Paint More Art

**ANNUAL SUPER SALE UNTIL JUNE 15TH ONLY** *This Price Won't Be Repeated Again This Year - Take Advantage Of It* Alright, let's start with the numbers: 1- Over 40.00...

A fine New England Cape Cod landscape by American artist Aldro Thompson Hibbard (1886-1972). Hibbard was born in Falmouth, MA, studied at the Massachusetts College of Art and at the Boston Museum School with artists such as Edmond Tarbell, Frank W. Benson, Joseph R. DeCamp, and later became one of the founders of the Rockport Art Colony, living on Cape Ann in Massachusetts and summering in Jamaica...

A fine spring landscape oil painting by American artist Emile Albert Gruppe (1896-1978). Gruppé was born in Rochester, NY, and is renowned for his New England landscapes and vigorous...

Benares, India Watercolour with graphite under-drawing, on paper Image Size: 13.94” x 10.04” c 1860 Titled in pencil, verso Provenance: a Private UK Collection Condition: Overall i...

Small paintings are intimate and personal. They can be moved around easily and personalize a space. A subtle touch of mystery invites the viewer to interpret an untold story in this ...

By French famous Transgender artist, Michel Marie Poulain (Born Paris December 5, 1906. Died 1991) this rare oil on canvas it represents the Queen and he...

This magnificent oil on panel portrait, presented by Titan Fine Art, is a splendid example of the sumptuous female portraits that were painted for members of the upper echelons of society during the early part of the 1600’s. The artist has rendered this portrait with meticulous attention to detail and the surface effects of the fine materials. The elaborate lace coif and cuffs are painstakingly delineated, as is the bold black damask, and sumptuous gold decoration of her skirt and stomacher, which is wonderfully preserved and quite remarkable considering the age of the work and the fact that darker pigments are particularly vulnerable to fading and wear. This work with its spectacular depiction of costume is of absolute quality, it can be rated as one of the best works in the artist’s oeuvre and as such it is an important and splendid example of Dutch portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middleclass patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Dress was a key component in portraits, and the exuberant attire reiterates the incredible wealth of this woman. The sitter will have visited the artist’s workshop and inspected examples on display. They would have chosen the size and the sort of composition and on that basis negotiated the price – which would have also been determined by the complexity of the clothing and the jewels that were to be depicted, and by the materials to be used. When all was considered, this portrait would have cost the sitter (or her husband) a substantial sum. The colour black was regarded as humble and devout yet at the same time refined and sophisticated and the most expensive colour of fabric to dye and to maintain. Citizens spent fortunes on beautiful black robes. Such uniformity must also have had a psychological side-effect and contributed to a sense of middle-class cohesion; the collective black of the well-to-do burgess class will have given its members a sense of solidarity. The colour was always an exciting one for artists and when this portrait was painted there were at least fifty shades of it, and as many different fabrics and accoutrements. Artists went to great lengths to depict the subtle nuances of the colour and the fabrics and textures and how they reflected light and it was an ideal background against which gold and crisp white lace could be juxtaposed to dramatic effect. The sitter is either a married women or a widower as is evident by the clothing that she wears and the position, toward her right, it is highly likely that this portrait was once a pendant that hung on the right-hand side of her husband’s portrait as was convention at the time. She wears a vlieger which was a type of sleeveless over-gown or cape worn by well-to-do married women in the late 16th and early 17th centuries. Variations with short sleeves or high shoulder rolls are known. Sometimes sleeves were attached with aiglets, and often slits were made to allow belts or the hands to pass through. Three-piece vlieger costumes of this kind were standard items of clothing in portraits of the women of the civic elite in the period 1600-40 and was a variant of the Spanish ‘ropa’ and served as a trademark of well-to-do married burgher women. Girls and unmarried woman, including beguines, wore a bouwen (a dress with a fitted bodice and a skirt that was closed all round) instead. This clear distinction between apparel for married and unmarried women is clear not only from inventories and trousseau lists, but also from contemporary sources such as the Dutch Spanish dictionary published by Juan Rodrigues in 1634. In it, a bouwen is described as a ‘ropa de donzella’ (over-gown worn by a virgin) and a vlieger as a ‘ropa de casada’ (overgown worn by a married woman). It is striking how few women are depicted wearing a bouwen, unless they are part of a group, family or children’s portrait and it can therefore be assumed that independent portraits of unmarried women were seldom commissioned. It is also believed that the clothing worn in these portraits existed and were faithfully reproduced when cross-referenced with the few exact documents. These sources also demonstrate that clients wanted their clothing to be depicted accurately and with this in mind precious garments and jewels were often left in the painter’s studio. The prominent white lawn molensteenkraag (or millstone ruff) is held up by a wire supportasse and was reserved only for the citizens that could afford this luxurious item that often required 15 meters of linen batiste. The fabulous wealth of this sitter is also evident by the elaborate lace coif and cuffs which have been exquisitely depicted; lace was often literally copied by artists in thin white lines over the completed clothing. The gold bracelet with jewels is a type that was evidently fashionable as it is seen in a number of portraits during the 1610s and 1620. Clothing and jewellery were prized possessions and were often listed in inventories of estates and passed down from generation to generation. There were a great number of jewellers of Flemish origin working at all the courts and cities of Europe, competing with the Italians, and then the French, adapting themselves to the tastes and positions of their patrons and the raw materials available in the country where they worked. The fashion for jewels “in the Flemish style” succeeded that of the Italian style. Cornelis van der Voort, who was probably born in Antwerp around 1576, came to Amsterdam with his parents as a child. His father, a cloth weaver by trade, received his citizenship in 1592. It is not known who taught the young Van der Voort to paint, but it has been suggested that it was either Aert Pietersz or Cornelis Ketel. On 24 October 1598 Van der Voort became betrothed to Truytgen Willemsdr. After his first wife’s death he became betrothed to Cornelia Brouwer of Dordrecht in 1613. In addition to being an artist, Van der Voort was an art collector or dealer, or both. In 1607 he bought paintings from the estate of Gillis van Coninxloo, and after an earlier sale in 1610 a large number of works he owned were auctioned on 7 April 1614. Van der Voort is documented as appraising paintings in 1612, 1620 and 1624. In 1615 and 1619 he was warden of the Guild of St Luke. He was buried in Amsterdam’s Zuiderkerk on 2 November 1624, and on 13 May 1625 paintings in his estate were sold at auction. Van der Voort was one of Amsterdam’s leading portrait painters in the first quarter of the 17th century. Several of his group portraits are known. It is believed that he trained Thomas de Keyser (1596/97-1667) and Nicolaes Eliasz Pickenoy (1588-1650/56). His documented pupils were David Bailly (c. 1584/86-1657), Louis du Pré...

