Enamel Figurative Paintings

🔸 _Title: AI Reality Soup 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2023 🔸 _Dimensions: 97 W x 130 H x 2.5 D cm 🔸 _Medium: Acrylic, enamel, spray paint, oil pastel 🔸 _Support: Canvas stretched on wooden frame 🔸 _Condition: New work sold directly by the artist 🔸 _Provenance: Directly from the artist's studio 🔸 _Location: Spain 🔸 _Signature: On the front and back 🔸 _Detailed Description: Iconography of Modernity "AI Reality Soup" by Diego Tirigall, an artist celebrated for his vibrant Street Art and unfiltered expressionism, invites the viewer into a deeper visual dialogue beyond mere observation. At its core, a skull adorned with a tie confronts the ephemeral nature of life and delves into the complex relationship between personal identity and societal roles. The tie stands...

"Vincent Van Gogh, Encrypted" presents a thought-provoking reinterpretation of the iconic artist, merging classical elements with modern abstraction. This 2022 painting captures Van ...

"Alienation of the Mind Portrait" delves into a grotesque and nearly inhuman portrayal that strikes a hauntingly familiar chord, akin to cultural representations of an extraterrestri...

Dive into the rebellious spirit of "Vincent Van Gogh, Decentralized," a provocative piece from the same series that reimagines the storied artist under a modern lens. This 2022 artwo...

"Vincent Van Gogh, Cosmic Groove" reimagines the iconic artist as a figure of the digital age, blending futuristic and expressive street art elements. This 2022 artwork features Van Gogh in white sunglasses and Beats-style headphones, symbolizing his connection to contemporary music culture. Dressed in an astronaut suit...

"Vincent Van Gogh Skull" is a striking piece from a series that boldly merges historical artistry with contemporary symbolism. Created in 2022, this painting reenvisions the iconic f...

"Instant Illusion" is a powerful triptych by artist Diego Tirigall, part of the "Unhealthy Preserves" collection. Each mixed media on canvas panel measures 400 x 239 cm, combining to...

This bold portrayal, titled Vincent Van Gogh In a Time of Pandemic, reimagines the iconic artist in a contemporary light. Created in 2022, this piece is part of an intriguing series ...

"Vincent Van Gogh, Laser Eyes" emerges as a compelling entry in a series that recontextualizes the esteemed Dutch artist within the energetic landscape of the 21st century. Created i...

"Vincent Van Gogh, Olive Trees" captivates with a vivid reimagination of the legendary artist, intertwining iconic elements of his life and work into an intriguing narrative canvas. ...

"Instant Illusion I" is the first piece in the triptych "Instant Illusion" by artist Diego Tirigall, part of the "Unhealthy Preserves" collection. This mixed media on canvas measures...

"Vincent Van Gogh, Urban Reflections" portrays the iconic artist enveloped in the raw, vibrant energy of contemporary street art. This 2022 painting injects a modern sensibility into...

"Vincent Van Gogh, Space Junk" catapults the iconic Dutch artist into a surreal collision of art history and futuristic fantasy. This bold creation from 2022 reimagines Van Gogh as a cosmic adventurer, navigating the abstract and chaotic realms of both outer space and digital frontiers. The painting portrays Van Gogh's head as a striking blue skull, one eye transformed into a cartoon-style eyeball, the other a mouth, illustrating a whimsical yet profound melding of forms and perspectives. A playful bubble gum balloon emerges from his mouth, injecting a casual, cool vibe into the composition. Van Gogh's attire further emphasizes this blend of past and future: he dons a sleek astronaut suit...

"Vincent Van Gogh, In Space" redefines the legendary painter as a celestial sovereign, blending classic artistic reverence with futuristic exploration. This 2022 painting offers a visual narrative that launches Van Gogh into the cosmos, adorned not only with an astronaut’s suit...

"Instant Illusion III" completes the compelling triptych "Instant Illusion," a standout series within Diego Tirigall's "Unhealthy Preserves" collection. This mixed media work on canv...

"Crypto Vincent Van Gogh Avatar" merges the legendary painter with modern digital culture, depicting him as an icon of the cryptocurrency era. This 2022 artwork features Van Gogh in ...

"Instant Illusion II" is the second piece in Diego Tirigall’s triptych, "Instant Illusion", belonging to the "Unhealthy Preserves" collection. This mixed media artwork on canvas meas...

In "Caripela," Diego Tirigall presents a raw, minimalist expressionist portrait that diverges from his usual style. The 80 cm by 100 cm painting draws the viewer into a deep emotiona...

‘Street Art Odyssey - triptych’ by Diego Tirigall, executed on high-quality canvas, is a masterful portrayal of urban art fused with deep social commentary, reflecting the dynamism a...

