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Art For Sale
Style: Old Masters
Color:  Orange
Study of a Fate at mid-body, a red chalk attributed to Giovanni da San Giovanni
Located in PARIS, FR
This spectacular red chalk drawing depicts an elderly woman, her eyes bulging, her hand stretched out towards the sky. This disturbing character, who seems close to dementia, and the elongation of her arm with its Mannerist overtones, plunge us into the Florentine artistic milieu of the first half of the 17th century. The proximity of this drawing to some characters in the fresco in the Pitti Palace representing The Muses, Poets and Philosophers chased from Parnassus, the last masterpiece of Giovanni da San Giovanni, leads us to propose an attribution to this artist and a dating of around 1635-1636. 1. Giovanni da San Giovanni, the painter of contradiction We take here the title of the monography dedicated to the artist by Anna Banti in 1977, which remains the reference book for this artist. The son of a notary, Giovanni Mannozzi, known as Giovanni da San Giovanni, abandoned his studies to go to Florence at the age of sixteen, where he entered the studio of Matteo Rosselli (1578 - 1650) around 1609 and enrolled in the Academy of Drawing Arts in 1612. Around 1615 he produced his first known works, mainly frescoes for the city's tabernacles. He became famous in Florence for his originality, combining an obsessive application to the study of drawing and the reading of poetry and history with a disheveled appearance. Between 1619 and 1620 he decorated the facade of the Antella Palace in Piazza Santa Croce, a decoration that still partly survives today. The death of Cosimo II in 1621 put an end to the Florentine building activity and Giovanni da San Giovanni left for Rome to find other sponsors with the painter Francesco Furini...
Category

17th Century Old Masters Art

Materials

Chalk

Portrait Sibyl Lady Zanotti Paint Oil on canvas Old master 18th Century Italian
Located in Riva del Garda, IT
Portrait of an Eritrean Sibyl who writes the prophecy Circle of Lorenzo Pasinelli (Bologna 1629 - 1700) - Attributable to Giampietro Cavazzoni Zanotti ...
Category

18th Century Old Masters Art

Materials

Oil

18th Century portrait oil painting of a girl with an orange
By Robert Byng
Located in Moreton-In-Marsh, Gloucestershire
Circle of Robert Byng British, (1666-1720) Girl with Orange Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inc...
Category

18th Century Old Masters Art

Materials

Canvas, Oil

Man Eating Spaghetti - Watercolor by M. De Vito - 1820 ca.
Located in Roma, IT
Man Eating Spaghetti is an original watercolor on ivory-colored paper, realized by the old master Michela De Vito in 1828. The year is written by the author, Michela De Vito, in pen...
Category

1820s Old Masters Art

Materials

Watercolor

Female figure with Child and Dog - Charcoal Drawing
Located in Roma, IT
Female figure with child and dog is a sublime original drawing (red chalk drawing on laid paper) by an exponent of the French School of the XVIII century...
Category

18th Century Old Masters Art

Materials

Charcoal

Corpo Reale dè Veterani ed Invalidi
Located in Roma, IT
Title at the center of the lower margin. Signed on the plate "Petrone." in the lower left margin. "Con permis", in lower-right "Lit. D. Festa, 1836". In very good conditions except ...
Category

1830s Old Masters Art

Materials

Lithograph

Still Life with Flowers in a Vase
Located in Atlanta, GA
Painted in the style of the 17th century Dutch painter Alexander Andrienssen, this painting is of a glass vase on a wood surface filled with flowers. The artist's careful attention ...
Category

18th Century and Earlier Old Masters Art

Materials

Oil, Wood Panel

Related Items
A girl II - XXI century, Contemporary Realistic Figurative Mixed Media Drawing
Located in Warsaw, PL
Contemporary realistic figurative mixed media drawing PROVENANCE Exhibited at Katarzyna Napiorkowska Gallery. The Gallery is a primary representative for this artist. The Gallery o...
Category

