Teresa Pemberton Art

Cecilia studied Social Studies and Literature at Universidad Catolica del Peru, Drawing with Cristina Galvez, and Watercolors with Juan Pastorelli. She...

'Cubist Still Life', oil on board, with guitar, wine bottle and glasses, (circa 1950s - 1960s), by an unknown artist. A masterly cubist still life representation depicting items atop...

Bright and expressive abstract painting of flowers by Allie Bill Skelton (American, 1942-1986). This piece is unsigned, but was acquired with a collection of other Allie "Bill" Skelton works. Unframed. Image, 12”H x 9”W, oil on artists canvas board. Allie William “Bill” Skelton (American, 1942-1986) was a painter and sculptor active in San Francisco who was involved in the gay art...

In this lovely abstract painting, the sky often represented in Noreen Taylor’s work, is a collage of colours—pink, orange, mauve, blue, and white. Taylor...

Oil on board painting by Paul Kauvar Smith (1893-1977) of a still life of flowers on a table in an interior scene with a mirror in the background. American Modernist still life painting with zinnias and abstract paintings in an artists studio. Presented framed, outer dimensions measure 27 ⅝ x 31 ¾ x 1 ⅛ inches. Image size is 19 ½ x 23 ½ inches. Painting is clean and in very good vintage condition - please contact us for a detailed condition report. Provenance: Private collection, Denver, Colorado Expedited and international shipping is available - please contact us for a quote. About the Artist: In 1915, Paul Kauver Smith studied commercial art and design at the St. Louis School of Fine Art for two years. His studies were interrupted by World War I during which he served as a corporal in the U.S. Army. After the war he returned to the School of Fine Art and also studied at the Washington University School of Fine Arts in St. Louis with Fred G. Carpenter, himself a student of Jean-Paul Laurens at the Colarossi Academy in Paris. Carpenter was known as a marvelous colorist who "thought every inch of a painting should be fascinating…and should be as interesting close up as from a distance." His approach is reflected in many of Smith’s paintings, both representational and abstract in style, done later in Colorado. In 1921, Smith relocated to Denver where he studied for two years at the Denver Academy of Fine and Applied Arts, formerly located in Brinton Terrace on 18th Street in Denver’s Capitol Hill neighborhood. His teacher was John E. Thompson, another important influence as a pioneer of modernism in Denver. The Academy hired Smith as an instructor in 1923 and that same year the Denver Art Museum included his work for the first time in its 29th annual juried exhibition. He later had two solo shows at the museum, which added his work to its Anne Evans Collection. In 1959 the museum reproduced Houses at Victor, for its Western Heritage Exhibition catalog. During the year of 1928 he witnessed the Articles of Incorporation of the Denver Artists Guild, comprising most of the city’s professional artists. He also belonged to the American Artists Professional League, also organized in 1928 by fifteen members of the Salmagundi Club in New York to protect artists’ interest and promote traditional American art. He was one of some two dozen Colorado artists designated to participate in the Public Works of Art Program (PWAP, 1933-34), the first federally-sponsored program for artists during the Great Depression. Around 1928 Smith became the "Hermit of Stuart Street," and remained a life-long bachelor. One painting, View from My Window, depicts his immediate neighborhood. Living for more than thirty years at 1039 Stuart Street in West Denver, he gave up creature comforts that most people take for granted to have the freedom to devote his life to the pursuit of art. In the first twenty-five years of his career, his paintings focused on the Colorado landscape and its mining towns with their decaying buildings as relics of the past. His piece, Miner’s House at Victor, Colorado illustrates the description of his work in this genre as described by Denver artist and art writer, Arneill Downs, "The jewel-like shapes and colors the artist uses gives the most decrepit objects style. The decaying buildings of ghost towns, grouped together on canvas, glow like a patchwork quilt." Smith described his technique as "I start lean and finish fat." He worked first with turpentine as a medium and ended up with pure pigment put on with a palette knife. In addition to Colorado scenes...

Abstract Floral painting with geometric vase by Stephanie Marrott (American, 20th Century). Original acrylic on artists board. Signed lower right "Stephanie Workman Marrott" in pen. ...

Artist/ School: French Expressionist painter, circa 1970 Title: abstract expressionist composition Medium: oil painting on canvas, unframed canvas: 39.25 x 25.5 inches Provenance...

This piece is a bold depiction of an abstract landscape with a colorful and expressive nature. Nemethy uses techniques borrowed from early Tiffany stained glass windows...

Bold, colorful abstract cityscape of Tel Aviv 15 X 19 inches including mat (needs new mat). painting is 10.5 X 14.5 Provenance: prominent South Florida art...

Miquel Torner de Semir (1938) - The jacket - Oil and collage on board Signed and dated lower right Measures work 103x78 cm. Frameless. Miquel Torner de Semir (1938) Catalan painter attracted by the Middle Ages and Italian Renaissance art. His influences and tastes also include the Romanesque and the Gothic. He trained artistically at the School of Fine Arts in Sant Jordi and at the San Fernando School in Madrid. Miquel Torner was a disciple of the muralist and engraver Ricard Marlet, with him he learned the discipline of drawing and got to know movements such as Catalan Modernism and Nuevocentisme. His first individual exhibition was in 1968 in Terrassa, later he exhibited in other Spanish cities, in Paris and in Europe. The painter Miquel Torner became one of the best known representatives of Mediterranean painting...

In the evocative tableau of the "norman beach" the artist orchestrates a captivating dance between the elements, capturing the drama of a coastal landscape beneath an ominous sky. Th...

Ruggero Vanni's Birth of Light is a 60 x 48 inch abstract gestural oil painting. It is an abstract landscape of vigorous brushstrokes and light, with a strong luminous central focus. The main colors are orange, yellow, and rust. There are clear references to the masters of the Hudson River School, also known as Luminism, as well as the Romantic paintings of English artist William Turner. Vanni states, "My works allude to natural phenomena, in a raw state, devoid of the limiting constrictions of literal representation. Nature is there, as a landscape, a view looking up in the air, or plunging down underwater. Imagery kept on the edge of recognition, so the final association is created in the mind. Contrasts of matter, color, light, are created to provoke emotional responses. In the large paintings the atmospheric composition is built by raised brushstrokes shattered and reassembled to reveal an underlying struggle. In the smaller works paper is cast tumultuously as a counterpoint to its inherent frailness. References to the history of painting are multiple and mixed: Venetian impasto and glazing, Luminist light, Abstract Expressionist texture, Baroque perspective. It is important to avoid mannerism, metabolize the suggestions and integrate them with empirical visual stimuli. Dissecting responses to everyday experiences into light, color, matter. There is no intent to escape reality, but to create a visual experience that communicates directly with our psyche; open to be reinterpreted continuously through our own evolution and the changing times." Ruggero Vanni was born in Paris. He studied painting from 1973 to 1978 at the Istituto d’Arte in Rome, Italy, under the guidance of Italian artist Michelangelo Conte...