{"title":"Fruits","description":"","products":[{"product_id":"henri-matisse-interior-in-yellow-and-blue-1946","title":"Interior in Yellow and Blue, 1946","description":"© 2026\n Succession H. Matisse\/Artists Rights Society (ARS), New York\u003chr\u003e\u003ch3\u003eAbout the Artist\u003c\/h3\u003eMatisse is often regarded as the most important French painter of the 20th century. As a master of supreme decoration and expressive use of color, his visionary experiments into different styles of painting from his impressionistic domestic and figurative subjects to his abstract cut-outs changed our perception of the world.Early in his career, Matisse was viewed as a Fauvist (a group of artists known as the \"wild beasts\"). His work gravitated to the beautiful and his celebration of bright colors reached its peak in 1917 when he began to spend time on the French Riviera at Nice and Vence. Matisse’s Fauvist years were superseded by an experimental period, as he abandoned three-dimensional effects in favor of dramatically simplified areas of pure color, flat shape and strong pattern.As a man of nervous temperament, he coaxed his anxious tension into serenity through painting. In his later years, Matisse moved into a period of selfless invention, creating his cut-outs carved in colored paper and sometimes collaged into vast pictures. 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As a master of supreme decoration and expressive use of color, his visionary experiments into different styles of painting from his impressionistic domestic and figurative subjects to his abstract cut-outs changed our perception of the world.Early in his career, Matisse was viewed as a Fauvist (a group of artists known as the \"wild beasts\"). His work gravitated to the beautiful and his celebration of bright colors reached its peak in 1917 when he began to spend time on the French Riviera at Nice and Vence. Matisse’s Fauvist years were superseded by an experimental period, as he abandoned three-dimensional effects in favor of dramatically simplified areas of pure color, flat shape and strong pattern.As a man of nervous temperament, he coaxed his anxious tension into serenity through painting. In his later years, Matisse moved into a period of selfless invention, creating his cut-outs carved in colored paper and sometimes collaged into vast pictures. The geometric rightness and color radiance of these pictures sum up his greatest gift: his innate knowledge of how colors and shapes could come to life spectacularly when set in context.","brand":"Henri Matisse","offers":[{"title":"12x9 image on 14x11 Paper","offer_id":26404853633,"sku":"M3075pf","price":15.0,"currency_code":"USD","in_stock":true},{"title":"24x18 image on 28x22 Paper","offer_id":26404853697,"sku":"M3075p","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0223\/4033\/products\/M3075.jpg?v=1634138284"},{"product_id":"geo-spa-citron","title":"Spa-Citron","description":"© 2026\n McGaw Graphics, Inc.\u003chr\u003e\u003ch3\u003eAbout the Artist\u003c\/h3\u003eThis image by Geo is an example of early 20th century poster advertising. The modern poster, as we know it dates back to 1870 when the printing industry perfected color lithography and made mass production possible. They have ranged in styles from Art Nouveau, Symbolism, Cubism, and Art Deco to the more formal Bauhaus and the hippie posters of the 1960s.Posters, in the form of placards and posted bills, have been used since earliest times, primarily for advertising and announcements. By the 1890s, the technique had spread throughout Europe. A number of noted artists created poster art in this period, foremost amongst them Henri de Toulouse-Lautrec and Jules Chéret. Chéret is considered to be the \"father\" of advertisement placards.Chéret developed a new lithographic technique that suited better the needs of advertisers: he added a lot more colour which, in conjunction with innovative typography, rendered the poster much more expressive. Posters soon transformed the thoroughfares of Paris into the \"art galleries of the street.\" Their commercial success was such that some of the artists were in great demand and theatre stars personally selected their own favorite artist to do the poster for an upcoming performance. The popularity of poster art was such that in 1884 a major exhibition was held in Paris.By the 1890s, poster art had widespread usage in other parts of Europe, advertising everything from bicycles to bullfights. By the end of the 19th century, during an era known as the Belle Époque, the standing of the poster as a serious artform was raised even further. Many posters, particularly early posters, were used for advertising products. 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He worked as an illustrator for several magazines including Vogue, Harper's Bazaar and The New Yorker and did advertising and window displays for retail stores such as Bonwit Teller and I. Miller. Prophetically, his first assignment was for Glamour magazine for an article titled \"Success is a Job in New York.\"\n\nThroughout the 1950s, Warhol enjoyed a successful career as a commercial artist, winning several commendations from the Art Director's Club and the American Institute of Graphic Arts. In these early years, he shortened his name to \"Warhol.