Early 2000s Realist Art

Materials

Chalk, Pastel, Cardboard, Pencil

Two royal portraits (the Duc d'Angoulême and the Duc de Berry) by H.P. Danloux
Located in PARIS, FR
These two royal portraits are a major historical testimony to the stay of the Comte d'Artois (the future Charles X) and his family in Edinburgh in 1796-1797. Given by the sitters to Lord Adam Gordon, the Governor of Edinburgh, and kept by family descent to this day, these two portraits provide us with a vivid and spontaneous image of the Duc d’Angoulême and his brother the Duc de Berry. Danloux, who had emigrated to London a few years before, demonstrate his full assimilation of the art of British portrait painters in the brilliant execution of these portraits. 1. Henri-Pierre Danloux, a portraitist in the revolutionary turmoil Born in Paris in 1753, Henri-Pierre Danloux was first a pupil of the painter Nicolas-Bernard Lépicié (1735 - 1784) and then, in 1773, of Joseph-Marie Vien (1716 - 1809), whom he followed to Rome when, at the end of 1775, Vien became Director of the Académie de France. In Rome he became friends with the painter Jacques-Louis David (1748 - 1825). Returning to France around 1782, he settled in Lyon for a few years before returning to Paris in 1785. One of his first portraits was commissioned by the Baroness d'Etigny, the widow of the former Intendant of the Provinces of Gascony, Bearn and Navarre Antoine Mégret d'Etigny (1719 – 1767). He then became close to his two sons, Mégret de Sérilly and Mégret d'Etigny, who in turn became his patrons. In 1787, this close relationship with the d'Etigny family was further strengthened by his marriage to Antoinette de Saint-Redan, a relative of Madame d'Etigny. After his marriage, he left for Rome and did not return to France until 1789. It was during the winter of 1790-1791 that he painted one of his masterpieces, the portrait of Baron de Besenval. Set in a twilight atmosphere, this portrait of an aristocrat who knows that his death is imminent symbolizes the disappearance of an erudite and refined society which would be swept away by the French Revolution. The Jacobin excesses led Danloux to emigrate to England in 1792; many members of his family-in-law who remained in France were guillotined on 10 May 1794. Danloux enjoyed great success as a portrait painter in England before returning to France in 1801. During his stay in England, Danloux was deeply under the influence of English portraitists: his colors became warmer (as shown by the portrait of the Duc d'Angoulême that we are presenting), and his execution broader. 2. Description of the two portraits and biographical details of the sitters The Duc d'Angoulême (1775-1844) was the eldest son of the Comte d'Artois, the younger brother of King Louis XVI (the future King Charles X), and his wife Marie-Thérèse of Savoie. He is shown here, in the freshness of his youth, wearing the uniform of colonel-general of the "Angoulême-Dragons" regiment. He is wearing the blue cordon of the Order of the Holy Spirit, which was awarded to him in 1787, and two decorations: the Cross of Saint-Louis and the Maltese Cross, as he was also Grand Prior of the Order of Malta. Born on 16 August 1775 in Versailles, Louis-Antoine d'Artois followed his parents into emigration on 16 July 1789. In 1792, he joined the émigrés’ army led by the Prince de Condé. After his stay in Edinburgh (which will be further discussed), he went to the court of the future King Louis XVIII, who was in exile at the time, and in 1799 married his first cousin Marie-Thérèse Charlotte of France, the daughter of Louis XVI and the sole survivor of the royal family. The couple had no descendants. He became Dauphin of France in 1824, upon the accession to the throne of his father but played only a minor political role, preferring his military position as Grand Admiral. Enlisted in Spain on the side of Ferdinand VII, he returned home crowned with glory after his victory at Trocadero in 1823. He reigned for a very short time at the abdication of Charles X in 1830, before relinquishing his rights in favor of his nephew Henri d'Artois, the Duc de Bordeaux. He then followed his father into exile and died on 3 June 1844 in Gorizia (now in Italy). His younger brother, the Duc de Berry, is shown in the uniform of the noble cavalry of the émigrés’ Army. He is wearing the blue cordon of the Order of the Holy Spirit, awarded to him in May 1789, and the Cross of Saint-Louis (partly hidden by his blue cordon). Born on 24 January 1778 in Versailles, Charles-Ferdinand d'Artois also followed his parents into emigration and joined the émigrés’ army in 1792. After his stay in Edinburgh, he remained in Great Britain, where he had an affair with Amy Brown...
Category

