Brad Overton Art

Oleksandr Khrapachov "Sunflowers"

My favourite flowers. I paint them every spring and when I look at a picture with peonies, I feel the aroma of peonies and a light breath of spring br...

Edward Chalmers Leavitt (1842 - 1904) Rhode Island Artist Image Size: 36 x 28 Frame Size: 42.5 x 34.5 Newcomb Macklin Frame. Medium: Oil Dated 1889 "Duck Hunt" Mergansers Edward Chalmers Leavitt (1842 - 1904) Edward Chalmers Leavitt, artist, was born in Providence, Rhode Island, March 9, 1842, the son of Rev. Jonathan and Charlotte Esther (Stearns) Leavitt. His paternal ancestor was John Leavitt, who came to Massachusetts Bay in the first ship and settled in Hingham. On the maternal side, he is descended from John Alden and Priscilla Mullens, who came to Plymouth in the Mayflower. Leavitt was educated in private schools in Providence, and at Kimball Union Academy, Meriden, New Hampshire. During the Civil War in 1862 and 1863, he served in the navy on the U.S.S. Galena. In his profession of artist, Mr. Leavitt is especially noted as a painter of fruit, flowers and still life. He exhibited in the National Academy for several years and has made many successful exhibitions in Providence and Boston. He was a member of the Boston and Providence art clubs, and the Providence Press Club. He was also a member of the Grand Army of the Republic. In politics his proclivities are mainly Republican. He has been twice married: first, May 19, 1877, to Ellen M. Fuller; and second, April 22, 1880, to Elizabeth S. Chace. Submitted November 2004 by Edward Bentley, Art Collector and Researcher from Lansing, Michigan. Source is the publication "Men of Progress: Biographical Sketches and Portraits of Leaders in Business and Professional Life from the State of Rhode Island." New England magazine. 1896. Edward C. Leavitt, born in 1842, has been described as "Providence, Rhode Island's leading still-life painter" in the late 19th Century. (Zellman 324) His teacher, James Morgan Lewin, was a prominent still-life painter in Fall River, Massachusetts, a neighboring town. Leavitt, a detailed, sharp-focused, realistic painter, was in love with texture and light, and was prolific and successful, painting a variety of still life subjects including flowers, fruit and even fish and dead game animals. His objects, including costly antiques and household decorative items, were often placed on ornamental, gleaming surfaces. He was a frequent exhibitor at the National Academy of Design in the 1870s and 1890s. The artist, who died in 1904, moved from a position of success and popularity to being ignored for many years until the publication of William H. Gerdts and Russell Burke's American Still-Life Painting in 1971. It is uncertain whether this disastrous loss of respect took place because Leavitt's work declined in quality during the last decade of his life, or because he was a victim of the periodic shifts in taste and fashion that afflict the arts. Sources: Michael David Zellman, 300 Years of American Art Peter Hastings Falk, Editor, Who Was Who in American Art Biography from Roger King Fine Art Edward Leavitt was one of the leading still life artists of nineteenth century New England. He lived and worked in Providence, and studied with James Morgan Lewin, a leading painter of the Fall River School, which, in the late 19th Century, was one of the most important centers of still life painting. While Lewin branched out into other types of painting, Leavitt remained devoted to the art of the still life. His paintings are sharply focused, realistic, and carefully finished. Ornate objects such as urns, ewers, platters, cut glassware...

RICHARD LABARRE GOODWIN (American, 1840 1910) Fish Trophy Oil on canvas, 20 X 10 inches Framed: 26 x 16 inches (approx.) Signed and dated at lower left: "R. LeB. Goodwin/1860" Rich...

Still Life with Glass and Porcelain is an artwork realized by Paul Walter Erhardt (1872-1959). Oil on canvas, signed upper right. 60 x 75 cm, f...

This beautifully composed British Edwardian still life oil painting is attributed to noted fish artist Rowland Knight. Painted circa 1910 it is a still life of salmon and rainbow tro...

Purple, Green, Flowers MAYA KOPITZEVA (Gagra, Georgia, 1924 - 2005) Maya Kopitzeva’s works have been acquired by the Russian Ministry of Culture, by the Foundation for the Russia...

Two paintings, each one is 32″ x 48″. What a gift for the Candyland aficionado in the family. One cannot appreciate these paintings on a computer screen; in real life, they are abs...

Globe and glove. 2020. Canvas, cardboard, oil, 60x42 cm Juris Dimiters (1947) Education: 1958-1965 Janis Rozentals Art High School of Riga 1965-1973 ...

Bellissima opera realista, gioco di gialli nei Limoni ,Uccellino e Farfalla Luisa Albert è una magistrale interprete della scuola realista vicino alla pittura fiaminga. Le nature morte e bellissimi animali vengono trattati con grande maestria. Luisa Albert vive e lavora a Torino, città in cui è nata nel 1969. Dopo il diploma al dipartimento Illustrazione dell’Istituto Europeo di Design di Milano, inizia a collaborare con alcune case editrici. Nel 1993 si avvicina al mondo della pittura grazie agli insegnamenti di Ottavio Mazzonis...

In 2001 the German art historian Art historian and Raphael Expert, Prof. Jürg Meyer zur Capellen, published the painting "Die Heilige Familie" in a monographic article, ascribing the present work to the Venetian painter Giovanni Battista Pittoni (1687 -Venice - 1767). (Newspaper "Weltkunst", October 2001, No 12, p. 1850 f. ill.) He describes it as a typical work by this artist. Pittoni was one of the most influential and successful artists of the Venetian Settecento. He was a pupil of the Veronese Master Giovanni Balestra (1666-1740). His style is influenced by Sebastiano Ricci (1659-1734) and Giambattista Tiepolo (1696-1770). Giovanni Battista Pittoni was already successful at a young age and soon lead his own workshop. He created large-scale hitoria paintings, as well as large, religious altarpieces. In addition to Venetian and Upper Italian patrons, Pittoni also had many interested parties from Europe. His work is accordingly scattered in many different museums and private collections today. Pittoni - like other painter colleagues of his time - repeated his own compositions both by hand and with the help of his workshop. He repeatedly incorporated details into other pictures and contexts. Prof. Meyer zur Capellen noted the very good condition of the present work and the high quality of the paint with fine graduations and the vivid brushstrokes. Provenance: The panting has not been on the art market for at least 300 years. In the year 2000 the work was donated by the Münster-based, Noble Family Ketteler zu Harkotten to a private collection in Westphalia. Most probably the canon Nikolaus Hermann von Ketteler zu Harkotten bought the piece in Venice in 1750 together with the altarpiece of the Clemens Church in Münster. On the reverse of the work is a fideicommissum number by Ketteler zu Harkotten. As it belonged to the family commission, the painting was inalienable until 1919, when the corresponding law was repealed, and after that time it remained in the family's possession without interruption. Pittoni's only direct relationship to Münster is the commission for the high altar painting of the Baroque St. Clemens Church. It can be assumed that then canon von Ketteler saw this painting in the artist's workshop during his stay in Venice and acquired it for himself. This would also explain the discrepancy in dating. (ca. 1735/1750). However, it is also possible that the painting originated in the possession of Ferdinand von Plettenberg...

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is includ...