top of page
Open Site Navigation

382 items found

  • Floris Claesz van Dyck

    Only a relatively small œuvre is known of Floris van Dyck (13 paintings and one work in watercolour). He signed his paintings only with the monogram "FVD", occasionally joined with an "H" (Harlemensis), and followed by "Fecit". His paintings are counted among the banquet pieces (also: Banketjes or Ontbijtjes). However, since banketje or ontbijtje refers to almost all paintings depicting a table laden with food and crockery, a more differentiated designation for the paintings such as those created by Dyck and Gillis would be Schautafel. It seems that Floris van Dyck was influenced by the Flemish painters Clara Peeters and Osias Beert. Together with his fellow painter Nicolaes Gillis, Floris van Dyck established the banquet pieces (Schautafeln) in the city of Haarlem as an independent subject. Compared to Nicolaes Gillis, Floris van Dyck has a greater significance and can thus be said to have "the strongest stylistic force". The paintings of Floris van Dyck and Nicolaes Gillis had a strong influence on the following generation of painters. They paved the way for a new type of banquet piece - Het Monochrome Banketje. Floris van Dyck, also Floris van Dijck or Floris Claesz. van Dyck (* c. 1575 in Delft; † before April 1651 in Haarlem) was a Dutch still life painter of the Golden Age. His only known relative is his cousin, the painter and draughtsman Pieter Cornelisz. van Dyck. He first lived in Haarlem, where he became engaged in 1604 and later married for the first time. Nothing is known about his education. However, it is considered certain that he undertook a trip to Rome and stayed there around 1600. In 1606 he was already back in the Netherlands, in the city of Haarlem. In 1610 he became a member of the Guild of St. Luke in Haarlem and in 1637 its head. Floris van Dyck married for the second time in October 1627. After this marriage to Cornelia Jansdr. Vlasmans, who brought her fortune into the marriage, he no longer seemed to depend on his profession as a painter and thus on a self-generated income. He died shortly before April in 1651. *1575-1651 Floris Claesz van Dyck MORE FROM THIS ARTIST SEE MORE 55 | Still Life with Cheese (Stillleben mit Käse), c. 1615 BUY NOW YOUR LIMITED VERSION GO ​ Be one of the owners of this limited edition and buy one of the 3333 hand signed books along with your NFT! BUY THE BOOK NOW

  • Jean-Michel Basquiat

    Basquiat's art focused on dichotomies such as wealth versus poverty, integration versus segregation, and inner versus outer experience. He appropriated poetry, drawing, and painting, and married text and image, abstraction, figuration, and historical information mixed with contemporary critique. He used social commentary in his paintings as a tool for introspection and for identifying with his experiences in the Black community of his time, as well as attacks on power structures and systems of racism. His visual poetics were acutely political and direct in their criticism of colonialism and support for class struggle. Since Basquiat's death at the age of 27 from a heroin overdose in 1988, his work has steadily increased in value. Jean-Michel Basquiat (* 22 December 1960 in New York City; † 12 August 1988 ibid.) was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement. Basquiat first achieved fame as part of the graffiti duo SAMO, alongside Al Diaz, writing enigmatic epigrams in the cultural hotbed of Manhattan's Lower East Side during the late 1970s, where rap, punk, and street art coalesced into early hip-hop music culture. By the early 1980s, his paintings were being exhibited in galleries and museums internationally. At 21, Basquiat became the youngest artist to ever take part in documenta in Kassel. At 22, he was the youngest to exhibit at the Whitney Biennial in New York. The Whitney Museum of American Art held a retrospective of his art work in 1992. *1960-1988 Jean-Michel Basquiat MORE FROM THIS ARTIST SEE MORE 273 | Dustheads (Staubköpfe), 1982 SEE MORE 274 | Boy and Dog in a Johnnypump (Junge und Hund in einer Johnnypumpe), 1982 BUY NOW YOUR LIMITED VERSION GO ​ Be one of the owners of this limited edition and buy one of the 3333 hand signed books along with your NFT! BUY THE BOOK NOW


