Oil Paintings, American and European, by King Art
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Catalogue: Fine Art: Paintings: Oil: Europe (294)

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Austrian (8)

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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effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its antisemitic laws.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 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.


Composition of Pure Abstract Forms 1914: Franz Marc

Catalogue: Fine Art: Paintings: Oil: Europe: German: Pre 1920   item# 1221956 (stock# 2642)

Composition of Pure Abstract Forms 1914: Franz Marc
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King Art
414-276-6779


POR 

Franz Marc, 1880 (Munich)- 1916 (Verdun, Austira)"Komposition Rein Abstrakter Formen 1914. Oil or tempera over pencil on paper Size: 11.5 in x 9.5 in. (29.1 cm x 24.1 cm) Condition: Excellent – no tears, stains or folds. Verso 1. Signature initials “FZM” (front, lower right) 2. “Franz Marc Komposition rein abstrakter formen 1914” (verso, bottom center, pencil) – roughly translates “Composition of purely abstract form” 3. Stamp “Konstantin S. Redko, Schluterstr. 35, Charlottenburg” (verso, upper left, blue ink) 4. Stamp “Axel Meyer, Paris” (verso, top center, black ink) 5. Stamp “Der Sturm, (illegible) ,Berlin/Potsdamer Straße 134a (verso, top center, purple/red ink) 6. Stamp “Herwarth Walden, Berlin W 15 / Kurfürstendamm 173” (verso, bottom right, black ink) 7. Stamp “ Sammlung G. W. Stein - Zurich” (verso, upper right, , purple/red ink) Franz Marc was born in Munich, Germany in 1880. His father was a successful Munich landscape and genre artist who influenced him strongly. Marc studied at the Munich Academy. He left there for Paris, then went home full of the doings of the Fauves and Cubists. In 1911 he joined with Klee and Kandinsky to found a group called the Blue Rider (Blaue Reiter). Their members aspired to nothing less than painting the essence of things. They put feeling first, faithfulness to nature or to formal conventions last. They were the clear sweet dawn of German expressionism. a school that later languished from too much heaviness, bitterness and swagger. For Marc, as for his friend and mentor, Kandinsky, implementation of new art forms was indeed a religious crusade. He saw pure abstract art as truth and worked toward it with the same fervor he had once directed toward the study of theology. Marc loathed conflict of any kind. Man therefore revolted him, and animals he painted with strong, elaborately rhythmical compositions. He transformed their animality with flashing colors; a horse might be sky blue or fire red. Marc's career ended abruptly with his conscription in 1914. He died in 1916 in Verdun.


Les Disques: Fernand Leger

Catalogue: Fine Art: Paintings: Oil: Europe: French: Pre 1930   item# 1221955 (stock# 2641)

Les Disques: Fernand Leger
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King Art
414-276-6779


POR 

Fernand Leger, French,1881-1955. This stunning example of Fernand Leger's imagery at his early cubust period in the 1920's is pencil on paper. It is 21.5cm w by 25cm h in a beautiful frame 45cm w by 47.5cm h. It is signed lower left F. L. 20. Fernand Léger was born in 1881, the same year both Picasso and Braque were born, in Normandy; his father was a substantial cattle grazer. Fernand was trained as an architectural draughtsman and later worked as a professional retoucher of photographs. He was an abstract painter before the War, in which he had a brilliant record. He had visited the United States twice. In France, he lived in a villa next to some railroad tracks in a Paris suburb, and a farm in Normandy where he raised pigs and made cider.It is often said that Léger was the artist of the machine age, but he was not entirely a man of his time. He knew poverty as a child, was gassed in World War I, had to flee before the invading Nazis in World War II. But there is little of death and destruction in his work. Other men have painted with more passion, few with more exuberance.Léger returned to France at the end of 1945 after spending the war years traveling and lecturing in the United States. There had been three previous visits to America in the 1930s, all entrepreneurial adventures of only modest success. He had resumed his practice of making public appearances to explain his art to a sometimes curious, sometimes bewildered public. In addition, he enjoyed many celebrity encounters, like a holiday with Zelda and F. Scott Fitzgerald, an evening at the theatre with James Joyce and friendships with Ezra Pound and Henry Miller. His paintings sell for up to 37 Million and his paintings are in many museums.


Cubiste Compostion circa 1920's; Albert Gleizes

Catalogue: Fine Art: Paintings: Oil: Europe: French: Pre 1930   item# 1220966 (stock# 2633)

Cubiste Compostion circa 1920's; Albert Gleizes
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King Art
414-276-6779