1790s Old Masters Art

Materials

Canvas, Oil, Wood Panel

Huge Antique Oil Painting Portrait of Mrs Boone & Daughter after lost original
Located in Cirencester, Gloucestershire
After SIR JOSHUA REYNOLDS (1723 -1792) Portrait of Mrs Boone and her Daughter Oil on Canvas Canvas Size : 55.25 x 43.25 inches (140 x 110 cms) Framed size : 62 x 50 inches (157.5 x 127 cms) Provenance : Private Collection, France This present picture is a good quality copy of a Reynolds original. Copies are notoriously difficult to date, but judging by the style and the materials used it is most probable that we are dealing with a picture painted between 1890 and 1920. The professional standard of the work makes this painting a fine and substantial piece of decoration in the 18th century English manner. But in this case there is more… The Reynolds original was painted around 1774-6 and depicts Harriet Boone, wife of Charles Boone with their daughter, also Harriet – later the wife of Sir William Drummond K.C. This picture was by 1865 in the collection of one T Colleton Garth (a relative of the younger Harriet Boone), who lent it to an exhibition of Old Master pictures at the British Institution in 1865. It was engraved in 1866 by G.H. Emery – presumably after attracting some attention at that exhibition. The painting was then bought from Garth by the dealers Agnew in 1903 and sold the following year in 1904 to the famous Anglo-German diamond magnate Alfred Beit. Two years later in 1906, Beit - who would fill his later years with numerous philanthropic donations in Germany, England and South Africa - gave the Reynolds original of Mrs Boone to the Berlin Gallery...
Category

Late 19th Century Old Masters Art

Materials

Oil, Canvas

17th Century, Old Master, "King Basileus Alexander of Macedon Magnus, the Great"
Located in Berlin, DE
Very decorative, 17th century, old master painting, oil on canvas, King Alexander Magnus, the great. Illustration of two children, putti, with wreaths of flowers on a board (or maus...
Category

17th Century Old Masters Art

Materials

Canvas, Oil

The Abduction of the Sabine Women , a Renaissance drawing by Biagio Pupini
Located in PARIS, FR
This vigorous drawing has long been attributed to Polidoro da Caravaggio: The Abduction of the Sabine Women is one of the scenes that Polidoro depicted between 1525 and 1527 on the façade of the Milesi Palazzo in Rome. However, the proximity to another drawing inspired by this same façade, kept at the Ecole des Beaux-Arts, and to other drawings inspired by Polidoro kept at the Musée du Louvre, leads us to propose an attribution to Biagio Pupini, a Bolognese artist whose life remains barely known, despite the abundant number of drawings attributed to him. 1. Biagio Pupini, a Bolognese artist in the light of the Roman Renaissance The early life of Biagio Pupini, an important figure of the first half of the Cinquecento in Bologna - Vasari mentions him several times - is still poorly known. Neither his date of birth (probably around 1490-1495) nor his training are known. He is said to have been a pupil of Francesco Francia (1450 - 1517) and his name appears for the first time in 1511 in a contract with the painter Bagnacavallo (c. 1484 - 1542) for the frescoes of a church in Faenza. He then collaborated with Girolamo da Carpi, at San Michele in Bosco and at the villa of Belriguardo. He must have gone to Rome for the first time with Bagnacavallo between 1511 and 1519. There he discovered the art of Raphael, with whom he might have worked, and that of Polidoro da Caravaggio. This first visit, and those that followed, were the occasion for an intense study of ancient and modern art, as illustrated by his abundant graphic production. Polidoro da Caravaggio had a particular influence on the technique adopted by Pupini. Executed on coloured paper, his drawings generally combine pen, brown ink and wash with abundant highlights of white gouache, as in the drawing presented here. 2. The Abduction of the Sabine Women Our drawing is an adaptation of a fresco painted between 1525 and 1527 by Polidoro da Caravaggio on the façade of the Milesi Palace in Rome. These painted façades were very famous from the moment they were painted and inspired many artists during their stay in Rome. These frescoes are now very deteriorated and difficult to see, as the palace is in a rather narrow street. The episode of the abduction of the Sabine women (which appears in the centre of the photo above) is a historical theme that goes back to the origins of Rome and is recounted both by Titus Livius (Ab Urbe condita I,13), by Ovid (Fasti III, 199-228) and by Plutarch (II, Romulus 14-19). After killing his twin brother Romus, Romulus populates the city of Rome by opening it up to refugees and brigands and finds himself with an excess of men. Because of their reputation, none of the inhabitants of the neighbouring cities want to give them their daughters in marriage. The Romans then decide to invite their Sabine neighbours to a great feast during which they slaughter the Sabines and kidnap their daughters. The engraving made by Giovanni Battista Gallestruzzi (1618 - 1677) around 1656-1658 gives us a good understanding of the Polidoro fresco, allowing us to see how Biagio Pupini reworked the scene to extract this dynamic group. With a remarkable economy of means, Biagio Pupini takes over the left-hand side of the fresco and depicts in a very dense space two main groups, each consisting of a Roman and a Sabine, completed by a group of three soldiers in the background (which seems to differ quite significantly from Polidoro's composition). The balance of the drawing is based on a very strongly structured composition. The drawing is organised around a median vertical axis, which runs along both the elbow of the kidnapped Sabine on the left and the foot of her captor, and the two main diagonals, reinforced by four secondary diagonals. This diamond-shaped structure creates an extremely dynamic space, in which centripetal movements (the legs of the Sabine on the right, the arm of the soldier on the back at the top right) and centrifugal movements (the arm of the kidnapper on the left and the legs of the Sabine he is carrying away, the arm of the Sabine on the right) oppose each other, giving the drawing the appearance of a whirlpool around a central point of support situated slightly to the left of the navel of the kidnapper on the right. 3. Polidoro da Caravaggio, and the decorations of Roman palaces Polidoro da Caravaggio was a paradoxical artist who entered Raphael's (1483 - 1520) workshop at a very young age, when he oversaw the Lodges in the Vatican. Most of his Roman work, which was the peak of his career, has disappeared, as he specialised in facade painting, and yet these paintings, which are eminently visible in urban spaces, have influenced generations of artists who copied them abundantly during their visits to Rome. Polidoro Caldara was born in Caravaggio around 1495-1500 (the birthplace of Michelangelo Merisi, known as Caravaggio, who was born there in 1571), some forty kilometres east of Milan. According to Vasari, he arrived as a mason on the Vatican's construction site and joined Raphael's workshop around 1517 (at the age of eighteen according to Vasari). This integration would have allowed Polidoro to work not only on the frescoes of the Lodges, but also on some of the frescoes of the Chambers, as well as on the flat of Cardinal Bibiena in the Vatican. After Raphael's death in 1520, Polidoro worked first with Perin del Vaga before joining forces with Maturino of Florence (1490 - 1528), whom he had also known in Raphael's workshop. Together they specialised in the painting of palace façades. They were to produce some forty façades decorated with grisaille paintings imitating antique bas-reliefs. The Sack of Rome in 1527, during which his friend Maturino was killed, led Polidoro to flee first to Naples (where he had already stayed in 1523), then to Messina. It was while he was preparing his return to the peninsula that he was murdered by one of his assistants, Tonno Calabrese, in 1543. In his Vite, Vasari celebrated Polidoro as the greatest façade decorator of his time, noting that "there is no flat, palace, garden or villa in Rome that does not contain a work by Polidoro". Polidoro's facade decorations, most of which have disappeared as they were displayed in the open air, constitute the most important lost chapter of Roman art of the Cinquecento. The few surviving drawings of the painter can, however, give an idea of the original appearance of his murals and show that he was an artist of remarkable and highly original genius. 4. The façade of the Milesi Palace Giovanni Antonio Milesi, who commissioned this palace, located not far from the Tiber, north of Piazza Navona, was a native of the Bergamo area, like Polidoro, with whom he maintained close friendly ties. Executed in the last years before the Sack of Rome, around 1526-1527, the decoration of Palazzo Milesi is considered Polidoro's greatest decorative success. An engraving by Ernesto Maccari made at the end of the nineteenth century allows us to understand the general balance of this façade, which was still well preserved at the time. The frescoes were not entirely monochrome, but alternated elements in chiaroscuro simulating marble bas-reliefs and those in ochre simulating bronze and gold vases...
Category