Bearbrick and Estate of Jean-Michel Basquiat Vinyl Figures: Set of two (400% & 100%): A unique, timeless collectible trademarked & licensed by the Estate of Jean-Michel Basquiat. The...

Eleanor Woolley Poppies Near Naunton 2 Original Painting Oil Paint on Canvas Canvas Size: H 61cm x W 61cm x D 3.7cm Signed Sold Unframed Ready to Hang (Please note that in situ image...

Series "Former luxury", 30x20cm, oil\canvas

Series "Former luxury", 30x20cm, oil\canvas

‘Your Song Refreshed My Soul’ is an original acrylic painting by Sarah Ollerenshaw. This painting resonates and inspires for a moment a spiritual transportation away from the busynes...

"A game. Hide and Seek" canvas/mixed media, silkscreen 150x170cm, oil/canvas

"A game. Climbing" canvas/mixed media, silkscreen 150x130cm, oil/canvas

"A game. Drawing games" canvas/mixed media, silkscreen 150x140cm, oil/canvas

"A game. Chairs" canvas/mixed media, silkscreen 150x100cm, oil/canvas

"A game. Catch-up" canvas/mixed media, silkscreen 150x120cm, oil/canvas

Immersion, 120x170cm, oil/canvas

Splash, 120x160cm, oil/canvas

Under the water, 120x90cm, oil/canvas

Series "Former luxury", 60x60cm, oil\canvas

Series "Former luxury", 90x70cm, oil\canvas

Series "Former luxury", 90x70cm, oil\canvas

Series "Former luxury", 70x60cm, oil\canvas

Deep groove , 110x90cm

Abstract landscape , 100x120cm

Waterfall , 80x80cm

Hoddmimir , 100x135cm

Norns, 110x100cm

This is a series of four original artworks on paper showcasing timeless, elegant dresses through the use of paint, colour pencil and collage elements. Delicate details and intuitive ...

Born on a farm in Africa and surrounded by the majestic beauty of nature, Lee had always gravitated towards the medium of painting to test the tension between the real and the abstra...

Victorian Oil Painting of a Cavalier Sword Fencer who has been fighting a duel, he has escaped to an adjoining room, trying to close the door behind him. However, his opponent has m...

this painting was completed following a visit to the Isle of Skye, the atmospheric light and mist inspire me to work in a very loose and soft approach. The mist and wet weather make ...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...