"Street Art Odyssey 2" continues the vibrant journey of Diego Tirigall’s triptych, merging urban art flair with deep social critique. This canvas, measuring 360 cm in height by 185 cm in width, uses mixed media techniques, including enamel, acrylics, oil, and sprays, to vividly portray modern societal challenges. Echoing the pioneering work of Pop Art and Neo-Expressionism by icons like Andy Warhol and Jean-Michel Basquiat, this panel dives into the digital era's influence on our lives. It features symbols of technological and financial evolution such as Bitcoin logos, representing the promise of decentralization and a future free from manipulative control. With a dynamic composition that combines vintage robots...

"Street Art Odyssey 3" caps off the triptych "Street Art Odyssey - triptych" by Diego Tirigall, bringing a compelling conclusion to this vibrant exploration of urban art and societal...

"Street Art Odyssey 1" is the striking first panel of Diego Tirigall's "Street Art Odyssey - triptych." This individual panel, measuring 360 cm in height by 185 cm in width, showcases a vivid collision of colors and themes using mixed media techniques, including enamel, acrylics, oil, and sprays. It captures the energetic vibes of urban street art combined with the critical eye of social commentary. Drawing on the legacy of Pop Art and Neo-Expressionism, and echoing the groundbreaking work of masters like Andy Warhol and Jean-Michel Basquiat, this piece offers a modern commentary on the digital era's impact on personal and collective identities. Icons such as vintage robots...

Arrigo Ghedini: 1905-1997. Listed Italian, American artist who is highly collected. His paintings rarely become available on the open market as collectors hold onto them. He just had...

Flowers in a Vase, intensely and seductively colored: almost in a Japonaise style. Swooning purples and reds, ecstatic lemon yellows, Jostling shapes, lyrical and soft-edged, refuse ...

Franco Angeli (Roma 1935 – 1988), Barca a vela (Bel ami) (fine anni ’70) Smalto e tecnica mista su tela di cm 70 x 50 firmato e intitolato BEL-AMI sul retro. L’opera risulta archiv...

American, b. 1986 Adam Umbach was born in Chicago, and currently lives and works in Brooklyn, New York. After being inspired from an early age by the modern masters collection at th...

American, b. 1986 Adam Umbach was born in Chicago, and currently lives and works in Brooklyn, New York. After being inspired from an early age by the modern masters collection at th...

Mid 20th Century sgraffito work on plaster by Jean Pierre de Cayeux. The work is signed and dated on the skirt of the card player, bottom right, and on the stretcher of the chair, bo...

🔸 _Title: Paths of Memory 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2024 🔸 _Dimensions: 200 x 160 cm 🔸 _Medium: Acrylic, Enamel, Oil Pastel, ...

🔸 _Title: Carnaval kawaii 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2024 🔸 _Dimensions: 160 W x 100 H x 2 D cm 🔸 _Medium: Enamel, Spray paint...

This piece is part of a special collection curated by Saatchi Art, where 154 artists were carefully selected from among hundreds of thousands of Saatchi participants. The premise of ...

I consider each colored dot to be like a person. You and me and everyone. Together we all make up that image shown. You will notice that in my work all the dots are spread out evenly...

This painting by Jack Balas is offered by CLAMP in New York City. O Canada (#1680) 2018 Signed, titled, and dated, verso Oil and enamel on canvas 60 x 48 inches $13,750

Some Days (#2269) 2022 Signed, titled, and dated, verso Oil and enamel on canvas 46 x 42 inches This painting by Jack Balas is offered by CLAMP in New York City.

David Hockney Rake's Progress Bedlam Cufflinks, 2020 Hand painted using special enamel paints and finished with 18ct gold plate for a luxury finish in bespoke box 1 in diameter Original David Hockney designs from the 1975 production of opera The Rake's Progress. Makes a superb gift! Inspired by an original recording conducted by Igor Stravinsky and William Hogarth's series of eight paintings and engravings of the same name, Hockney began designing the set and costumes production of The Rake's Progress. Through his designs and the use of his now iconic cross-hatched etchings, he wanted to create a 20th century response to the opera and to Hogarth's 18th century idea. These cufflinks are based upon those Hockney etchings...

🔸 _Title: App Ocalypse 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2023 🔸 _Dimensions: 89 W x 116 H x 3 D cm 🔸 _Medium: Acrylic, enamel, spray ...

