Leonardo Beccegato

Leonardo Beccegato Metaphysical Reminiscences

International Confederation of Art Critics1

Leonardo Beccegato

Front cover: “Lamentation over the Dead Christ� by Leonardo Beccegato, 2000 Oil on canvas - 115x85 cm

Leonardo Beccegato

Leonardo Beccegato

ICAC

International Confederation of Art Critics

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Leonardo Beccegato Metaphysical Reminiscences

Leonardo Beccegato

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Contents

The Artist

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‘The Timelessness of a Great Heritage’

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‘The Alluring Enigma of a Silent Stillness’

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‘The Avant-Garde of Elusive Metaphors’

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‘A Genuine Tendency for a Sublime Sensibility‘

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Artwork Analysis

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Exhibitions

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Awards

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List of Works

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Karen Lappon, International Confederation of Art Critics

Elena Foschi, Art Historian

Christopher Rosewood, International Confederation of Art Critics

Timothy Warrington, International Confederation of Art Critics

Karen Lappon, International Confederation of Art Critics

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Leonardo Beccegato

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“Beccegato wants to suggest something, he wants to talk to us, to leave a message. Maybe he is underlining the enigma of life, its great mystery, its unsolved question.

In fact, we must not be mislead by the appearance of his paintings; he has a considerable cultural and philosophical background. He knows how to restore dignity to man and to his drama, and maybe, looking at his canvases and his paintings, wouldn’t Isaac Singer be right in affirming that man is God’s mistake.

Beccegato’s man has his own strength, his own consciousness. His faces have a calm wisdom, they seem to meditate about life and death thoughtfully, in silence. Beccegato talks about emotional tensions, that he himself feels inside, and he expresses them with great conviction.”

Mario Stefani (1938-2001) “Poetic Traces”, 1998

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Leonardo Beccegato

Leonardo Beccegato

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The Artist Born in 1941 in Venice, Beccegato enrolled in University after high school and became a doctor in engineering, working on his art in his spare time since 1975. It is from his studio in Santa Croce in Venice that the artist now dedicates all his time to painting and his works are enlivened by the warm colours and soft filtered atmospheres of the lagoon, inviting the viewer to reminisce and romanticise fond memories.

This passion and dedication was rewarded in 1980 when he received second prize at the fifth National Prize of Painting competition.

Leonardo Beccegato is internationally recognised: his works have been selected and exhibited in numerous exhibitions and installations both public and private, where he received the public’s acclaim and the deserved recognition within the contemporary art circle.

Beccegato is an active member of various organisations such as the “Lions Club International�, where he has held the post of president; Commander of the Equestrian Order of the Holy Sepulchre of Jerusalem (for which he is Delegate for the Province of Venice) and Knight of Merit with the Sacred Military Constantinian Order of St. George.

Added to which he is Brother Chapter of the Scuola Grande di San Rocco Confraternity in Venice. He has also organised exhibitions of paintings aimed at raising funds in support of charitable initiatives in prestigious venues.

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Leonardo Beccegato

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Leonardo Beccegato

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Timelessness of a Great Heritage Karen Lappon International Confederation of Art Critics

Leonardo Beccegato is an extremely talented representational symbolic painter whose work is a very personal and unique blend of various inspirational sources.

We can see Andy Warhol in his frozen images, made of a strong and defined play of tones that reinforce the universal power of the dramatic. His confrontational and intellectual expressiveness and his fluid and loosely applied paint mixed with translucent washes and blurred boundaries remind us of Marlene Dumas.

In his method of creating contrasts like on a negative film, we can detect Man Ray’s Rayographs. Like Alfred Stieglitz, his dark shadows are influenced by Japanese woodcut prints, especially in the image of the silhouetted trees reminiscent of Katsushika Hokusai who strongly influenced the Surrealists.

And Surrealist is the juxtaposition of the powerful subject matter with the dreamlike almost unreal definition of the settings.

Leonardo Beccegato is a true artist. One of the very few artists who accepts the challenge of carrying the weight of a heritage such as the history of art. He absorbs, metabolises, condenses and elaborates it, filtering it through his personal, deep and intimate sensitivity and view of the world, only to propose it to us in his powerful and contrasting yet subtle and mellow style.

The Dancing Class, 2005 Oil on canvas - 95x125 cm

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Leonardo Beccegato

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Critique

Timelessness of a Great Heritage

Beccegato is an elegant and refined painter. He takes from many diverse styles, like his Impressionist lines and Caravaggesque chiaroscuro. Every brush stroke is full of significance and expressiveness. One senses, but never pinpoints a clear reference to past movements.