16th Century Old Masters Art

Materials

Ink, Gouache, Pen

Follower of Francesco Guardi, Figures in a Mediterranean port by a Roman Arch
By Francesco Guardi
Located in Harkstead, GB
A lively, well executed sketch painted by a 19th century follower of Francesco Guardi Follower of Francesco Guardi, 19th Century Figures by a Roman Arch Watercolour with ink and sc...
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19th Century Old Masters Art

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MB 827 (Contemporary Life Drawing of Two Nude Males by Mark Beard)
Located in Hudson, NY
Academic life drawing of two nude males with charcoal and graphite by Mark Beard, "MB 827" graphite, Conte crayon and charcoal on Arches paper 29.75 x 21.75 inches unframed Signed, l...
Category

2010s Contemporary Art

Materials

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MB 702 (Contemporary Life Drawing of Male Nude by Mark Beard)
Located in Hudson, NY
MB 702 (Contemporary Life Drawing of Male Nude by Mark Beard) graphite, Conte crayon and charcoal on Arches paper 30 x 19 inches unframed Con...
Category

2010s Contemporary Art

Materials

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MB 80 (Figurative Life Drawing of Handsome Male Nude by Mark Beard)
Located in Hudson, NY
Academic life drawing of male nude with charcoal and graphite by Mark Beard, "MB 080" graphite, Conte crayon and charcoal on Arches paper 30 x 22 inches unframed Signed, lower left ...
Category