\" In 1952, the artist had his first individual show at the Hugo Gallery, exhibiting Fifteen Drawings Based on the Writings of Truman Capote. His work was exhibited in several other venues during the 1950s, including his first group show at The Museum of Modern Art in 1956.\n\nThe 1960s was an extremely prolific decade for Warhol. Appropriating images from popular culture, Warhol created many paintings that remain icons of 20th-century art, such as the Campbell's Soup Cans, Disasters and Marilyns. In addition to painting, Warhol made several 16mm films, which have become underground classics such as Chelsea Girls, Empire and Blow Job. In 1968, Valerie Solanis, founder and sole member of SCUM (Society for Cutting Up Men) walked into Warhol's studio, known as the Factory, and shot the artist. The attack was nearly fatal.\n\nAt the start of the 1970s, Warhol began publishing Interview magazine and renewed his focus on painting. Works created in this decade include Maos, Skulls, Hammer and Sickles, Torsos and Shadows and many commissioned portraits. Warhol also published The Philosophy of Andy Warhol (from A to B and Back Again). 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Born in Estonia, at the age of seventeen she launched her art career, studying with Estonian painter Marje Berlokko. Shortly after graduation, Kristiana moved to New York City to study animation at The School of Visual Arts. Since 2005, she has focused exclusively on illustration work, starting out as a textile designer for various Manhattan studios. Recently, Kristiana established her own studio in Prospect heights, Brooklyn where she creates original work for clients in the New York area and exhibits her paintings and drawings at local galleries. 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What seemed like an experiment at the start seems now like a natural drawing together of many threads of my life: my traditional art style, my faith, and my fascination with our artistic and cultural history.\r\rHaving taken my first lessons at the Philadelphia Art Museum before entering grade school, I can't remember life before art. I went on to earn a B.F.A. from Denison University. Then while working in an antique and decorating shop, I began painting naive portraits of children (real and imaginary).\r\rIn researching the portraits, I encountered other folk art forms: landscapes, still lifes, theorem paintings, stenciling and faux graining, needlework, sculpture, scherenschnitte, etc. I became fascinated with the stylizations, the colors, the textures, and the crackled and aged finishes. The feeling of peace, light-heartedness, and friendly openness I found there resonated with me.\r\rIncorporating subjects, forms, and techniques from 18th and 19th century folk art, I gradually developed a personal style to apply to not only portraits, but landscapes and still lifes as well. Many pieces are inspired by short verses from the Bible.\r\rMy paintings are original compositions on gessoed fiberboard, plastic laminate, wood, canvas, or paper. I work with acrylics in two basic styles: one resembling watercolors and the other, oils. The \"oil\" paintings incorporate layers of color and have a crackled finish achieved through a series of glazes applied over the artwork.\r\rSince the early 1970s, I have exhibited at juried arts festivals and folk art shows in the Northeast; have displayed my work in galleries, designer showcases, schools and churches; and have sold work to specialty shops around the country. 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What seemed like an experiment at the start seems now like a natural drawing together of many threads of my life: my traditional art style, my faith, and my fascination with our artistic and cultural history.\r\rHaving taken my first lessons at the Philadelphia Art Museum before entering grade school, I can't remember life before art. I went on to earn a B.F.A. from Denison University. Then while working in an antique and decorating shop, I began painting naive portraits of children (real and imaginary).\r\rIn researching the portraits, I encountered other folk art forms: landscapes, still lifes, theorem paintings, stenciling and faux graining, needlework, sculpture, scherenschnitte, etc. I became fascinated with the stylizations, the colors, the textures, and the crackled and aged finishes. The feeling of peace, light-heartedness, and friendly openness I found there resonated with me.\r\rIncorporating subjects, forms, and techniques from 18th and 19th century folk art, I gradually developed a personal style to apply to not only portraits, but landscapes and still lifes as well. Many pieces are inspired by short verses from the Bible.\r\rMy paintings are original compositions on gessoed fiberboard, plastic laminate, wood, canvas, or paper. I work with acrylics in two basic styles: one resembling watercolors and the other, oils. The \"oil\" paintings incorporate layers of color and have a crackled finish achieved through a series of glazes applied over the artwork.\r\rSince the early 1970s, I have exhibited at juried arts festivals and folk art shows in the Northeast; have displayed my work in galleries, designer showcases, schools and churches; and have sold work to specialty shops around the country. 