Nonetheless, nothing is left to chance and the message he conveys strikes us forcefully leaving us to question the innermost foundations of our being.

His minimalist palette and skillful use of light and shadow highlight the sense of perspective and depth in his canvases.

The Leonardesque sfumato is masterly used to create mystical atmospheres and visualise time. The soft and hazy brushwork carries us back to the very roots of his cultural tradition and speaks directly to our collective subconscious, transporting us into a familiar but remote and almost forgotten dimension.

As Ella Maillart said: “The timelessness of a concept has to be woven into the running warp of dying time, vertical power has to be wedded to the horizontal earth”. Such is Beccegato’s oeuvre to a viewer that stands in awe of such creative talent.

Karen Lappon International Confederation of Art Critics

Deposition, 1996 Oil on canvas - 100x150 cm

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Leonardo Beccegato

Cannaregio Canal, 1997 (with detail) Oil on canvas - 120x60 cm

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Leonardo Beccegato

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Leonardo Beccegato

June ‘97, 1997 (with details) Oil on canvas - 128x80 cm

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Elena, 1999 (with details) Oil on canvas - 80x30 cm

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Leonardo Beccegato

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Enigmas of a Silent Stillness Elena Foschi Art Historian

Beccegato exceeds the boundaries of a perfunctory reproduction of the world, through an accomplished knowledge of the traditional artistic techniques and he courageously challenges the arduous pathway of a metaphysical painting.

The spectator is enchanted by a juxtaposition of figures immersed in contrasting contexts. Beccegato’s characters arise from a detailed meditation and they are shrouded in a silent aura that reminds us of De Chirico’s enigmatic compositions.

Thus, we experience a continuous flash-back into a timeless ancestral culture that we are not able to contextualize because everything appears as a remote memory placed in a contemporary setting, virtuously obscured. The layered textures blends and blurs the details of the figures, shading the subject in a poetic mise en scène.

The atmosphere becomes tangible in a wonderful reference to the extraordinary sfumato seen so often in works of Da Vinci.

The palpable air speaks loudly to our souls and the mystical mist absorbs all the subjects depicted, creating an intimate space made of emotions and memories. What we initially sense as an ethereal and natural element, on deeper analysis, turns into a subconscious projection of inner feelings.

While we are trying to figure out the occult message, the artwork itself captures us with its fascinating haze.

Pastoral Concert, 2014 Oil on canvas - 150x120 cm

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Leonardo Beccegato

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Enigmas of a Silent Stillness

Between reality and dream, experience and unseen, Leonardo Beccegato distinguishes himself through the enthralling and unique use of colour. The tint ranges between delicate but powerful shades of brown, ochre and burnt sienna.

The paintwork of this Italian artist is sometimes dense and concentrated, other times fluid and pale, in an alternation of intensity and softness reminiscent of Renaissance chiaroscuro.

Gentle and soft hues blur the backgrounds, whereas a thick brume surrounds the figures, just like evoked memories appearing in the mind, slowly forming, more and more perceivable.

In front of these artworks, a sense of “stillness” is discerned.

The monochrome trend conveys an impression of timeless plasticity, as if the figures were set in an older and disappearing scenery, like precious gems in ancient rocks. The hues of the characters, whitish grey shimmering over the predominant brown, imply a medieval influence of Piero della Francesca’s use of pale skin colours.

Consequently, the figures look like voluminous sculptures, full of strength but calm in their reflexive metaphysical reality. After all, light by its very nature, gives substance to each subject represented in these artworks.

Veiled Pity, 2000 Oil on canvas - 115x115 cm

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Leonardo Beccegato

Venetian Landscape at Sunset, 1989 Oil on cardboard - 35x50 cm

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Enigmas of a Silent Stillness

The brilliance of the lighter brush strokes, combined to the strength of the shadows, create a balanced contrast that increases the allure and the undeniable riddle in Beccegato’s paintings.

Contour lines becomes completely superfluous, as long as the light defines the boundaries, building or breaking, elevating or concealing. The glow of daylight and the glitter of moonshine brings the figures out from the shadows, outlining the silhouettes with smooth lines.

Hereafter, the light not only reveals, but also becomes the fundamental character of the canvases, sometimes as a blurry atmosphere, sometimes as a burning sunset.

Icy shades of white reveal unnatural surroundings that looks like resurfaced memories and innovative anachronisms. Past echoes and future projections coexist. The astonishment on impact, later gives way to a feeling of deep connection with the artist: have I not already experienced what I am seeing?