    by Reinhard Fuchs c/o Fuerstenweg GmbH Publishing WORLD OF ART BUY IT 275 masterpieces from the Middle Ages to the present WORKS OF ART IN THE WORLD THE MOST VALUABLE & EXPENSIVE The Apotheosis of Homer.jpg Dalí, Salvador (1904-1989) 1945, oil on canvas 63,7 x 116,7 The Calling of Saint Matthew Caravaggio, Michelangelo Mersi da (1571-1610), Italy Oil on canvas, 322,0 x 340,0 cm M-Maybe (Bild eines Mädchens), 1965 Lichtenstein, Roy (1923-1997), USA Balloon Dog, Magenta (Ballonhund, Magenta), 1994-2000 Koons, Jeff, (*1955), USA Mirror-polished stainless steel with transparent color coating, 307,3 x 363,2 x 114,3 cm Boy and Dog in a Johnnypump (Junge und Hund in einer Johnnypumpe), 1982 Basquiat, Jean-Michel (1960-1988), USA Acrylic, oilstick, spray enamel and metallic paint on canvas, 240,0 x 420,0 cm Las Meninas (Las meninas o La familia de Felipe IV) Die Hoffräulein, 1656 Velázquez, Diego Rodríguez de Silva y (1599-1660) Spain Oil on canvas, 318,0 x 276,0 cm 3 | Madonna of Chancellor Rolin (Die Madonna des Kanzlers Nicolas Rolin), c.1435 Van Eyck, Jan (c. 1390-1441), Netherlands Oil on panel, 66,0 x 62,0 cm Doge Leonardo Loredan (Ritratto del doge Leonardo Loredan), c. 1501-1502 Bellini, Giovanni, (1437-1516), Italy Oil on panel, 61,1 x 45,1 cm Madonna of Chancellor Rolin (Die Madonna des Kanzlers Nicolas Rolin), c.1435 Van Eyck, Jan (c. 1390-1441), Netherlands Oil on panel, 66,0 x 62,0 cm Young Hare (Feldhase), 1502 Dürer, Albrecht (1471-1528), Germany Watercolour and gouache on paper, 25,1 x 22,6 cm The Vitruvian Man (Vitruvianischer Mensch), c. 1492 Leonardo da Vinci, (1452-1519), Italy Pen and ink on paper, 34,3 x 24,5 cm 110 | Boulevard Montmartre, Spring (Le Boulevard de Montmartre, Matinée de Printemps), Boulevard Montmartre, Frühling, 1897 Pissarro, Camille (1830-1903), France Oil on canvas, 65,0 x 81,0 cm THE AUTHOR GO THE ARTISTS GO > 1426 > 1441 > 1444 > 1464 > 1482 > 1492 > 1494 > 1494 > 1500 > 1500 > 1500 > 1500 > > BUY YOUR LIMITED VERSION NOW! In this book, we present 275 of the world‘s most important and expensive works of art, that have been sold either at auctions or privately worldwide, or they are unsaleable or can be admired in the world‘s most famous art museums. As sales are not necessarily always made public or image data of the works and artists are not provided, this book cannot claim to be complete. BUY IT Subscription price only € 264,- accepted here, too! Be one of the owners of this limited edition and buy one of the 3333 hand signed books along with your NFT! BUY THE BOOK NOW 11th >15th 17th 16th 18th 19th 20th > Now More filters > What artwork are you looking for? Narrow your search down by century or price! < $ 25M $ 25 > 50M $ 50 > 80M $ 80 > 100M $ 100 > 165M > $ 165 000M Clear filters < World of Art | The Video First insights into the book! For questions around the order of this unique piece of art don't hesitate to get in touch now! CONTACT Browse the book!