2010s Contemporary Art

Materials

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MB 085A (Contemporary Life Drawing of Nude Male by Mark Beard)
Located in Hudson, NY
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2010s Contemporary Art

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Baldassarre Franceschini, Sleeping Cupid, Valentine's Day Gift
Located in Harkstead, GB
A beautiful 19th century copy by Giuseppe Rocchi of Baldassarre Franceschini's Sleeping Cupid, presented in a very attractive gilt frame with hand carved mouldings. A very peaceful i...
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Mid-19th Century Old Masters Art

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Standing Nude female figure chalk drawing by Hilary Hennes
Located in London, GB
To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Hilary Hennes (née Hilary Miller) (1919 - 1993) Standing Nude Chalks 56 x 38 c...
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Previously Available Items
I’m Different 4
Located in Ibadan, Oyo
“In Africa, Yoruba land to be precise where I grew up the nourishing attitude of Omoluwabi, our facial looks is been used to define us as a person, a guy with ear piercing and dreadlocks on his head being looked at as a thug, frauds tars, and so on, Meanwhile, these guys are a cool and calm-hearted person Though there are guys like these that are truly counted in the act not all of them are like that Good and God fearing youth still exist” (Written by the Artist) Painting Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Signed on the front side and accompanied by a Certificate of Authenticity. - About the Artist Joy Eyitayo Alagbe...
Category

21st Century and Contemporary Old Masters Art

Materials

Charcoal, Acrylic, Canvas

Madonna Virgin Paint 17/18th Century Maratta Oil on canvas Old master Italian
By Circle of Carlo Maratta (Camerano 1625 - Rome 1713)
Located in Riva del Garda, IT
Roman painter active between the end of the 17th and the beginning of the 18th century Circle of Carlo Maratta (Camerano 1625 - Rome 1713) Portrait of Madonna XVII-XVIII century O...
Category

17th Century Old Masters Art

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Oil

A Pair of Angels
By Gian Lorenzo Bernini
Located in New York, NY
Provenance: Wilhelm Suida (1877–1959), New York; by descent to: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA When in the collection of Wilhelm Suida and his descendants, this pair of angels was attributed to the great Roman Baroque artist Gian Lorenzo Bernini. While there are some resonances with Bernini’s sketches of angels in chalk, the handling and quality of execution of these drawings point towards an artist working in his wake, possibly even a French artist active in Rome, ca. 1700. Bernini frequently sketched angels...
Category

Early 18th Century Old Masters Art

Materials

Paper, Chalk

A Pair of Angels
A Pair of Angels
H 6.25 in W 4.5 in
Portrait Noble Lady Woma Drouais Paint Oil on canvas Old master 18th Century Art
By François-Hubert Drouais (Paris 1727 - Paris 1775)
Located in Riva del Garda, IT
François-Hubert Drouais (Paris 1727 - Paris 1775) Portrait of a noble French lady Louis XV period - around 1750/60 Oil on canvas, x cm. with frame, 120 x 98 cm. Drouais was born in...
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18th Century Old Masters Art

Materials

Oil

Costume di Latronica - Watercolor by M. De Vito - 1820 ca.
Located in Roma, IT
An amazing watercolour Costume di Latronica on ivory-colored paper stuck on cardboard realized by the Italian old master Michela De Vito in 1820 ca. Hand-titled "Costume di Latronic...
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1820s Old Masters Art

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Watercolor

Riding School - China Ink Drawing by Jan Pieter Verdussen - Mid 1700
Located in Roma, IT
Riding School is an ink original drawing on watermarked and wire rod paper realized in the middle of XVIII century by Jan Peter Verdussen, with autograph notes. In very good conditi...
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FLOWERS - Italian still life oil on canvas oval painting, Roberto Suraci
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Located in Napoli, IT
Flowers - Italian oil on canvas oval painting. Italy, 2007, Roberto Suraci, cm.50x60 Gold leaf gilded wooden frame cm.67x77.
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Early 2000s Old Masters Art

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Canvas, Oil

"Le Condottiere, " Original Color Lithograph signed Claude Weishbuch
Located in Milwaukee, WI
"Le Condottiere" is an original color lithograph by Claude Weisbuch. It is edition 110/250 and depicts the leader of a group of mercenaries on horseback. Weisbuch signed the piece in...
Category

1970s Old Masters Art

Materials

Lithograph

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Contemporary art has lured more initiates to collecting than almost any other category, with notable artists including Yayoi Kusama, Marc Chagall, Kehinde Wiley and Jean-Michel Basquiat. Navigating the waiting lists for the next Marlene Dumas, Jeff Koons or Jasper Johns has become competitive.

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