Ultimately, Beccegato’s creations are far from an emulation of the real world; They reflect the phantoms that are present in the mind of each of us. His pale shapes are made of the same substance of as our thoughts and they are constantly fed by memory.

Elena Foschi Art Historian

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Leonardo Beccegato

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The Derelicts, 1996 (with detail) Oil on canvas - 80x60 cm

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Leonardo Beccegato

“I started painting when I felt the need to combine my scientific training as an engineer with the free language of Art and to seek a balance between these two different ways of exploring and interpreting reality.�

Leonardo Beccegato

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Leonardo Beccegato

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Avant-Garde of Elusive Metaphors Christopher Rosewood International Confederation of Art Critics

Art History has always revealed the artists’ urgency to express his sensitive and pervasive creativity, sometimes through excellent technical skills and faithful recreations of reality, other times through a revolutionary use of expressive means, up to a counter-current and outrageous approach.

Leonardo Beccegato unexpectedly encloses both trends, in an inscrutable and radical balance between tradition and avantgarde, figurative realism and surreal symbolization.

He never falls into a quiet description of actions and events.

His paintings embody the integrity of the figures and suggest a meaningful atmosphere, catching the true essence of a circumstance.

Leonardo proves a profound awareness of the impact he generates in the spectators’ minds. He gives us elusive impressions of places and times: although the subject of the artwork has a clear narrative appearance, its authenticity is full of imagination, metaphors and inner restlessness.

We perceive an ancient research based on classical virtuosities and archetypes, nevertheless Leonardo electrifies the viewer with a charming and innovative atmosphere.

Walking on a Summer Evening, 1998 Oil on canvas - 115x150 cm

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Leonardo Beccegato

Detail of “Veiled Pity”, 2000

Beccegato shows a strong influence of the distinctive and thriving Venetian school, by choosing the primacy of colour over line. From Bellini to Titian, from Tintoretto to Veronese, the Venetian tradition revolutionised the History of Art with a softer style, where glowing colours were use­d to represent form and suggest an atmospheric mist.

Leonardo Beccegato even uses colours to enliven the painting: the lactescent and opaque light slips through the images and suddenly breaks the silence of the brown and brick-red tones. The shades of ochre enlightened by whitish brush strokes are not simply pigments, but they come from a state of mind.

The substantial influence of his native land and culture is also evident in Beccegato’s themes: figurative and realistic scenes that become a symbol of metaphorical and classical

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iconography, in which we breathe an antique atmosphere, even primordial at times and always based on his beloved Venetian settings. Between substances and dreams, the artist’s ancient memories become shared reminiscences and, in the viewer’s eyes, the settings, the events and each characters are internalized as universal paradigms.

After all, Beccegato shows that a traditional-based approach can enhance both our artistic canon and our understanding of humanity. His work truly emits genius and dialogue that can be felt even without a true awareness of the single symbolic references. Beccegato wants to escape the past, to avoid time and to enter into the continuity of the never-ending present.

It is in this way that Beccegato marks himself as a crucial artist of our generation, both for his artistic talent, and gently edifying force.

Christopher Rosewood International Confederation of Art Critics

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Leonardo Beccegato

Waiting, 1991 Oil on cardboard - 40x30 cm

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The Thinker, 1995 Oil on cardboard - 40x30 cm

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Leonardo Beccegato

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Leonardo Beccegato

Maternity, 2005 Oil on canvas - 80x90 cm

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Genuine and Sublime Sensibility Maternity is creation and the perception of maternity has been interpreted and reinterpreted throughout history.

Whether as a symbol of creativity, re-birth, or as a metaphor for art itself, the powerful symbol of the mother has been a central figure in the History of Art; from the Upper Paleolithic statuettes portraying the Venuses during the Stone Age, approximately 26,000 years ago, to the famous Post-feminist “bad girls” of the 1980’s, and across centuries of religious and lay artworks.

Beccegato depicts the familiar and touching memory of a mother: the gentle moment in which she cradles her baby. The artist demonstrates his artistic mastery with his eloquent ability to vividly communicate the extreme love, representing the primary and fundamental bond of man.

Beccegato offers numerous emotional nuances, leaving all surrounded in a delicate veil of mystery. In attempting to analyse the representation of motherhood, our perception is enhanced by the precious and reticent expressive gracefulness that becomes the undeniable background in Beccegato’s artworks.

The female figure is portrayed in endless psychological perspectives, indicating an extraordinary sensibility.