  • Claude Monet

    The early work up to the mid-1860s comprises realistic paintings, some of which Monet exhibited at the Paris Salon. In the late 1860s Claude Monet began to paint Impressionist paintings. An example of his paintings from this creative period is Impression, Sunrise, a harbour view of Le Havre, which gave the name to the whole movement. He thus moved away from the taste of the time, influenced by the traditional art academies, which worsened his financial situation. In the 1870s Monet took part in some of the Impressionist exhibitions, which also included artists such as Pierre-Auguste Renoir and Edgar Degas, and was particularly encouraged by the art dealer Paul Durand-Ruel. Claude Monet (* 14 November 1840 in Paris; † 5 December 1926 in Giverny, born Oscar-Claude Monet) was a French painter, a founder of French Impressionist painting and the most consistent and prolific exponent of that movement's philosophy of expressing one's perceptions in front of nature, particularly in relation to landscape painting in the open air. The term "Impressionism" derives from the title of his painting Impression, soleil levant (Impression, Sunrise), exhibited in 1874 at the first Salon des Refusés (Exhibition of the Committee), which Monet and his collaborators organised as an alternative to the Salon de Paris. *1840-1926 Claude Monet MORE FROM THIS ARTIST SEE MORE 121 | The Houses of Parliament, London, with the sun breaking through the fog (Londres, le Parlement. Trouée de soleil dans le brouillard) London, das Parlament. Die Sonne bricht durch den Nebel, 1904 SEE MORE 122 | Water Lilies (Seerosen), 1919 SEE MORE 123 | The Waterlily Pond, Harmony in Pink (Le Bassin aux nymphéas, harmonie rose) Seerosenteich, Harmonie in Rosa, 1900 SEE MORE 124 | Bridge over a Pond of Water Lilies (Brücke über einen Seerosenteich), 1899 SEE MORE 125 | The Argenteuil Bridge (Le Pont d‘Argenteuil) Die Brücke von Argenteuil, 1874 SEE MORE 126 | Fields in spring (Felder im Frühling), 1887 SEE MORE 127 | The Magpie (La Pie) Die Elster, c. 1868-1869 SEE MORE 128 | Water Lilies I (Seerosen I), 1905 SEE MORE 129 | White Water Lilies (Weiße Seerosen), 1899 SEE MORE 130 | Haystacks, end of Summer (Meules, fin de l‘été) Heuhaufen, Ende des Sommers, 1891 SEE MORE 131 | Poppy Field (Coquelicots) Mohnfeld, 1873 BUY NOW YOUR LIMITED VERSION GO Monet's desire to document the French landscape led him to paint the same scene over and over again to capture the changing light and passing of the seasons. From 1883 Monet lived in Giverny, where he bought a house and land and began an extensive landscape project that included lily ponds, which would become the subject of his most famous works. He began painting the water lilies in 1899, first in vertical views with a Japanese bridge as the central feature, and later in the series of large-scale paintings that occupied him continuously for the next 20 years of his life. Monet's financial situation remained strained until the 1890s. It was during this period that Monet developed the concept of the series, according to which he painted a motif in different light moods. He also began to lay out his famous garden in Giverny, which he subsequently also used as a motif for his paintings. Be one of the owners of this limited edition and buy one of the 3333 hand signed books along with your NFT! BUY THE BOOK NOW

  • Canaletto (Giovanni Antonio Canal)

    Canaletto learned painting in the workshop of his father Bernardo Canal, who produced stage sets for theatre performances. He became famous for his paintings of his hometown Venice as well as for Capricci. They are captivating because of their almost photo-realistic precision and richness of detail. To achieve this precision, he used a camera obscura as an aid. Antonio Canal is to be distinguished from his nephew Bernardo Bellotto, who worked in a very similar way and later also used the artist's name "Canaletto". Antonio Canal's works are altogether more light, mostly more cheerful and also brighter than those of his nephew. One of Canaletto's patrons and clients was the English consul in Venice Joseph Smith, who also commissioned Antonio Visentini in 1728 with the engravings for Canaletto's Venetian vedute under the title Venetiarum nobis Prospectus, thus ensuring the dissemination of the works among the English nobility travelling on the Grand Tour. The paintings were either acquired by the English nobles through Smith or ordered directly from England. Thus in 1731-1732 the 4th Duke of Bedford commissioned 24 paintings, which Antonio Canal executed from 1732 to 1736. This was followed by commissions from the 3rd Duke of Marlborough for a further 20 paintings, and in 1738 Henry Howard, 4th Earl of Carlisle, ordered 5 large-scale canvases. Giovanni Antonio Canal (*7 October 1697 in Venice ; † 19. April 1768 in Venice), commonly known as Canaletto (Italian: [kanaˈletto]), was an Italian painter from the Republic of Venice, considered an important member of the 18th-century Venetian school. Painter of city views or vedute, of Venice, Rome, and London, he also painted imaginary views (referred to as capricci), although the demarcation in his works between the real and the imaginary is never quite clearcut. He was further an important printmaker using the etching technique. In the period from 1746 to 1756 he worked in England where he painted many views of London and other sites including Warwick Castle and Alnwick Castle. He was highly successful in England, thanks to the British merchant and connoisseur Joseph "Consul" Smith, whose large collection of Canaletto's works was sold to King George III in 1762. *1697-1768 Canaletto (Giovanni Antonio Canal) MORE FROM THIS ARTIST SEE MORE 80 | View of the Grand Canal towards the Punta della Dogana from Campo San Vio, c. 1740-1745 SEE MORE 81 | The Grand Canal at the Church of the Salute (Il Canal Grande e la chiesa di Santa Maria della Salute) c. 1735-1740 SEE MORE 82 | The Rialto Bridge, Venice, from the south with the Embarkation of the Prince of Saxony during his visit to Venice in 1740 SEE MORE 83 | Piazza San Marco, Venice (Markusplatz, Venedig), c. 1730-1734 SEE MORE 84 | The Rialto Bridge from the Nord (il ponte di rialto visto da nord) Die Rialto-Brücke nach Nordwesten, c. 1739-1742 SEE MORE 85 | Venice: the Molo with Santa Maria della Salute (Venedig: der Molo mit Santa Maria della Salute), c. 1740-1745 SEE MORE 86 | The Molo from the Basin of San Marco, Venice (Der Molo aus dem Becken von San Marco, Venedig), c. 1747-1750 BUY NOW YOUR LIMITED VERSION GO After the outbreak of the War of the Austrian Succession in 1740 the number of his commissions declined. In 1746 Canal went to England for ten years, after he had heard about the living conditions there from Jacopo Amigoni, who had spent several years there as an artist, and won the Duke of Richmond as a patron. The paintings he produced there have a lighter and more vivid effect. They are among the best representations of London in the 18th century. He spent the last years of his life back in Venice. His pictures became darker, but were still full of surprises. Be one of the owners of this limited edition and buy one of the 3333 hand signed books along with your NFT! BUY THE BOOK NOW