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After receiving a degree from the Department of Stage Design, Shanghai Theatre Academy (famous for its Western-style landscape painting training program), he was appointed to teach painting and stage design there. In 1986, he relocated to the United States after receiving an invitation to give his first solo exhibition in New York.\r\rZhen-Huan Lu’s disciplined background in life study, western painting techniques and both western and eastern aesthetics, led to his development of a unique American style of poetic realism that aims to make visible the invisibles through his skillful portrayal of familiar scenes and objects. His training also led him to develop equal skill in watercolor, egg tempera, and oil painting; three disparate and difficult media to master.\r\rAlthough people are never depicted in his landscape paintings, Lu’s keen interest remains in human life and emotions; whether it be rocking chairs on the porch on a lazy afternoon or a pair of oars against an aged beach house, human spirit is always present. 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He lived on the Left Bank near Saint-Sulpice until 1757, when Louis XV granted him a studio and living quarters in the Louvre. Chardin entered into a marriage contract with Marguerite Saintard in 1723, whom he did not marry until 1731. He served apprenticeships with the history painters Pierre-Jacques Cazes and Noël-Nicholas Coypel, and in 1724 became a master in the Académie de Saint-Luc. Upon presentation of The Ray in 1728, he was admitted to the Académie Royale de Peinture et de Sculpture. The following year he ceded his position in the Académie de Saint-Luc. In November of 1731 his son Jean-Pierre was baptized, and a daughter, Marguerite-Agnès, was baptized in 1733. In 1735 his wife Marguerite died, and within two years Marguerite-Agnès had died as well. The Ray, 1728, Musée du Louvre, Paris. The Ray, 1728, Musée du Louvre, Paris. Beginning in 1737 Chardin exhibited regularly at the Salon. He would prove to be a 'dedicated academician', regularly attending meetings for fifty years, and functioning successively as counsellor, treasurer, and secretary, overseeing in 1761 the installation of Salon exhibitions. In 1744 he entered his second marriage, this time to Françoise-Marguerite Pouget. The following year a daughter, Angélique-Françoise, was born, but she died in 1746. In 1752 Chardin was granted a pension of 500 livres by Louis XV. At the Salon of 1759 he exhibited nine paintings; it was the first Salon to be commented upon by Denis Diderot, who would prove to be a great admirer and public champion of Chardin's work. Beginning in 1761, his responsibilities on behalf of the Salon, simultaneously arranging the exhibitions and acting as treasurer, resulted in a diminution of productivity in painting, and the showing of 'replicas' of previous works. In 1763 his services to the Académie were acknowledged with an extra 200 livres in pension. In 1765 he was unanimously elected associate member of the Académie des Sciences, Belles-Lettres et Arts of Rouen, but there is no evidence that he left Paris to accept the honor. By 1770 Chardin was the 'Premiere peintre du roi', and his pension of 1,400 livres was the highest in the Academy. In 1772 Chardin's son, also a painter, drowned in Venice, a probable suicide. The artist's last known oil painting was dated 1776; his final Salon participation was in 1779, and featured several pastel studies. Gravely ill by November of that year, he died in Paris on December 6, at the age of 80. [edit] Work Chardin's work had little in common with the Rococo painting that dominated French art in the 18th century. At a time when history painting was considered the supreme classification for public art, Chardin's subjects of choice were viewed as minor categories. He favored simple yet beautifully textured still lifes, and sensitively handled domestic interiors and genre paintings. Simple, even stark, paintings of common household items (Still Life with a Smoker's Box) and an uncanny ability to portray children's innocence in an unsentimental manner (Boy with a Top [below]) nevertheless found an appreciative audience in his time, and account for his timeless appeal. Woman Cleaning Turnips, ca. 1738, Alte Pinakothek. Woman Cleaning Turnips, ca. 1738, Alte Pinakothek. Largely self-taught, he was greatly influenced by the realism and subject matter of the 17th-century Low Country masters. Despite his unconventional portrayal of the ascendant bourgeoisie, early support came from patrons in the French aristocracy, including Louis XV. Though his popularity rested initially on paintings of animals and fruit, by the 1730s he introduced kitchen utensils into his repertoire (The Copper Cistern, ca.1735, Louvre). Soon figures populated his scenes as well, supposedly in response to a portrait painter who challenged him to take up the genre. At any event, he was presently painting half-length compositions of children saying grace, as in Le Bénédicité, and kitchen maids in moments of reflection. These humble scenes deal with simple, everyday activities, yet they also have functioned as a source of documentary information about a level of French society not hitherto considered a worthy