In Beccegato’s work a woman may allude to a classical, mythological or religious theme. She is always either modest and humble, or proud and elegant, hesitant to reveal herself.

She preserves her dignity and discreteness while her inner nature remains elusive, fascinating the intrigued eye of the viewer.

Timothy Warrington International Confederation of Art Critics

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Leonardo Beccegato

The Harvest, 2005 Oil on canvas - 100x75 cm

Opposite: Summer Memories, 2005 Oil on canvas - 120x115 cm

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“Each composition is not just a superficial description of reality: all of them offer a psychological reprocessing that grapples to capture the meaning of existence. Opaque reflections of a place, a moment. A dull and delicate light that creeps between form and image, capturing the dreams that the artist fixed in a veiled symbolism onto the canvases.�

Elena Foschi

Art Historian

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Leonardo Beccegato

“I think that an idea is good if while you are painting, you recognize yourself in what you do, if you feel satisfied with the choices you make, even if you will always be unsatisfied in the search for a harmony and balance that always seem to escape us.�

Leonardo Beccegato

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The Players, 2014 Oil on canvas - 100x60 cm

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Leonardo Beccegato

The Garden of Eden, 1999 Oil on canvas - 120x120 cm

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Artwork Analysis The Garden of God. Heaven on earth. The pure uncontaminated forces of nature. The creation of man and woman placed in this paradise of innocence and ignorance. Until emotions and passions took possession of our two unsuspecting forefathers. She learnt about her beauty and sexual puissance. She became vain and proud. He learnt the overwhelming wondrous feeling of total rapture and compliant abandonment.

This marvellous painting is the utmost expression of this biblical episode. The composition is full and sumptuous. The luscious plants are depicted with lines typical of the Art Nouveau movement of William Morris and Alphonse Mucha. Eve is painted in a Belle Epoque style and clothing that highlights the alluring sensual forces of womanhood.

Adam is almost sketched, hinted, in his submissive masculine role.

He is naked as if unarmed and passive to such compelling charm.

The serpent, real protagonist of the story and central to the painting, is barely hinted in his role of deus ex machina, and comes out of the branch that Eve holds in her right hand as if it were a mirror.

The minimalist palette in tones of sepia increase the retro taste of the painting and draw attention to the mystery concealed behind the deep and intricate relationship between man and woman. The skillful Caravaggesque chiaroscuro creates depth and a sense of perspective that draw the viewer into the unfathomable profundity of our own, often unresolved, contradictions around the most primal and instinctual pulsions of man. Beccegato uses Leonardo da Vinci’s sfumato technique to create a soft atmosphere of placid serenity juxtaposed to the intricacy of the branches and leaves of the ‘tree of the knowledge of good and evil’ that are the dynamic, material representation of the tempestuous emotions unleashed in this symbolic narration of the most controversial and allegorical chapter of the Genesis.

Leonardo Beccegato tells of the origin of all sins with serenity and lack of judgement. It is up to each of us to understand and let the light of the knowledge of good and evil shine in our hearts.

Karen Lappon International Confederation of Art Critics

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Leonardo Beccegato

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Leonardo Beccegato

The Return of the Prodigal Son (with detail), 2014 Oil on canvas - 100x60 cm

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“In my paintings I want to enhance my own personal way of seeing and interpreting things, being able to go more in depth to grasp meanings and sensations that would otherwise stay silent�.

Leonardo Beccegato

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Leonardo Beccegato

The Temptation of the Philosopher, 1997 Oil on canvas - 100x90 cm

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The Consultation, 1997 Oil on canvas - 150x125 cm

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Leonardo Beccegato

“Leonardo Beccegato combines the rigor and logical order learned during the scientific training with his disruptive creative inclination: the harmony of his composition has a lyrical and romantic flavour and his works are full of visual suggestions that allude to the daily concerns with a chromatic vagueness. And here, the circle between rationality and emotionality closes.�

Christopher Rosewood

International Confederation of Art Critics

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The Concertino, 1995 Oil on cardboard - 50x60 cm

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Leonardo Beccegato

“We live in the temporal, geometric segment. Art is the representation of an instant of this segment�.

Leonardo Beccegato 58

The Farmer, 1996 Oil on canvas - 230x130 cm

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Leonardo Beccegato

“[…] From the shadowy atmospheres illuminated by smoldering glow that seem still emanating from magma, the primordial suggestive images that animate his paintings seem to assume a shape through the aggregation and condensation of their various components of the explosion’s matter.

