Jeffrey Vaughn

Dogwood Blossoms by Jeffrey Vaughn, Oil and Acrylic on Stretched Canvas, Framed

2016

Channeling the Midwest and Western landscapes as sources for his mood-rich paintings, Bogosian has developed an extensive and breathtaking body of work. According to Bogosian, “My wo...

Channeling the Midwest and Western landscapes as sources for his mood-rich paintings, Bogosian has developed an extensive and breathtaking body of work. According to Bogosian, “My wo...

Channeling the Midwest and Western landscapes as sources for his mood-rich paintings, Bogosian has developed an extensive and breathtaking body of work. According to Bogosian, “My wo...

Channeling the Midwest and Western landscapes as sources for his mood-rich paintings, Bogosian has developed an extensive and breathtaking body of work. According to Bogosian, “My work is a response to the atmospheric, sublime qualities and spiritual essence that exists in landscapes. Using memory sketches and photographs, I paint on canvas, wood, and paper to explore scale,brushwork, and my emotional response to these images. I see timelessness in the work. A sense of tranquilly and serenity in this digital era.” Selected Collections Bank of Montreal, Chicago, IL Duncan-McAshan Visual Arts Center, Ingram, TX Manifesto, Chicago, IL Margaret Harwell Museum, Poplar Bluff, MO Martin Chasin Fine Arts, Fairfield, CT MasterCard, New York, NY Nestle Corporation, St. Louis, MO Renaissance Grand Hotel, St. Louis, MO St. Louis University, St. Louis, MO U.S. Department of State, Arlington, VA U.S. Embassy in Washington, D.C. Vick Corporate Art Advisors, Elkins Park...

Channeling the Midwest and Western landscapes as sources for his mood-rich paintings, Bogosian has developed an extensive and breathtaking body of work. According to Bogosian, “My work is a response to the atmospheric, sublime qualities and spiritual essence that exists in landscapes. Using memory sketches and photographs, I paint on canvas, wood, and paper to explore scale,brushwork, and my emotional response to these images. I see timelessness in the work. A sense of tranquilly and serenity in this digital era.” Selected Collections Bank of Montreal, Chicago, IL Duncan-McAshan Visual Arts Center, Ingram, TX Manifesto, Chicago, IL Margaret Harwell Museum, Poplar Bluff, MO Martin Chasin Fine Arts, Fairfield, CT MasterCard, New York, NY Nestle Corporation, St. Louis, MO Renaissance Grand Hotel, St. Louis, MO St. Louis University, St. Louis, MO U.S. Department of State, Arlington, VA U.S. Embassy in Washington, D.C. Vick Corporate Art Advisors, Elkins Park...

Born and raised in St. Louis, Missouri, Ahzad Bogosian holds both BFA and MFA degrees from Fontbonne University and was enrolled in the MFA program at Washington University. Channe...

A painting by Amanda Andersen from a larger body of work created in the early 2010s which explored vintage technologies and materials including VHS cassette tape, reel-to-reel tape machines...

"Neglected Stone" serves as a poignant metaphor for the potential found within damaged individuals who emerge from underprivileged backgrounds to shine as stars in society. The young man in the artwork embodies the spirit of those who have faced adversity, yet refused to be defined by it. Just as a neglected stone can become the cornerstone of a grand structure, so too can those who have experienced hardship rise above their circumstances to become pillars of strength and inspiration. The brown hat worn by the young man symbolizes the trials and struggles he has encountered throughout his life. It represents the weight of his past, the challenges that threatened to overshadow his potential. However, the hat also serves as a testament to his resilience—the ability to bear the weight of his history while moving forward with determination. Against the backdrop of a vibrant blue, the artwork accentuates the stark contrast between the young man's journey and the potential that lies ahead. Blue, often associated with serenity and tranquility, represents a world of possibilities and a bright future. The blue background serves as a reminder that even amidst difficulties, hope and opportunity can emerge, paving the way for greatness to shine forth. Adewale's artwork eloquently conveys the message that great beauty and strength can emerge from the depths of misfortune. Just as a diamond is formed under immense pressure, so too can individuals forged in the crucible of hardship display a brilliance that defies all odds. The young man in "Neglected Stone" epitomizes the triumph of the human spirit, illustrating that a resilient heart can overcome even the most adverse circumstances. Moreover, the artwork serves as a poignant admonition to society not to write off anyone passing through hard times as totally useless. It is a call for compassion, understanding, and the acknowledgment that every individual has the potential for greatness, regardless of their past or current circumstances. By showcasing the young man's fortitude and determination, Adewale invites viewers to reflect on their own preconceptions and biases, urging them to see beyond the surface and recognize the inherent worth and potential in every human being. In conclusion, "Neglected Stone" by Busari Adewale...

