Charles Swyncop

Charles Swyncop, Brussels 1895 – 1970, Belgian Painter ‘Le Petit Déjeuner'

Van Belleghem Jos Beernem 1894 – 1970 Veurne Belgian Painter 'A Portrait of a Fisherman' Signature: Signed bottom right Medium: Oil on canvas...

Jean Laudy Venlo 1877 – 1877 Sint-Lambrechts-Woluwe Dutch-Belgian Painter 'Man with a Book' Signature: Signed top right and on revers Medium: Oil on canvas Dimensions: Image size 8...

Toussaint Fernand Brussels 1873 – 1956 Belgian Painter Portrait of a Lady Signature: Signed bottom left Medium: Oil on canvas Dimensions: Image size 46 x 38 cm, frame size 64 x 56 c...

Fernand Toussaint 1873 – Brussels – 1956 Belgian Painter ‘Lady in a Pink Cape’ Signature: signed lower left ‘Toussaint’
 Medium: oil on canvas
 Dimensions: image size 46 x 38 cm, f...

Dietz Edzard Bremen 1893 – 1963 Paris German Painter 'Carnivale in Venice' Signature: signed lower right ‘D Edzard’ c. 1958-1960 Medium: oil on canvas Dimensions: image size 35 x 2...

Madyol Jacques Brussels 1871 – 1950 Belgian Painter A Gypsy Lady Signature: Signed bottom right, verso signed Jacques Madyol, titled "Gitane" and placed Studio 5 Rue Gachard, Bruxel...

Title: Woman Next To Window Medium: Oil on canvas Size: 11.5 x 7.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This p...

A still life oil painting of branches of pear blossoms, freshly cut and arranged in a glass pitcher of water. These spring blossoms flourish in small white petals, against curved brown branches. The flowers are set atop a wooden table, and in front of a painted canvas, depicting a landscape. The artist is thinking in abstract compositions, yet creating a naturalistic painting. Painting Dimensions: 31.5 in x 25.6 in Framed Dimensions: 35.5 x 29.5 in Framed in a handmade Italian gold leaf frame...

Portrait of a young woman in a white blouse in the style of William Merritt Chase. ( American Impressionism). This work was most likely painted from life and is wonderfully painted a...

Maggy Clarysse (1931-2011) oil on canvas, unframed 18 x 24 inches signed front and back condition: excellent provenance: all the paintings we have by this artist have come from the a...

This is a one of a kind impressionist oil portrait by San Diego artist, Charlene Mosley. It is painted with oil paint on canvas. Its dimensions are 24"...

Carl Nordell (1885 - 1957) The Pensive Beauty Oil on canvas 40 x 32 inches Signed lower left Nordell was born in Copenhagen on 23 September 1885. In 1892 the Nordell family settled in Westerly, New Jersey, where Carl Johan, one of several children, received his education. Reportedly, a local gambler and art collector, Richard Canfield was so impressed with young Nordell's talent that he assisted him to gain admittance to the Rhode Island School of Design. Carl was a tireless student and serious in his studies of art, literature, and philosophy. Friends nicknamed him "The American Frans Hals," as a result of his study of that Dutch master. After graduating from the school in 1905, Nordell continued his training at the Art Students League in New York City for the following two years. There he received criticism and instruction from George Bridgman (1864-1943), a noted teacher of anatomy, and Frank Vincent DuMond (1865-1951), a landscapist associated with Old Lyme. The popularity of Impressionism in America at this time had reached its peak, and the style was of paramount influence in Nordell's advanced studies. Around 1906, Nordell visited an exhibition of paintings by the Ten, most of whom were American Impressionists. Moved by the work of Tarbell and Joseph R. De Camp, he sought instruction from them at the School of the Museum of Fine Arts, Boston. Nordell worked diligently under Tarbell and experimented with the genre of women in interiors, or Intimism. In 1909, Nordell received the Paige Traveling Scholarship, which provided for two years of continued study in Europe. He became one of the hundreds of Americans to receive criticism from Jean-Paul Laurens at the Académie Julian in Paris. From this base, he made study trips to visit major museums and galleries in Italy, Holland, Spain and Germany and during this period Nordell's style reached a level of uniqueness, though he definitely remained under the general influence of French Impressionism. By the time of his return to Boston in 1911, Nordell had successfully incorporated the use of broken color, a high-keyed palette, and the practice of working en plein air to achieve an accurate representation of light and atmosphere. In October of that year, the Boston Art Club presented eighty-seven of Nordell's watercolors and oils to the viewing public. Some of the watercolors seem revolutionary in their spontaneity. Nordell continued his career in Boston at Fenway Studios and exhibited in national competitions, including the annuals of the National Academy of Design, the Art Institute of Chicago; at the 1912 biennial of the Corcoran Gallery he won the fourth Clarke Prize. Nordell's finances were augmented by portrait commissions of some of Boston's affluent citizens. The artist was so intent on recording the sitter's likeness that in this genre, he deviated from his usual impressionist technique. In the women-in-interior genre, he frequently depicted a fully draped woman seated in profile or at an oblique angle to the picture plane. These pensive and attractive young ladies usually gaze into space and become an integral part of the pleasant ambiance of the scene. In this way, Nordell remained within the Genteel Tradition as it was manifest in Boston. The artist exhibited several such works in the Panama-Pacific International Exposition in San Francisco in 1915, and won a silver medal for his efforts. In 1918, a one-man exhibition of fifty works was presented at the Boston Art Club. Nordell remained active in the Boston area art clubs and societies through the early 1920s. In the winter of 1921 Babcock Art Galleries presented him with yet another one-man show. During this period, Nordell increased the production of prints and won the Salmagundi Club's Shaw Prize for etching in 1923. Sometime after 1927 he began taking summer sketching trips to Chautauqua Lake...