  • Willem de Kooning

    In 1953, The Museum of Modern Art acquired a new painting, one that prompted its collection committee to state: “The Committee found the picture quite frightening, but felt that it had intense vitality and liked the quality of the color.” The picture in question was Willem de Kooning’s Woman I (1950–1952). Though it was one of a series of six oil-on-canvas paintings centered upon a single female figure that de Kooning had worked on from 1950 to 1953, Woman I received the most attention. The first work in this series, it seems to embody the artist’s claim: “Beauty becomes petulant to me. I like the grotesque. It’s more joyous.” Willem de Kooning (* 24 April 1904 in Rotterdam; † 19 March 1997 in East Hampton, Long Island, New York) was a Dutch painter who became an American painter in 1962. He was one of the most important representatives of abstract expressionism and, along with Jackson Pollock, is considered a pioneer of action painting. In the years after World War II, de Kooning painted in a style that came to be referred to as abstract expressionism or "action painting", and was part of a group of artists that came to be known as the New York School. Other painters in this group included Jackson Pollock, Elaine de Kooning, Lee Krasner, Franz Kline, Arshile Gorky, Mark Rothko, Hans Hofmann, Nell Blaine, Adolph Gottlieb, Anne Ryan, Robert Motherwell, Philip Guston, Clyfford Still, and Richard Pousette-Dart. De Kooning's retrospective held at MoMA in 2011–2012 made him one of the best-known artists of the 20th century. *1904-1997 Willem de Kooning MORE FROM THIS ARTIST SEE MORE 237 | Woman I (Frau I), 1950-1952 SEE MORE 238 | Police Gazette, 1955 SEE MORE 239 | Interchange (Austausch), 1955 BUY NOW YOUR LIMITED VERSION GO When de Kooning began to paint Woman I, abstraction was dominant in American art. Artists and critics had declared the human figure to be an obsolete subject, and de Kooning himself was enjoying acclaim for the abstract compositions he had been producing over the previous years. Many of his peers saw Woman I as a betrayal, a regression back to an outmoded tradition. The painting also subjected him to accusations of misogyny, as viewers perceived his portrayal of its female subject to be menacing, objectifying, and violent. For de Kooning, however, this was a continuation of his earlier explorations of the human figure and an opportunity to further experiment with the wide-ranging methods of applying paint to canvas. Be one of the owners of this limited edition and buy one of the 3333 hand signed books along with your NFT! BUY THE BOOK NOW