Beccegato is an engineer, a man of science who, perhaps more than other artists, feels an unconscious need to express in painting issues pertaining to the origin of the cosmos and life in it. […]

I perceive this need in those night or pre-auroral skies in which the glow of the “day after the big bang” still flashing”.

Renato Polacco

Professor of Medieval Art at the University Cà Foscari, Venice

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The Astronomers, 1997 Oil on canvas - 130x100 cm

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Leonardo Beccegato

Pity of the Child, 2000 Oil on canvas - 120x60 cm

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“Beccegato’s paintings come from an inner self, a place that only he can access, and take you on a journey through a spiritual path, guiding you towards it, encouraging you to look deep without turning back. Beccegato continues to inspire us all with the grace and beauty inside his artworks and the artworks to come”.

Charlize Driscoll-Bennett Wilson

Alumnus, Bishop Luffa School

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Leonardo Beccegato

Exhibitions

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Udine (IT), G. B. Tiepolo Art Centre, 1995.

Venice (IT), S. Vidal Gallery, 1996.

Cadiz (E), El Sabio Cultural Centre, “Italian Contemporary Art Exhibition”, 1997.

Monaco (D), Wiedeman International Centre, 1998 Milan (IT), Lazzaro by Corsi Gallery, “15 Artists in Milan”.

Montecarlo (F), Rencontre Internationale d’Art Contemporain.

Viareggio (IT), International Gallery.

Golfo Aranci (IT), International Gallery.

Venice, Obradek Gallery.

Vienna (Ö), The Art Cellar, 1999.

Padua (IT), Museum Villa Breda, “50th Year of the S. Vidal centre”.

Udine, U.K. Tiepolo Art Center, “Tribute to Silvio Casagrande”.

Levanto (IT), ll Mercadante Art Gallery.

Milan, Lazzaro by Corsi Gallery, “The Good Art and Good Fortune”.

Venice, Scola and the Art of Battioro Tiraoro.

Paris (F), Espace Miromesnil, “Italian Contemporary Art”.

Florence (IT), ArteBlack Point Gallery, “Between Colours and Patterns”, 2000.

Vittorio Veneto (IT), Piazzoni Parravicini Palace, “Masters of Yesterday and Today”.

Turin (IT), Scaglia of Verrua Palace, “Reflections of Venice”.

Venice, Art Center S. Vidal, Church of S. Vidal.

Venice, the Diocesan Museum of Sacred Art S. Apollonia.

Padua, “11th Exhibition of Contemporary Art”.

Langkawi (Malaysia), Langkawi Festival of Arts.

Gent (B), Flanders Expo. Lineart 2000.

Fiorano Modenese (IT), Gallery of Modern Art “The Artists of the Living Room of the Art”, 2001 Bologna (IT), Gnaccarini Gallery of Art. Strasbourg (F), Parc des Exposition, St’Art 2001.

Den Hag (H), Congress Centrum Nederland, Holland Art Fair.

Cortina d’Ampezzo (IT), Hotel Regina (Academic Hall), “Professionals and Art”.

Treviso (IT) “Ca ‘de Noal” Painting Exhibition Lions Treviso, 2002 Venice, the Diocesan Museum of Sacred Art, “Vitality Art, Painters and Sculptors in Venice”, 2002.

Exhibitions

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ARTEXPO 2003 - New York Javits Convention Centre ARTEXPO 2004 - New York Javits Convention Centre.

Piacenza (IT) “Studio C” Art Gallery, “The Eternal Appeal of Landscapes”, 2005 Paris (F) Espace Miromesnil.

Fiorenzuola d’Arda (IT), Verdi Theatre.

Venice, U.C.A.I. San Zaccaria Gallery, “Between Yesterday and Today: Over 17 Venetian Artists of the Century”, 2006 Milan, Radice Foundation.

Riverago (IT), The Magic Box Art Gallery, “The Light and Thought”.

Venice, Scuola Grande St. Theodore - Collective Artists UCAI, 2007 Venice, U.C.A.I. San Zaccaria Gallery, “Remembering Don Gino Bortolan”, 2006.

Bologna, S. Isaia Gallery, 2012.

Venice, Albrizzi Palace: “Emotions - Featured Artists in Venice”, International Painting Competition, Cultural Association Italo-German.

Venice, Ateneo Veneto.

Monreale (IT), Palermo Biennale, Civic Museum G. Sciortino, 2013 London (UK), London Art Biennale, Chelsea Old Town Hall, 2013 Venice, 55th Biennale, International Art Exhibition.