subject for painting. The pictures are noteworthy for their formal structure and pictorial harmony. In 1756 he returned to the subject of the still life. In the 1770s his eyesight weakened and he took to painting in pastels, a medium in which he executed portraits of his wife and himself. Today his paintings hang in the Louvre and other major museums. His work became popular with the general public after low-cost engravings of his paintings became available. He is much admired for his still life work and portraiture in pastels, which are now highly valued. His self-portrait (top right) was produced in the latter medium. Chardin painted humble scenes that deal with simple, everyday activities. He used blocky simple forms perfectly organized in space, and few colors, mostly earth tones. He was a master of textures, shapes, and the soft diffusion of light.\u003c\/p\u003e","brand":"Jean-Baptiste-Siméon Chardin","offers":[{"title":"7.75x9.5 image on 11x14 Premium Paper","offer_id":26648435265,"sku":"PF818","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0223\/4033\/products\/PF818_be81f1e8-9f0f-490f-8f27-9a3c89f0c31a.jpg?v=1599014291"},{"product_id":"ken-marlow-white-peaches","title":"White Peaches","description":"© Ken Marlow\u003chr\u003e\n\u003ch3\u003eAbout the Artist\u003c\/h3\u003e\nStill life painter, Ken Marlow was born in Texas, but lived all over with his air force family. In Washington D.C., he studied with Danni Dawson and in Philadelphia with Nelson Shanks. 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Ray is highly regarded for his detailed rural landscapes and antique still lifes.  However, he explains, the real subject of my work is not the aging farm buildings, the rustic old mills or the antiqued crocks and jugs.  The real subject is their surfaces.  “I am intrigued by the texture of a crumbling stone wall, the splintered wood of an old wagon or the way the light reflects off a piece of hand-turned stoneware…the signs of wear and hard use.  How many stories they must have to tell”.  \rOver the years, Ray has developed a number of texturing methods to accurately depict these signs of aging.  He compiled many of them in a book titled, “Texture Techniques for Winning Watercolors”, published by Northlight and released in November of 1999 (now out of print).\rRay’s work has been published, as prints, by Primrose Press, Galaxy of Graphics, and most recently, by Bruce McGaw Graphics.  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Ray is highly regarded for his detailed rural landscapes and antique still lifes.  However, he explains, the real subject of my work is not the aging farm buildings, the rustic old mills or the antiqued crocks and jugs.  The real subject is their surfaces.  “I am intrigued by the texture of a crumbling stone wall, the splintered wood of an old wagon or the way the light reflects off a piece of hand-turned stoneware…the signs of wear and hard use.  How many stories they must have to tell”.  \rOver the years, Ray has developed a number of texturing methods to accurately depict these signs of aging.  He compiled many of them in a book titled, “Texture Techniques for Winning Watercolors”, published by Northlight and released in November of 1999 (now out of print).\rRay’s work has been published, as prints, by Primrose Press, Galaxy of Graphics, and most recently, by Bruce McGaw Graphics.  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His father was a military colonel, while his mother was a professional sculptor. Early on, McGee learned to explore the artistic pursuits of his mother, while always bringing the strict, productive rigor of his father to his creativity. He began sketching and sculpting at an early age, receiving great encouragement from his parents and friends.During his sophomore year at the University of Mobile, Alabama, McGee formally began his training in art, taking several courses in still life and figural painting. He quickly gained recognition locally as a vibrant and prolific painter. A minor concentration in Theater provided McGee with additional techniques in makeup and set design. This expertise supported his new exploration of mixed media constructions, integrating oil, wood, and metal.Constantly craving new ways to link contemporary expressions to traditional art, McGee hopes to spend an extended period of time studying in Italy, where he will search out artistic artifacts as well as fresh inspiration. He also intends to explore his own family history in Ireland. 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His father was a military colonel, while his mother was a professional sculptor. Early on, McGee learned to explore the artistic pursuits of his mother, while always bringing the strict, productive rigor of his father to his creativity. He began sketching and sculpting at an early age, receiving great encouragement from his parents and friends.During his sophomore year at the University of Mobile, Alabama, McGee formally began his training in art, taking several courses in still life and figural painting. He quickly gained recognition locally as a vibrant and prolific painter. A minor concentration in Theater provided McGee with additional techniques in makeup and set design. 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