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Chroma sky (Blue key) 10, 2007 Acrylic and oil on canvas (Signed on reverse) 23.62 H x 31.49 W in 60 H x 80 W cm The artist wrote about how he conceives this work: "The transformat...

Provenance: Madison Gallery (Madison Connecticut) bears their label verso. Hunting and fishing cabin themed artwork in a hyper realist or photo realist style. James Carter (Born 1948) is active/lives in Connecticut. James O Carter is known for Trompe l'oeil still life painting. James Carter is known for his for his airbrush acrylic paintings, serigraphs and lithographs. Some of his paintings have written text, and his style combines carefully controlled trompe l'oeil and abstract Surrealism influences. James Carter was born in Port Chester, New York, in 1948. He studied at Silvermine College of Art in Connecticut and graduated with a B.F.A. from the Maryland Institute of Art. Carter’s paintings and prints have been exhibited at the Zenith Gallery, Washington, D.C., the Horizon Gallery, New York, and the Bell Gallery, Greenwich, Connecticut. His still lifes display the influence of Surrealist painters of the 1930s such as Rene Magritte and Max Ernst. Like the Surrealists, Carter juxtaposes unexpected objects – teacups, whales, and blue skies, for example – which often sit uncomfortably within his pictorial space. But he has also been influenced by the late-nineteenth-century American trompe l’oeil painters William Harnett...

Close up of a flower. canvas measures 30 X24 inches. Clarence Skip Measelle has been featured in over 100 gallery and museum exhibitions, competitions, group shows, and solo shows throughout the US. He is best known for his work in photorealism and abstract illusionism. The name Photorealism (also known as Hyperrealism or Superrealism) was coined in reference to those artists whose work depended heavily on photographs, which they often projected onto canvas allowing images to be replicated with precision and accuracy. The exactness was often aided further by the use of an airbrush, which was originally designed to retouch photographs. The movement came about within the same period and context as Conceptual art, Pop art, and Minimalism and expressed a strong interest in realism in art, over that of idealism and abstraction. The first Photo realists were Chuck Close, Don Eddy, Richard Estes, Ralph Goings, Robert Bechtle, Audrey Flack, Denis Peterson, Lowel Nesbitt and Malcolm Morley. Each began practicing some form of Photorealism around the same time, often utilizing different modes of application and techniques, and citing different inspirations for their work. However, for the most part they all worked independent from one another. For example, Chuck Close came of age at the height of Pop art and Andy Warhol's Factory, and was based out of SoHo in lower Manhattan. And Audrey Flack, a graduate of Yale, began creating photo-based works in the early 1960s. Select Solo Exhibitions Armory Art Center, West Palm Beach, Fl. Peter Drew Gallery, Palm Beach and Boca Raton, Fl. Walton Street Gallery, Chicago, Il. Circle Galleries: Beverly Hills Matthew Scott Gallery, Miami, Fl. Eva Cohon Gallery, Chicago, Il. Gloria Luria Gallery, Miami, Fl. Palm Beach Galleries, Palm Beach, Fl. The Palm Gallery, Southhampton, NY. Norton Gallery, Art Museum of the Palm Beaches, West Palm Beach, Fl. Select Group Exhibitions Artist's of the Salon. Armory Art Center Annex. Lake Worth, Fl. Boca Raton Museum of Art Liman Gallery, Palm Beach, Fl. Russeck Gallery, New York, NY. (SOHO) and Palm Beach, Fl. Armory Art Center Annual Faculty Show, West Palm Beach, Fl Annette Verschragen Gallery, The Hague Holland Cima Gallery, "City Place", West Palm beach, Fl. Haste Gallery, Ipswitch, England Rodger Lapelle Galleries, Philidelphia, Pa. Aliya Gallery, Atlanta, Ga. Caribbean Gallery, Key West, FL R. Duane Reed Gallery, St. Louis, MO E. Street Gallery, Galveston, TX Richard Danskin...