  • Lucian Freud

    Early on, he focused his art on portraits and close-up nudes. His early works appear very meticulous and can be attributed to Realism, but his subjectivity and intensity set him apart from the more sober tradition of post-war British figurative art. As an emerging artist, Freud was strongly influenced by the British artist Francis Bacon. His later paintings from the 1950s onwards feature broader and even more expressive brushwork and include a series of portraits of Freud's friends and family members with whom he maintained close relationships. Lucian Freud (* 8 December 1922 in Berlin; † 20 July 2011 in London) was a British painter. He was one of the most important portrait painters of the 20th century. In 2004, art critic Robert Hughes called him "Britain's greatest living painter". Lucian Freud was one of three sons of the Austrian architect Ernst Ludwig Freud and Lucie Freud, who came from a Berlin merchant family, born Brasch, and the grandson of Sigmund Freud. The family lived in Tiergarten am Matthäikirchplatz, a district of Berlin. Lucian Freud attended the French Gymnasium in Berlin. The family emigrated to England in 1933. In 1939, Freud took up British citizenship. *1922-2011 Lucian Freud MORE FROM THIS ARTIST SEE MORE 249 | Rose, 1978-1979 SEE MORE 250 | Benefits Supervisor Sleeping, 1995 BUY NOW YOUR LIMITED VERSION GO Freud drew his imagery from observing both naked and clothed people, usually part of his personal environment - in motion, at rest, asleep. "It's a bit like animal world photography - of one of the animals" as he himself says. Lucian Freud usually depicts people and animals as if they were unobserved and completely relaxed. Freud's idiosyncratic expansion of portraiture into naked portraits, which have nothing in common with conventional nudes, has made him an exceptional figure within figurative painting. Freud painted his models in long sessions, often lasting months, which took several hours each week. While in the 1940s he still worked with a thin, two-dimensional application of paint, this soon gave way to a pastose pictorial surface. In 2001, on the occasion of the Queen's Crown Jubilee, he painted a portrait of Queen Elizabeth II, which was shown in the 2002 Jubilee Exhibition at the National Portrait Gallery and is now in the possession of the Royal Collection. Be one of the owners of this limited edition and buy one of the 3333 hand signed books along with your NFT! BUY THE BOOK NOW

  • Francisco de Zurbarán

    ​ Francisco de Zurbarán (baptised 7 November 1598 in Fuente de Cantos in Extremadura; † 27 August 1664 in Madrid) was a Spanish painter from the Golden Age ("Siglo de Oro") of Iberian Baroque art. He is known primarily for his religious paintings depicting monks, nuns, and martyrs, and for his still lifes. Zurbarán gained the nickname "Spanish Caravaggio," owing to the forceful use of chiaroscuro in which he excelled. He was the father of the painter Juan de Zurbarán. *1598-1664 Francisco de Zurbarán MORE FROM THIS ARTIST BUY NOW YOUR LIMITED VERSION GO ​ Be one of the owners of this limited edition and buy one of the 3333 hand signed books along with your NFT! BUY THE BOOK NOW

  • Egon Schiele

    Schiele had a somewhat traumatic and disturbed childhood. His father, Adolf, was a station master in the Austrian Sate Railways and young Egon became obsessed with trains. He constantly drew them over and over and the obsession became so consuming that his father destroyed his sketchbooks. Schiele also displayed incestuous tendencies toward his younger sister, Gerti. Concerned with his son's behavior, Adolf broke down the children's locked door, only to discover them developing film. When Egon was sixteen, he took his twelve-year-old sister to a hotel room in Trieste without permission, but it is unknown what transpired there. Egon's confused sexuality can be seen throughout his work, which often contains contorted figures, explicitly nude and nude self-portraits. Schiele attended the Vienna School of Arts and Crafts and then became a student of Gustav Klimt, whose influence can be seen in some of his works. Although he experienced professional success, his life was also marred by a series of public struggles. In 1912 he was arrested for seducing a girl below the age of consent. Those charges were eventually dropped, but he was convicted of exhibiting erotic drawings in a place accessible to children. The judge burned one of the offending drawings over a candle in the courtroom. In 1914 he married a respectable girl named Edith Harms. After avoiding conscription for over a year, Schiele did serve in World War I, first escorting Russian prisoners and then as a clerk. He continued to paint throughout this time. In autumn of 1918, Edith, who was six months pregnant, died of Spanish flu, and Egon died three days later. In addition to his trademark figurative paintings, Schiele also did a number of intense landscapes. Egon Leo Adolf Ludwig Schiele (* June 12, 1890 in Tulln an der Donau, Austria-Hungary; † October 31, 1918 in Vienna) was an Austrian Expressionist painter. Along with Gustav Klimt and Oskar Kokoschka, he is one of the most important visual artists of Viennese modernism. A protégé of Gustav Klimt, Schiele was an important figurative painter of the early 20th century. His work is known for its intensity and raw sexuality, as well as the many self-portraits the artist produced, including nude self-portraits. The twisted body shapes and expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism. Schiele was convinced that sexuality was the driving force of all existence. He regarded it as the motor for the cultural development of the Western world. Thus, the naked or only scantily clad depiction of man is also the central theme in Egon Schiele's works. *1890-1918 Egon Schiele MORE FROM THIS ARTIST SEE MORE 218 | Seated Woman with Bent Knee (Sitzende Frau mit hochgezogenem Knie), 1917 SEE MORE 219 | Houses with Laundry, Suburb II (Häuser mit bunter Wäsche, Vorstadt II), 1914 BUY NOW YOUR LIMITED VERSION GO ​ Be one of the owners of this limited edition and buy one of the 3333 hand signed books along with your NFT! BUY THE BOOK NOW

