Paint Portrait Photography

Sophia Loren in her prime. Enamel screen print and diamond dust on linen. Floats in sleek contemporary black frame. Depth about 2 inches. About the Artist: Russell Young cur...

Tokyo and Ceremony II, Diptych 2022, by Hunter & Gatti From The series MY WAY Acrylic and oil wax on fine art paper 255 grs Overall size: 21.5 in H x 35 in W Individual size size: 21...

Daisuke Takeya’s “No Man’s Land” is his 5th solo exhibition with the gallery, presenting a new series distinct from, and yet analogous to, the parts of his practice that have been ex...

Daisuke Takeya’s “No Man’s Land” is his 5th solo exhibition with the gallery, presenting a new series distinct from, and yet analogous to, the parts of his practice that have been ex...

Daisuke Takeya’s “No Man’s Land” is his 5th solo exhibition with the gallery, presenting a new series distinct from, and yet analogous to, the parts of his practice that have been ex...

Daisuke Takeya’s “No Man’s Land” is his 5th solo exhibition with the gallery, presenting a new series distinct from, and yet analogous to, the parts of his practice that have been ex...

Helena Malarewicz-Krajewska (born 14 July 1910 in Biecz , died May 7, 1998 in Warsaw) is a Polish painter, active advocate of socialist realism. Studied between 1928 and 1929 at the...

ABOUT THIS PIECE: "21st Century Smokin' Cowboy (VJ-A3)" is a modern portrait painting by Addison Jones. This street art style piece was created using multiple layers of acrylic paint...

This unique hand-painted photograph by Mark Beard is offered by CLAMP in New York City.

Full of Dreams (The Girl behind the White Picket Fence) - 2013 98x96cm, Edition of 5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature...

Mantras and Sun Family Diptych by Leobardo Huerta Mixed-media Vintage photograph drawn on with pen and acrylic paint. Overall size: Frame size: 18 in. H x 33 in. W x 1 in. D Sheet ...

Limited Edition, Unique Variant Print. Two women in round toed-pumps with skirts blowing in the wind, three men in overcoats with hats in their hands. This flirty diptych was inspired by the glamorous style of the 1960's, turning the tables and putting women on top, men below with hats off. + Cyanotype hand-printed on Arches BFK Rives French watercolor paper + Deckled Edges on all four sides + Signed and editioned on front in pencil + Letter of Authenticity + Printed in Los Angeles, CA WHAT IS A CYANOTYPE? cyan = blue type = print Cyanotype is a historic photographic processes, invented in 1842 and used by Anna Atkins–the first female photographer. The process involves coating watercolor paper with light-sensitive chemistry made of iron salts. Photographic negatives are laid on top, exposed in the sunlight, and then washed in water to develop into the deep Prussian-blue unique to cyanotypes. Brings a moment of beauty and conversation to any space. ABOUT THE ARTIST: Alexandra DeFurio...

Ce tirage fait partie de la série "Regards Croisés". « Nous allions passer l’un à coté de l’autre rapidement, sans que nos vies se croisent, quand ton regard a accroché mon objectif...

Fuscae I & II 2019, by Hunter & Gatti Acrylic And Oil Pastel On Pigment Print Overall size: : 43 cm. H x 66 cm. W Individual size: 43 cm. H x 33 cm. W Unique Unframed This piece is ...

Handcoloured portrait of nymph Daphne, immobilised in marble, as she is transformed into a laurel tree. Birthed in Greek Mythology, Daphne is associated with bodies of freshwater and is an unwilling object of the god Apollo’s desire. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: Daphne II...

Hand-coloured portrait of nymph Daphne, immobilised in marble, as she is transformed into a laurel tree. Birthed in Greek Mythology, Daphne is associated with bodies of freshwater and is an unwilling object of the god Apollo...

Katie Eleanor, St Medard and the Devil, 2019 Handcoloured portrait of a devil creature, immobilised in marble, inspired by the tale of St Medard. Purchasing on his rock, he lovingly...

Katie Eleanor, St Medard and the Devil II, 2019 Handcoloured portrait of a devil creature, immobilised in marble, inspired by the tale of St Medard. Purchasing on his rock, he lovin...

the painting is being offered with a work and authenticity certificate

Tokyo, 2022, by Hunter & Gatti Acrylic and oil wax on fine art paper 255 grs Image size: 21.5 in H x 17.5 in W unframed These works are part of the MY WAY project, a trip with the a...

Kamalika, 2022, by Hunter & Gatti Acrylic and oil wax on fine art paper 255 grs Image size: 21.5 in H x 17.5 in W unframed These works are part of the MY WAY project, a trip with th...

