David Gray, 1970

Lo stile inconfondibile di David rivela un'espressione personale e contemporanea di bellezza ed ordine che rende omaggio alla tradizione classica nella sua maestria.

I collezionisti del lavoro di David spesso riferiscono che la sua pittura evoca un senso di pace, quiete o uno stato d'animo contemplativo.

I suoi lavori pluripremiati sono stati coperti da importanti pubblicazioni d'arte tra cui Southwest Art, Art of the West e American Art Collector.

Emily Dickinson | The Spirit lasts, but in what mode / Lo Spirito persiste, ma in che modo..

The Spirit lasts - but in what mode -

Below, the Body speaks,

But as the Spirit furnishes -

Apart, it never talks -

The Music in the Violin

Does not emerge alone

But Arm in Arm with Touch, yet Touch

Alone - is not a Tune -

Sir. Joshua Reynolds PRA | Mrs. Lloyd | Smithsonian American Art Museum

Harrold Clayton (1896-1979)

Harold Clayton was a British painter best known for his depictions of flower arrangements in ornate vases, painted with the detailed techniques and centered compositions of 16th-century Dutch and Flemish floral still-life painters like Ambrosius Bosschaert the Elder.

Harold Clayton was born into a family of artists in London. He began studying at art school in Hackney at an early age.

After graduating with distinction, he moved to Harrow Art School and, once again, graduated with distinction.

Jacques Henri Lartigue | Belle Époque photographer

Jacques Henri Lartigue (1894-1986) was a French photographer and painter, known for his photographs of automobile races, planes and female Parisian fashion models.

His work was part of the painting event in the art competition at the 1924 Summer Olympics.

Born in Courbevoie in western Paris to a wealthy family, Lartigue started taking photographs when he was seven.

He photographed his friends and family at play - running and jumping; racing home-built race cars; making kites, gliders as well as aeroplanes; and climbing the Eiffel Tower.

Edvard Munch | Dance on the Shore ,1900

Originally, The Dance on the Shore was part of the collection of twenty-two paintings entitled "The Frieze of Life".

The figures of dancing girls are at the centre of the action being observed by two figures in black – widows. The solitary woman in red symbolises the age of the climax of erotic strength.

The cycle of life is rendered in wide colourful lines dividing the space into multi-coloured bands. | National Gallery, Prague

Edvard Munch | Dance on the Shore, 1900 | National Gallery, Prague

Edvard Munch | Evening, 1888

From very early on in his career Edvard Munch aimed to convey the angst and isolation characteristic of modern man. Evening reflects these interests.

It is considered to be the artist’s first treatment of the subject of melancholy and also looks forward to his more characteristic Symbolist compositions.

Munch used his sister Laura as a model on numerous occasions.

In this canvas she is depicted seated and in profile, in front of the house on the Norwegian fjord where they spent the summer of 1888. Her body occupies the foreground, albeit located on the far left-hand side and truncated at the bottom and on the left side.

Edvard Munch | Evening, 1888 | Munch Museum

Edvard Munch | Summer Evening in Åsgårdstrand, 1891

In October 1889, aged twenty-five, Edvard Munch left his native Norway for an extended stay in France, supported by an artist’s grant from the Norwegian State. The terms of his bursary stipulated that he enroll in a traditional art school, but he lasted only a few weeks in Léon Bonnat’s studio before storming out during a dispute over color.

Instead, for the next two and a half years, Munch steeped himself in French modernism, returning home only for summer holidays.

He absorbed the plein air ethos of Impressionism at the Galeries Durand-Ruel and Georges Petit; at the Salon des Indépendants, he encountered the latest work of Georges Seurat, Paul Signac, Henri de Toulouse-Lautrec, and Vincent van Gogh.

Edvard Munch | Summer Evening in Åsgårdstrand, 1891