Peter Jordan

The great dream that all this is, original oil painting by Peter Jordan

2019

Original artwork by Peter Jordan. Morning star, oil on board, 90cm x 60cm, 2019. Jordan’s abstract works, some in oil paint and others using acrylic on board are powerful in colour ...

Original artwork by Peter Jordan. The first principle, oil on board, 80cm x 60cm, 2019 Jordan’s abstract works, some in oil paint and others using acrylic on board are powerful in c...

Contemporary Australian painter Sara Freeman uses multiple layers of egg tempera over a base layer of beeswax to create meaningful, slow art. The linework through the image is made f...

Original artwork by Stefan Gevers, watercolour on board, framed in stained oak. Signed on reverse. The iconic character of rural areas contributes to ou...

Original artwork by Stefan Gevers Pink Fields, 2022, watercolour on board, varnished, 47 x 32CM (framed in stained oak), Signed on reverse. The iconic c...

Original artwork on linen by established Australian painter Tim Snowdon. Snowdon's 2022 exhibition ‘Conversations’ references the way inanimate objects ...

original Oil on board Image size: H:20 cm x W:30 cm Complete Size of Unframed Work: H:20 cm x W:30 cm x D:1cm Sold Unframed Please note that insitu images are purely an indication of...

Sunset coming is an original landscape painting by Stephen Kinder. The painting has a strong gestural composition and loose brushwork, which heightens the changing light, and tide. ...

Mixed media on board Dark blue this wood surround frame

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Gorgeous oil on panel by Harold Cohn. Beautiful reds - the photo does not do the painting justice. The texture of the flowers is stunning. The piece is fra...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...