Hole, 2022, by Hunter & Gatti Acrylic and scratch on fine art metallic paper with a pearlescent coating Image size: 21.2 in H x 16.1 in W Unframed The “visible” spectrum, probably the most well-known of human sensory limitations, as the human #eye is only capable of perceiving light at wavelenghts between 390 and 750 nanometers. Of course, calling it the “visible” spectrum is a bit of a misnomer, as plenty of animals are capable of perceiving light with frequencies outside this relatively narrow band of electromagnetic radiation. Using infrared black and white...

Ceremony, 2022, by Hunter & Gatti Acrylic and oil wax on fine art paper 255 grs Image size: 17.5 in H x 21.5 in W unframed These works are part of the MY WAY project, a trip with th...

Wakako, 2022, by Hunter & Gatti Acrylic and oil wax on fine art paper 255 grs Image size: 17.5 in H x 21.5 in W unframed These works are part of the MY WAY project, a trip with the ...

Ceremony II, 2022, by Hunter & Gatti Acrylic and oil wax on fine art paper 255 grs Image size: 21.5 in H x 17.5 in W unframed These works are part of the MY WAY project, a trip with...

Soliloquy, 2018, by Hunter & Gatti Acrylic and oil wax on burned fine art paper 255 grs Image size: 12 in H x 8 in W Signed front and signed back with a date. unframed Mekhi Alante ...

Stereotypes, 2022, by Hunter & Gatti Acrylic and oil wax on fine art paper 255 grs Image size: 19 in H x 14.5 in W unframed This work belongs to a series that deals with the stereot...

"Bruno Mars" by Hunter & Gatti Acrylic paint on top of archival pigment print Measures: 20" H x 15" W x 1.5 D 2017 Framed This piece is part of the H&G ser...

Galaxy Brain by Leobardo Huerta mounted Mixed-media Vintage photograph drawn on with pen and acrylic paint Frame size: 18 in H x 16.5 in W x 1 in. D ...

Mantras by Leobardo Huerta Mixed-media Vintage photograph drawn on with pen and acrylic paint. Frame size: 18 in. H x 16.5 in. W x 1 in. D Sheet size...

Maria and the Callas, #2268 by Natasha Zupan Collage on paper Dimensions: 13 in. H x 13 in. W One of a kind Signed lower right on recto by the artist Numbered on verso 2018 _________...

Fashion shot of Kate Moss. Acrylic paint. Hand pulled enamel screen print and diamond dust on linen. Stretched on black frame. About the Artist: Russell Young currently lives a...

Collaboration between photographer John Mazlish & artist John Wright.

Helena Malarewicz-Krajewska (born 14 July 1910 in Biecz , died May 7, 1998 in Warsaw) is a Polish painter, active advocate of socialist realism. Studied between 1928 and 1929 at the...

Double Self Portrait with High Top Converse c. 1970s Signed, l.r. Vintage hand-painted gelatin silver print 24 x 20 inches (61 x 50.8 cm), shee...

Mixed media collaboration between photographer John Mazlish & artist John Wright.

c. 1970s Signed l.r. Vintage hand-painted gelatin silver print 24 x 20 inches (61 x 50.8 cm), sheet 23 x 19 inches (58.4 x 48.3 cm), image This work is offered by ClampArt in New...

Double Self Portrait with Yellow Blindfold April, 1978 Signed in black ink, verso Vintage hand-painted C-print 5 x 3.5 inches (12.7 x 8.9 cm) ...

Fashion shot of Kate Moss. Hand pulled acrylic, enamel screen print and diamond dust on linen. Will ship rolled. About the Artist: Russell Young currently lives and works in C...

Set of 9 portraits of Pharrell of the LIVE FOREVER series. Intervene by the artists Acrylic and oil pastel on Pigment Print Individual size: Image size: 30.5 inc x H x 23.5. W Frame...