  • Albrecht Altdorfer

    Around 1511 or earlier, he travelled down the river and south into the Alps, where the scenery moved him so deeply that he became the first landscape painter in the modern sense, making him the leader of the Danube School, a circle that pioneered landscape as an independent genre, in southern Germany. From 1513 he was at the service of Maximilian I in Innsbruck, where he received several commissions from the imperial court. During the turmoil of the Protestant Reformation, he dedicated mostly to architecture; paintings of the period, showing his increasing attention to architecture, include the Nativity of the Virgin. Albrecht Altdorfer, also Albrecht Altdorffer (* c. 1480 perhaps in Altdorf near Landshut or in Regensburg; † 12 February 1538 in Regensburg), was a German painter, engraver and master builder of the Renaissance. Along with Wolf Huber, he is considered an important representative of the so-called Danube School, a stylistic movement along the Danube in Bavaria and Austria. The artists of this art movement are also known as the "wild painters of the Danube". Together with Albrecht Dürer, as whose pupil he is regarded, he is seen as the founder of the Nuremberg minor masters. Altdorfer was born in Regensburg or Altdorf around 1480. He acquired an interest in art from his father, Ulrich Altdorfer, who was a painter and miniaturist. At the start of his career, he won public attention by creating small, intimate modestly scaled works in unconventional media and with eccentric subject matter. He settled in the free imperial city of Regensburg, a town located on the Danube River in 1505, eventually becoming the town architect and a town councillor. His first signed works date to c. 1506, including engravings and drawings such the Stygmata of St. Francis and St. Jerome. His models were niellos and copper engravings from the workshops of Jacopo de Barbari and Albrecht Dürer. *1480-1538 Albrecht Altdorfer MORE FROM THIS ARTIST SEE MORE 29 | The Battle of Alexander at Issus (Alexanderschlacht) Schlacht bei Issus, 1528-1529 BUY NOW YOUR LIMITED VERSION GO In 1529, he executed The Battle of Alexander at Issus for Duke William IV of Bavaria. In the 1520s he returned to Regensburg as a wealthy man, and became a member of the city's council. He was also responsible for the fortifications of Regensburg. In that period his works are influenced by artists such as Giorgione and Lucas Cranach, as shown by his Crucifixion. In 1535, he was in Vienna. He died at Regensburg in 1538. The remains of Altdorfer's surviving work comprises 55 panels, 120 drawings, 125 woodcuts, 78 engravings, 36 etchings, 24 paintings on parchment, and fragments from a mural for the bathhouse of the Kaiserhof in Regensburg. This production extends at least over the period 1504–1537. He signed and dated each one of his works. Be one of the owners of this limited edition and buy one of the 3333 hand signed books along with your NFT! BUY THE BOOK NOW

