Are you interested in purchasing and owning Fine Art?
If so, welcome to the greatest secret in successful future investment in Fine Art by Charles Harris; and the pleasure of purchasing and owning beauty.
Happily, if so, all you have to do is ask? Please contact us by using the contact button below.
But you should consider purchasing now, for his work has already increased in price by 66% in the past 6 months and by over 400% since 2001.
This is especially true today, as in six months time he will be staging his biggest-ever Exhibition to date – a 100 picture exhibition in Italy.
In this era of ‘post-modernism’, we are encouraging you to ‘grasp an opportunity now’ to own an artwork by world-renowned classical artist Charles Harris.
In the face of blind adherence to conceptualism in art, Charles has pioneered a new movement entitled ‘New Traditional Art™’.
Through the standard of their work, Charles believes that artists should also encourage others to find beauty in their lives, especially in a world of unchecked modernism which is daily becoming more de-humanised.
Today, Modern Art and Modernism, especially in the media, is like wading through treacle, but not here!
Technically it is easy to say that Charles’ work is without equal today –
Since he was first selected by Britain’s leading art critic Brian Sewell as ‘one of the six best painters for the future’, Charles has received numerous accolades for his work, as you will also discover throughout the pages of this website.
He is able to paint in an incredible number of forms from portraits to landscapes; interiors to exteriors; figure painting clothed or unclothed; Art and Sport; Art and Industry; People at work and play – People at leisure, on the Beach or at the Racecourse, at the Theatre or at the Pub or at the Hotel playing cards… A huge panoply of Life, all recorded with traditional techniques which go back to the Renaissance – (please see the review below by former Royal Academy Art Historian Prof. David Morris.)
An essential feature of Charles Harris’ work is his belief that to capture the elements that make-up the scene he is to put on canvas, it must all be done on location. His ability to do so, in all weathers, is legion and the results speak for themselves. A quick sketch, a few photographs and the warmth of a studio, is not the way he works.
Charles Harris is a traditionalist and the realism which he brings to his work is Fine Art in every sense of the word. Both at homeand overseas, this has been his inherent trademark with traditional craftsmanship and the quality of his work in whatever subject matter he presents.
Today, drawing accurately and completely from Life, and producing Art that is contemptuously called ‘Representational’, is scorned and shunned in many schools and colleges.
However, Charles believes if you do not draw from Life, and we mean literally, as Leonardo insisted, then you cannot demonstrate the inner struggles of the human spirit – ‘A man’s spirit creates hope and strength out of disaster’ – Douglas Bader
So, do contact us now for details of how to ‘buy now’ and take advantage of this superb investment opportunity and the chance to own real Beauty.
Charles Harris is a traditionalist and a realist.
What in this age of ‘ists’ and ‘isms’ does this signify?
For over five hundred years, since, first, Masaccio invested human forms with their own shadows, and by that powerful extension of realism symbolised the coming of age of our responsible awareness, Renaissance values have determined the character of European Art. These values, continually checked by reason and observation, express the dignity of human reason within the order and balance of nature; and they are demonstrated and redefined by every painting in the National Gallery that deserves to be there.
What has happened in our Twentieth Century ? It is time we asked ourselves that question – but not here !
In the pictures by Charles Harris we recognise that Renaissance values are vital and not dead. His portraits, now intimate, now public with touches at once of sympathy and compassion, form material for a large ‘novel’ of contemporary life. While his landscapes have the immediacy of Claude, that sense that tells the time of day, where you can almost experience the sunshine and smell the grass beneath your feet.
His pictures are tough with the logic of forms and relationships, and strong in the tonal understandings of painting. This is a beginning, already these paintings are definitive statements in line with the directions of the Great Tradition.
– David Morris former Royal Academy Art Historian (1929-2007)