Venice, Albrizzi Palace: “Featured Artists in Venice”, International Painting Competition (Second Edition), Cultural Association Italo-German, 2013 Chianciano (IT), International Painting Exhibition, Chianciano Terme Art Museum, 2013 Verona (IT), First Biennale of Creativity, Palaexpo, 2014.

Padova, Paolo Maffei Art Gallery.

Roma (IT), “Esposizione Triennale di Arte Visiva 2014”, International Painting Exhibition.

London (UK), London Art Biennale, Chelsea Old Town Hall, 2015.

Venice, “The Great Canal of Peace”, International Painting Exhibition.

Venice, First Venice Triennale, International Painting Exhibition.

Chianciano, International Painting Exhibition, Chianciano Terme Art Museum, 2015 Rome, “Artists for the Jubilee”, Basilica of Saint Paul Outside the Walls, International Painting Exhibition, 2015.

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Leonardo Beccegato

Leonardo Beccegato was selected from thousands of applicants for the 2015 Chianciano Biennale at the Chianciano Art Museum in Italy.

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Awards

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Gold Medal First Review of Art and Literature “City of Lugano”, Lugano, 1998.

First Prize at Second Quadrennial “Homage to Rome”, Rome, 1998.

Diploma of Honour at the 12th Painting Art Exhibition “City of Viareggio”, Viareggio, 1998.

First Prize at the 4th Art Exhibition “Valdinievole”, Montecatini, 1998.

First Prize Gold Medal at the 5th Review of Art “Apuan Riviera”, Massa Carrara, 1999.

First Prize at the “Grand Trophée Town of Nice”, Nice, 1999.

Second Prize at the “European Confederation of Art Critics Award”, Chianciano Biennale, Chianciano Terme Art Museum, 2013.

Special Mention of Excellence at the Chianciano Biennale, Chianciano Terme Art Museum, 2015.

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Leonardo Beccegato

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Leonardo Beccegato

Lamentation over the Dead Christ, 2000 Oil on canvas - 115x85 cm

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List of Works The So-called “Art of War”, Oil on canvas, 170x120cm, 2004 1915-2015, Oil on canvas, 100x75cm, 2005 Venetian Scene, Oil on canvas, 100x80cm, 1999

6 8-9 12 - 13

The Dancing Class, Oil on canvas, 95x125 cm, 2005

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Walking on a Summer Evening, Oil on canvas, 115x150cm, 1998

16

Cannaregio Canal, Oil on canvas, 120x60 cm, 1997

17 - 18

Lagoon Landscape, Oil on canvas, 125x100cm, 2008

20 - 21

June ‘97, Oil on canvas, 128x80cm, 1997

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Elena, Oil on canvas, 80x30 cm, 1999

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Pastoral Concert, Oil on canvas, 150x120cm, 2014

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Veiled Pity, Oil on canvas, 115x115cm, 2000

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Venetian Landscape at Sunset, Oil on cardboard, 35x50cm, 1989

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The Derelicts, Oil on canvas, 80x60cm, 1996

29 - 30

Old Caffè, Oil on canvas, 100x80cm, 2013

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Deposition, Oil on canvas - 100x150 cm, 1996

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Waiting, Oil on cardboard, 40x30cm, 1991

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The Thinker, Oil on cardboard, 40x30cm, 1995

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Venus, Oil on canvas, 125x80cm, 1998

40 - 41

Maternity, Oil on canvas, 80x90cm, 2005

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The Harvest, Oil on canvas, 100x75cm, 2005

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Summer Memories, Oil on canvas, 120x115cm, 2005

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The Players, Oil on canvas, 100x60cm, 2014 The Garden of Eden, 1999 Oil on canvas - 120x120 cm48

46 - 47 48

A British Afternoon, Oil on canvas, 105x65cm, 2014

50 - 51

The Return of the Prodigal Son, Oil on canvas, 100x60cm, 2014

52 - 53

The Temptation of the Philosopher, Oil on canvas, 100x90cm, 1997

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The Consultation, Oil on canvas, 150x125cm, 1997

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The Concertino, Oil on cardboard, 50x60cm, 1995

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The Farmer, Oil on canvas, 230x130cm, 1996 The Astronomers, Oil on canvas,130x100cm, 1997

58 - 59 61

Pity of the Child, Oil on canvas, 120x60cm, 2000

62 - 63

Fires of the Redeemer I, Oil on canvas, 115x80cm, 1998

68 - 69

Lamentation over the Dead Christ, Oil on canvas, 115x85cm, 2000

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