Jennifer Losch Bartlett #7 (Glass Houses), 2000 Mixed Media: 3D Sculpted plate glass over silkscreen grid on baked enamel and steel plate, housed in a box frame Signed 'J. Bartlett' and dated on the reverse, with the artist's original label. Frame included Provenance: The original owner acquired this work directly from the artist; bears the artist's bespoke studio label and signature This unique, exceptional 3-D mixed media work is signed 'J. Bartlett' and dated on the reverse, with the artist's original label. Floated and framed in a museum quality white wood frame with UV plexiglass and a die-cut window in the back revealing the artist's original label and signature Measurements: Frame: 15.75 x 15.75 x 2 inches Artwork: 12 x 12 inches About Jennifer Bartlett: By the mid-1970s, Jennifer Bartlett (1941-2022, b. Long Beach, California) had emerged as a leading American artist of her time—particularly following the landmark presentation at Paula Cooper Gallery of Rhapsody (1976), Bartlett’s magnum opus, now in the collection of the Museum of Modern Art, New York. Bartlett’s first survey exhibition was held in 1985 at the Walker Art Center, Minneapolis, and traveled to the Brooklyn Museum, New York, and the Carnegie Museum of Art, Philadelphia, among others. In 2006, the Addison Gallery of American Art surveyed Bartlett’s early enameled steel plate paintings in the period from 1968–76. In 2013-14, Klaus Ottmann curated her second traveling survey, which visited the Pennsylvania Academy of the Fine Arts and the Parrish Art Museum, New York. In 2014, the Cleveland Museum of Art united her three monumental plate...

In the ethereal realm of "Solidarity," Dennis Onofua captures a moment of profound connection and unity between two female figures. The artwork, a testam...

In the enigmatic realm of "Esoteric," Dennis Onofua unveils a mesmerizing tapestry of mystery and introspection. This captivating artwork beckons viewers...

Among my swan, 2018 by Ramonn Vieitez Oil, enamel, acrylic, latex on canvas Size: 39.4 H x 27.6 W in. Signed on the back by the artist Unframed ___ Ramonn Vieitez is a self-taught B...

The Order of the Heart in the Hand is a mixed media painting (acrylic and gold enamel on hand-aged canvas) with a canvas size of 48 x 48 inches, signed 'afn' lower center and framed in a contemporary black moulding. Anne Faith...

Bon Voyage (Paper Planes) is a mixed media painting (acrylic, gold enamel, charcoal, pencil and ink on archival cotton paper, signed 'afn' lower right and framed in a contemporary black moulding. Anne...

Bon Voyage is a mixed media painting (acrylic, gold enamel, charcoal, pencil and ink on archival cotton paper), with an image size of 14 x 10.5 inches, signed 'afn' lower right and framed in a contemporary black moulding. Anne Faith...

Looking Out from Within: Buffalo is a mixed media painting (acrylic and gold enamel on canvas) with a canvas size of 60 x 48 inches, signed 'afn' lower right, and framed in a contemporary white moulding. Anne Faith...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

"Rebirth" is a compelling artwork created by Dennis Onofua, showcasing a young woman in a standing posture. The title suggests a powerful theme of transf...

"Rebirth" is a compelling artwork created by Dennis Onofua, showcasing a young woman in a standing posture. The title suggests a powerful theme of transf...

"In Times Like This" is a touching artwork created by Dennis Onofua, portraying two young women embracing each other in a warm and comforting hug. This a...

Fahamu Pecou is a visual artist and scholar whose works combine observations on hip-hop, fine art and popular culture. Pecou’s paintings, performance art, and academic work addresses...

🔸 _Title: Geppetto’s GPT Awakening 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2023 🔸 _Dimensions: 97 W x 130 H x 2.5 D cm 🔸 _Medium: Acrylic, ...

The Painting and Its Style: "Tulip Mania" This painting is a prime example of Neo-Expressionism, a movement in the arts that emerged in the late 1970s and is characterized by its bo...

Northwoods, 2001. Signed and dated Military Enamel, Watercolor, Glitter, Decal, Aluminum Paint on Aluminum. Bears a label from Angles Gallery verso. Tom LaDuke (born 1964) is an Am...

Fika Leon The Good Father, 2022 Acrylic, enamel, white silicone on canvas 47 1/5 × 39 2/5 in 120 × 100 cm Unique work

"The Ancient Testament" Pop Art Painting 55" x 79" inch by Gosha Ostretsov Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in Moscow. PUBLIC...

The Painting and Its Style: "Tulip Mania" This painting is a prime example of Neo-Expressionism, a movement in the arts that emerged in the late 1970s and is characterized by its bo...

🔸 _Title: Astro Boy 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2023 🔸 _Dimensions: 38.2 x 51.2 / 97 x 130 cm 🔸 _Medium: Acrylic, enamel, spray ...

Hermann Schütte (1893 Osnabrück - 1973 Hamburg), White Mask on Violet Ground. Enameled copper plate on wooden base, 37 x 29.5 cm, monogrammed and dated "S[chütte] [19]62" in the lowe...

Unique; Water-based enamel paint on paper stacks