steady job, she quit her city job forever; to this day, she is trying to make up for lost time.Working alone, listening to classical music, nearly every day in her Bleecker Street studio, she observes, "I can't just start painting without an actual inspiration." Today she looks at an image of a turkey and wonders if it might be a part of her next painting. Her father may not have wanted to admit it, but he probably would be proud.


Abstract Composition: Carolyn Syrluga Howlett

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 2000   item# 1250448 (stock# 2662)

Abstract Composition: Carolyn Syrluga Howlett
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King Art
414-276-6779


Sold 

Carolyn Syrluga Howlett, Berwyn, Illinois, 1914-2005. Abstract, oil on canvas, 24" by 30",in excellant condition, artists label verso, exhibited in the Art Institute of Chicago. She is listed in Who Was Who in American Art, 1564-1975


Geometric Composition: Harry Tedlie

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1980   item# 1247100 (stock# 2658)

Geometric Composition: Harry Tedlie
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King Art
414-276-6779


"$1200.00" 

Harry Tedlie, 1898-1983,Born 1898 in Philadelphia, Pennsylvania worked and then died in Woodstock, New York 1983. Known For painting of abstract geometric forms. Gouache on paper is 8.5" by 11". It is signed Tedlie LR and is in good condition.

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