Marco Rossati Art

Painting, around 1910, oil on cardboard. Romantic love scene in the forest. Signed, Gaston Bussiere. With beautiful (original) Art Deco frame. Frame has minimal damage in places. Dimensions with frame 67cm x 86cm This painting is offered here for the first time exclusively on 1stdibs! From private, German estate. Gaston Bussière (April 24, 1862 in Cuisery – October 29, 1928 or 1929 in Saulieu) was a French Symbolist painter and illustrator. Bussière studied at l'Académie des Beaux-Arts in Lyon before entering the école des beaux-arts de Paris where he studied under Alexandre Cabanel and Pierre Puvis de Chavannes. In 1884, he won the Marie Bashkirtseff...

ROGELIO DE EGUSQUIZA Spanish, 1845 - 1915 A REVERIE DURING THE BALL signed and dated "Rogelio Egusquiza, 1879" (lower right) oil on canvas 21-3/4 X 3...

Robert NYEL (1930-2016) “Ombrelles Dans La Champagne” A symbolist painting of women descending a hillside carrying red parasols mimicking a display of amanita toadstools. Symbolism was a reaction in favour of spirituality, the imagination, and dreams. Robert Niel...

Belgian Symbolist artist Jan Frans DeBoever (1872 - 1948), created symbolist/allegorical paintings throughout his lifetime. He centralized on allegorical and literary subjects, gener...

The artwork size is 26"x19". An angel is surrounded by a mesmerizing palette of emerald green and deep blue, beautifully complemented by a radiant yellow light that envelopes the ent...

Signed symbolist oil on panel circa 1910 by French Les Nabis painter Ker-Xavier Roussel. This beautiful painting depicts nudes and figures dressed in robes in a wooded landscape. Signature: Signed lower left Dimensions: Framed: 31"x40" Unframed: 23"x32" Provenance: JPL Fine Arts - London c. 1985 Ker-Xavier Roussel met Édouard Vuillard at the Lycée Condorcet, which they both attended. Together they visited Eugène Ulysse Napoléon Maillard's studio, where Roussel became acquainted with Charles Cottet, going on to study at the Académie Julian under Bouguereau and Jules Lefebvre. There, he became interested in the Synthetism promoted by Sérusier, following Sérusier's heeding of the line Gauguin had adopted in Pont-Aven. He joined the Nabis group. He and his friends form a link between the Impressionists - he knew Cézanne, Degas, Renoir and Monet - and the Fauves and Cubists. In his earliest paintings, Roussel adopted a dark palette for Realist still-lifes. Later, his work bore the influence of Gauguin, Sérusier, the Nabis and Cézanne, in Intimist scenes painted in flat tints not yet clearly delineated. Their dull, saturated tones are reminiscent of Cézanne. In about 1900 he started painting mythological scenes full of nymphs and fauns and set in his home region of Île-de-France. After a bicycle trip in Provence with Maurice Denis, during which he met Cézanne, he lightened his palette, much taken by the cloudless skies below which he would now set the mythological and idyllic compositions which link him to Poussin and Corot. This wondrous, unreal world found its way into large-scale works, including the stage curtain of the Champs-Élysées theatre in 1913, a large Pax Nutrix for the Palais des Nations in Geneva and Dance for the Palais de Chaillot in 1937. He is best remembered for: Silenius' Triumph, Polyphemus, Diana, The Abduction of the Daughters of Leucippus. The nymphs and fauns of a mythology quite his own appear in clearings and woods from the outskirts of Paris, but the sun they rejoice in is Mediterranean. To capture the vibration of bright colours under a permanent sun, he later turned to pastels. He was more a Symbolist than a Nabi and signed himself K.-X. Roussel. He also produced lithographs. He took part in exhibitions from 1891 with the Groupe des Vingt at le Barc de Bouteville's gallery in Brussels. Then he exhibited in Revue Blanche Painters ( Les Peintres de la revue blanche) in Paris; with the Nabis at Café Volponi in Paris; before World War I with Free Aesthetics in Brussels; from 1901 at the Salon des Indépendants and the Salon d'Automne; in the 1930s in Revue Blanche Painters ( Les Peintres de la Revue blanche) hosted in Paris by designer Bolette Natanson, the daughter of the Revue Blanche's owner. He took part in The Masters of Contemporary Art ( Les Maîtres de l'art contemporain) at the Musée du Petit Palais in Paris, and at the 1938 Venice Biennale and 1939 New York World Fair. He featured posthumously in Toulouse-Lautrec and the Nabis ( Toulouse-Lautrec et les Nabis) at Bern Kunsthalle; From the Revue Blanche ( Autour de la revue blanche) in the Galerie Maeght, Paris, and in Tokyo and Brussels. He had one-man shows in Paris before his death in 1944. Retrospectives were mounted in the 1960s in London and Bremen. Museum and Gallery Holdings: Geneva (Petit Palais): Haystacks on the Seaside Paris (BNF): Training the Dog; Landscapes (engraving); Nymph and Faun (c. 1895, etching) Paris (Louvre): Poject for a Screen (drawing) Paris (MNAM-CCI): The Road (c. 1905); The Cyclops (1908); Venus and Cupid on the Seafront (1908); The Abduction of Leucippus' Daughters (1911); Pastorale (1920); Diana at Rest (1923); Portrait of Vuillard (1934) Paris (Mus. d'Orsay): The Gate (pastel); Woman in Profile with Green Hat; In Bed; Félix Valloton...

WILLIAM SHACKLETON, NEAC (1872-1933) Sorting the Catch – Study for The Mackerel Nets Oil on paper, unframed 32 by 46.5 cm., 12 ½ by 18 ¼ in. (mou...

Titled "The magic flute of Beauzart" and by Andrée Bars, this oil painting presents a mesmerizing fusion of music and nature, portrayed through the elegant composition of a clarinet ...

Gail Potocki b. 1961, Detroit, Michigan, U.S. Gail Potocki is an award-winning Symbolist artist utilizing the skills and techniques of the Old Masters in the 21st century. Influenced by 19th-century artists like Fernand Khnopff, Jean Delville...

"Groupe" by Hrair Diarbekirian is a captivating oil painting that draws the viewer into a serene and verdant landscape. The dominant hues of greenery envelop the scene, imbuing it wi...

Gammell Trust #W126. Signed and dated in pencil lower right: "R.H. Ives Gammell, Paris, 1917". Sheet measures 12 1/2 x 10 inches. This is a very early work and despite the fact that...

Named « We lost the North », this symbolist oil painting on canvas represents a great fracture symbolized by a crack in the wood in its middle. Fracture between the world of the fina...