  • Georgia O'Keeffe

    She moved to New York in 1918 at Stieglitz's request and began working seriously as an artist. They developed a professional relationship and a personal relationship that led to their marriage in 1924. O'Keeffe created many forms of abstract art, including close-ups of flowers, such as the Red Canna paintings, that many found to represent female genitalia although O'Keeffe consistently denied that intention. The imputation of the depiction of women's sexuality was also fueled by explicit and sensuous photographs that Stieglitz had taken and exhibited of O'Keeffe. O'Keeffe and Stieglitz lived together in New York until 1929, when O'Keeffe began spending part of the year in the Southwest, which served as inspiration for her paintings of New Mexico landscapes and images of animal skulls, such as Cow's Skull: Red, White, and Blue and Ram's Head White Hollyhock and Little Hills. After Stieglitz's death, she lived permanently in New Mexico at Georgia O'Keeffe Home and Studio in Abiquiú, until the last years of her life when she lived in Santa Fe. Georgia Totto O'Keeffe (* 15 November 1887 in Sun Prairie, Dane County, Wisconsin; † 6 March 1986 in Santa Fe, New Mexico) is one of the best-known US women painters of the 20th century. She was known for her paintings of enlarged flowers, New York skyscrapers, and New Mexico landscapes. O'Keeffe has been recognized as the "Mother of American modernism". In 1905, O'Keeffe began her serious formal art training at the School of the Art Institute of Chicago and then the Art Students League of New York, but she felt constrained by her lessons that emphasised the recreation or copying of nature. In 1908, unable to fund further education, she worked for two years as a commercial illustrator and then taught in Virginia, Texas, and South Carolina between 1911 and 1918. During that time, she studied art during the summers between 1912 and 1914 and was introduced to the principles and philosophies of Arthur Wesley Dow, who created works of art based upon personal style, design, and interpretation of subjects, rather than trying to copy or represent them. This caused a major change in the way she felt about and approached art, as seen in the beginning stages of her watercolors from her studies at the University of Virginia and more dramatically in the charcoal drawings that she produced in 1915 that led to total abstraction. Alfred Stieglitz, an art dealer and photographer, held an exhibit of her works in 1917. Over the next couple of years, she taught and continued her studies at the Teachers College, Columbia University in 1914 and 1915. *1887-1986 Georgia O'Keeffe MORE FROM THIS ARTIST SEE MORE 213 | Jimson Weed, 1936-1937 SEE MORE 214 | Two Calla Lilies on Pink (Zwei Calla-Lilien auf Pink), 1928 SEE MORE 215 | Jimson Weed, White Flower No. 1 (Stechapfel, Weiße Blume Nr. 1), 1932 SEE MORE 216 | Cow‘s Skull: Red, White and Blue (Kuhschädel: Rot, Weiß und Blau), 1931 SEE MORE 217 | White Bird of Paradise (Weißer Paradiesvogel), 1939 BUY NOW YOUR LIMITED VERSION GO ​ Be one of the owners of this limited edition and buy one of the 3333 hand signed books along with your NFT! BUY THE BOOK NOW

  • Fernand Leger

    ​ Fernand Léger (* 4 February 1881 in Argentan in Normandy; † 17 August 1955 in Gif-sur-Yvette near Paris) was a French painter, sculptor, graphic artist, ceramicist and film director. His early work is classified as Cubism. In his works after the Second World War, his painterly style changed. From the 1920s onwards, he increasingly integrated figurative elements into his paintings. Léger's late work had an influence on the American painters of Pop Art, such as Roy Lichtenstein. In the years from 1914 to 1916, Léger experienced the horrors of war in the trenches. This experience changed him, and subsequently he turned increasingly to the world of the immediately visible, the living space of modern man and the objects that surround him. The predominant theme became the big city with its architecture, its advertising spaces and its signs. *1881-1955 Fernand Léger MORE FROM THIS ARTIST SEE MORE 183 | Woman in Blue (La Femme en Bleu) Die Frau in Blau, 1912 SEE MORE 184 | Woman in Red and Green (La femme en rouge et vert) Dame in Rot und Grün, 1914 SEE MORE 185 | Mechanical Elements (final version) Mechanische Elemente (endgültige Fassung), 1924 SEE MORE 186 | Discs (Scheiben), 1918 SEE MORE 187 | Three Women (Le Grand Déjeuner) Drei Frauen, 1921-1922 BUY NOW YOUR LIMITED VERSION GO ​ Be one of the owners of this limited edition and buy one of the 3333 hand signed books along with your NFT! BUY THE BOOK NOW






bottom of page