Margot Glass

Lady's Thumb, Botanical, Metallic Gold Wildflowers, Leaves, Black Panel

2021

A symmetrical, geometric shape is composed of curving lines in light golden orange outlined in pale green, bright and luminous against a dark purple, eggplant colored background, sug...

Cheerful white daisies and bright crimson red and pink chrysanthemum flowers with green leaves and stems in a glass on an orange tabletop are beautifully complemented by a cobalt blu...

Geometric shapes in shades of blue, black, red and yellow are colorful and vibrant against a sky blue background. The angles and soft gradation of color in the layered shapes suggest...

Mint green and burgundy red stripes are bright and colorful against a luminous cobalt blue background. Signed, dated and titled on verso. Joanne Mattera’s paintings can be described...

Falling Towards Myself is a large-scale multicolored abstract painting with dramatic shades of Kelly green, vibrant cobalt lapis blue, yellow, ochre, peach and pale mint green agains...

Geometric shapes in shades of cobalt blue, black, red, yellow and a black and white botanical pattern are vibrant against a sky blue background. The angles and soft gradation of colo...

Timothy Harney's emotionally powerful paintings, drawings, and collages possess an exceptional formal excellence which propels them beyond the particula...

Claudio Dicochea de la Agente Federal y el Rojo, la Emperatriz (of Federal Agent and Red, the Empress), 2010 acrylic, graphite, charcoal, transfer, wood 2 @ 48" x 36" Born in San Luis Río Colorado, Mexico and raised on the Mexican/US border in southern Arizona, Claudio Dicochea works at the intersection of colonialism, art history and contemporary popular culture. Using the model of the 18th century genre of Casta paintings...

"Vision" by Maureen O'Hara Ure, mixed media on panel with thin rusted wire, 13 1/2 x 18 1/2 inches. Relying on sturdy panel to hold up to months, sometimes years, of revisions, O'Hara Ure slowly builds up an image, obsessively laying down marks in thin, sanded layers of paint, ink, and pencil to create a uniquely smooth, almost polished texture distinctive to her style. When a panel returns to her studio from a show, she may begin to tinker with the image, perhaps first sanding out or painting over just a section. "Often as not, I keep going and start all over, using gesso to erase any memory I have of the painting." "For over fifteen years, all of my major projects have begun with my drawing overseas in museums and at historical sites. I returned to my studio and set about using some of the raw ideas in my travel sketchbooks to begin developing new work, taking liberties with the art-historical material I had collected. The exhibit of new paintings on panel at Phillips Gallery...

"Mixed Marriage" by Maureen O'Hara Ure, mixed media on panel, 16 x 24 inches. Relying on sturdy panel to hold up to months, sometimes years, of revisions, O'Hara Ure slowly builds up an image, obsessively laying down marks in thin, sanded layers of paint, ink, and pencil to create a uniquely smooth, almost polished texture distinctive to her style. When a panel returns to her studio from a show, she may begin to tinker with the image, perhaps first sanding out or painting over just a section. "Often as not, I keep going and start all over, using gesso to erase any memory I have of the painting." "For over fifteen years, all of my major projects have begun with my drawing overseas in museums and at historical sites. I returned to my studio and set about using some of the raw ideas in my travel sketchbooks to begin developing new work, taking liberties with the art-historical material I had collected. The exhibit of new paintings on panel at Phillips Gallery...

"Panorama" by Maureen O'Hara Ure, mixed media on panel, 24 x 72 inches. Relying on sturdy panel to hold up to months, sometimes years, of revisions, O'Hara Ure slowly builds up an image, obsessively laying down marks in thin, sanded layers of paint, ink, and pencil to create a uniquely smooth, almost polished texture distinctive to her style. When a panel returns to her studio from a show, she may begin to tinker with the image, perhaps first sanding out or painting over just a section. "Often as not, I keep going and start all over, using gesso to erase any memory I have of the painting." "For over fifteen years, all of my major projects have begun with my drawing overseas in museums and at historical sites. I returned to my studio and set about using some of the raw ideas in my travel sketchbooks to begin developing new work, taking liberties with the art-historical material I had collected. The exhibit of new paintings on panel at Phillips Gallery...

"Bewitching" by Marwan Nahle, acrylic on panel (yellow painted edges) 8 x 8 x 1.5 inches, $950 Marwan Nahlé is a citizen of the world. As a free spirit ...