Price on Request 

Albert Gleizes, French, 1881-1953.This vivid painting is Cubiste Composition, Gouache and pencil on heavy paper, 20.2 cm by 28.3cm (about 7 15/16" by 11.2"), signed LR ALB GLEIZES in black, Verso In Pencil, Miette Braive, Rue Chauehat (or Chauchat) Paris, Circa 1920's. Miette Braive (1916-2000) was a cubist painter in Paris in the circle of Albert Gleizes.\ Excellent Provenance upon request. His paintings sell for up to $2,709,303 and works on paper sell for up to $150,000. Initially influenced by the Impressionists, at twenty-one his work La Seine a Asnieres was exhibited at the Societe Nationale des Beaux-Arts in 1902. With several friends in 1906 he founded the Abbaye de Creteil outside Paris. This commune of artists and writers scorned bourgeois society and sought to create nonallegorical, epic art based on modern themes. The commune closed in 1908 due to financial restraints and in 1909 he came under the influence of Fernand Leger, Robert Delauney, Jean Metzinger and later to Henri Faucconnier who led Gleizes to his cubist style. In 1910 he exhibited at the Salon des Independents, Paris and the Jack of Diamonds in Moscow. His paintings had become abstract by 1915. Galeries Daimau, Barcelona held his first one man show in 1916. Later in his career he was commissioned for murals for the Paris Worlds Fair of 1937. In 1947, a major Gleizes retrospective occurred in Lyons at the Chapelle du Lycee Ampere.


17th C Angels in Clouds: Giovanni Battista Gaulli

Catalogue: Fine Art: Paintings: Oil: Europe: Italian: Pre 1700   item# 1214357 (stock# 2638)

17th C Angels in Clouds: Giovanni Battista Gaulli
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King Art
414-276-6779


Price on Request 

Giovanni Battista Gaulli, Italian, 1639-1709, called Baccico or Baccicia. Italian Angels or Putti on Clouds plus a small portrait of a man is a charming example of Gaulli's work. It is 5" by 7 3/4" of pen and sepia brown ink on paper. Provenance is Leslie Hindman Auction, Collection of P Waite, English Collection until 1994, German Collection Basenge. Condition good upper life corner restored. Giovanni Battista Gaulliwas a painter of the Italian High Baroque verging onto that of the Rococo. He is best known for his grand, Gianlorenzo Bernini-influenced illusionistic vault fresco in the church of the Gesù in Rome.Gaulli was born in Genoa, where his parents died from the plague of 1657. In mid-17th century, Gaulli's Genoa was a cosmopolitan Italian artistic center open to both commercial and artistic enterprises from north European countries, including countries with non-Catholic populations such as England and the Dutch provinces. Painters such as Peter Paul Rubens and Anthony van Dyck stayed in Genoa for a few years. Gaulli's earliest influences would have come from an eclectic mix of these foreign painters and other local artists including Valerio Castello, Giovanni Benedetto Castiglione, and Bernardo Strozzi, whose warm palette Gaulli adopted. In the 1660s, he experimented with the cooler palette and linear style of Bolognese classicism. He soon, however, moved to Rome. In 1662, he was accepted into the Roman artists' guild, the Accademia di San Luca (Academy of Saint Luke), where he was to later hold several offices. The next year, he received his first public commission for an altarpiece, in the church of San Rocco, Rome. He received many private commissions for mythological and religious works. From 1669, Gaulli's painting took on a more painterly (less linear) aspect, and the composition, organized di sotto in su ("from below looking up"), would influence his later masterpiece. At his height, Gaulli was one of Rome's most esteemed portrait painters. Gaulli is not well known for any other medium but paint, though many drawings in many media have survived. All are studies for paintings.


Petit Vase Blanc de Fleurs: Maurice Utrillo

Catalogue: Fine Art: Paintings: Oil: Europe: French: Pre 1940   item# 1214092 (stock# 2636)

Petit Vase Blanc de Fleurs: Maurice Utrillo
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King Art
414-276-6779


Price on Request 

Maurice Utrillo, French, 1883-1955.Oil on cardstock, 6"h by 4.45"w signed LL, in good condition. Petit VaseBlanc de Fleures. Born in Paris with the name of Maurice Valadon, Maurice Utrillo specialized in painting city scenes, especially of his beloved Paris. He was the son of teenage model, Marie-Clementine Valade, who painted under the name of Suzanne Valadon, and perhaps an amateur painter name Boissy. Unsure of the father, Valadon reportedly took him around among some of her male acquaintances including Renoir, all whom denied parentage, and so she named him after Miguel Utrillo, who was sympathetic but likely not the father. Among the artists for whom Valadon posed were Berthe Morisot, Toulouse Lautrec, and Pierre-Auguste Renoir. By the age of 21, Utrillo was having the mental problems that would reoccur throughout his life. To divert him, his mother encouraged him to paint, so he made pictures of what he saw around him in his neighborhood of Montmartre. His landscapes were unique, some said bizarre, and people bought them. They became popular and influential in that they encouraged other artists to depict their own environs realistically instead of following the prevailing trends towards abstraction. Many of his Parisian scenes, painted 'en-plein air', have appeared on postcards. In the 1920s, when he was in his 40s, he had an international reputation, and in 1929, he received the Legion of Honor from the French government. In 1935, when he was 52, he married a woman named Lucie Valore, and the couple settled in Le Vesinet, near Paris. He lived into his seventies, although he had many bouts with alcoholism. He died November 5, 1955 and is buried in Montmartre in the Cimetere Saint-Vincent.

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