Antonio Segui 38 x 46 cm Distraido Oil on Canvas Signed and Dated on the back Antonio Segui Biography Born in Córdoba, Argentina in 1934, Antonio Seguí currently lives and works in Paris. He studied at the San Fernando Academy in Madrid, Spain as well as the Ecole des Beaux-Arts in Paris, France. His first solo exhibition was in Argentina at age 23. Antonio Seguí is one of the most internationally renowned Argentinian artists. He began his artistic endeavors at a young age after leaving Argentina to travel the world and study art. His journeys through Latin America, Europe and Africa exposed him to new ideas and encouraged his culturally diverse approach to art. Influenced by artists like Fernand Leger and Diego Rivera, Seguí’s work is generally satirical, critiquing society and human nature. In a pre-computer age, the artist created a vocabulary that is now being explored by a new generation of artists through comics and Manga, yet his visual language and social commentaries remain poignant, both symbolically and literally. Throughout his career, Seguí has developed a fascination for urban life, creating in his work the idea of the “everyman.” The city movement, the fast pace at which life happens and the people who live in these urban spaces are some of the elements that constitute the world depicted in his paintings. It is a prototypical realm inhabited by speedy automatons that take immutable routes leading nowhere. Up close, each figure is an individual, walking down dark alleys, pointing, waving and emerging from potholes. But from a distance, the individuals morph into complex patterns swallowed up in a labyrinth of buildings and cookie-cutter trees. Utilizing cubist techniques, Seguí’s repeated elements give shape to the cities causing planes to vibrate between line and color. Numerous perspectives unfold with each vibration and reflect the many angles of life of the urban man. Always in action, the little figures trample, tip-toe, dodge and advance through Seguí’s imaginary metropolis of life. His work is representated on a series of narratives and criticisms reflected on paintings that show many little men, dressed in 20's style clothes. He uses his own recourse based on comic strip characters, texts, arrows and various signs, juxtaposed onto the figures that resemble comic strip style language. Seguí’s work is collected and exhibited worldwide in places such as the MoMA, New York; Art Museum of the Americas, Washington, D.C.; Frissiras Museum, Athens, Greece; Museo de Arte Moderno de Buenos Aires, Argentina; Museum der Moderne Salzburg, Austria; Museum of Modern Art Dubrovnik, Croatia; and Museo Tamayo, Mexico City, Mexico. The Musée National d´Art Moderne, Paris organized a retrospective of his works on paper in 2005. A monograph on the artist by Daniel Abadie was published in 2010 by Hazan. Antonio Segui Resumé 1995 Art Miami '95, USA. S. Zannettacci, Geneva, Switzerland Marwan Hoss, Paris, France Gallerie du Cirque Divers, Belgium Le Moulin du Roc, France Fundacao C. Gulbenkaian, Portugal Gallerie J. Rubeiz, Beirut, Liban 1994 F. Santos, Portugal E. Franck Gallery, Belgium 1993 Galleria San Carlo, Milan, Italy Galería I. Vega, Puerto Rico Winance-Sabbe, Belgium FIAC, Paris, France 1992 Casa Rosada, Buenos Aires, Argentina Espace Julio Gonzales...

Self Portrait with Blindfold and Porthole c. 1970s Signed in black ink, verso Vintage hand-painted C-print 3.5 x 5 inches (8.9 x 12.7 cm) This work is offered by ClampArt in New ...

Self Portrait in Helmet by Broken Window c. 1970s Signed, l.r. Vintage hand-painted gelatin silver print 7.75 x 9.5 inches (19.7 x 24.1 cm) This work is offered by ClampArt in Ne...

Double Self Portrait with Glowing Red Background Signed in pencil, l.r. Vintage hand-painted gelatin silver print 10.5 x 10.5 inches (26.7 x 26.7 cm), image 14 x 11 inches (35.6 x ...

Self Portrait with Honda Motorcycle c. 1970s Signed in black ink, l.r. Vintage hand-painted gelatin silver print 8 x 10 inches (20.3 x 25.4 cm) This work is offered by ClampArt in...

Biography from the niece of the artist from during his lifetime. Paintings acquired from the artist.s estate. Max Turner 1925 - 2019 Max Lamar Turner Painter, Sculptor, Teacher and Author. Max Turner was born in Omaha, Nebraska on July 28, 1925. His father was Lance Howard Turner and his mother Mary Irene Turner. In 1927, his family moved to Bingham Canyon, Utah where Max's father extracted copper from a creek that he had diverted to pass through his garage. The town was located in a narrow canyon on the eastern face of the Oquirrh Mountains. In 1938, when Max was 13, his family moved to Midvale, Utah. After completing high school, Max went to work laying rail until he was inducted into the U.S. Navy to serve during W.W. II. There he took an aptitude test and was initially assigned to the medical corp., later transferring to the dental unit. Max was stationed at Port Hueneme, Ventura County, California through the end of the war. When he was discharged in 1946, he remained in Southern California, living in the Los Angeles area. He met a man named Larry Torres and they formed a partnership to do silk screen work primarily for the Colby Poster Printing Company. This lasted about 10 years until the Colby building caught fire and burned down. In 1958, Max began working for Slade Novelty company that made doll parts using a product called plastisol. A year later, Max began producing plastic parts through his own business. One day, a couple of kids brought in a shrunken skull they had made and asked Max if he could reproduce it. Max said he could and he looked around for a business to work with for this task. He ultimately decided he could create his own machine shop to make molds. As a result, Max purchased a lathe, drill press, grinder and other tools to create his own machine shop and went into business making molds. He built a clientele and in 1973, he moved his machine shop to Glendale, California. Painter, Sculptor, Teacher and Author: Max recalls the day when his interest in art took a new direction. He happened to be in a paint store to purchase some supplies when he saw a card posted on a wall that read, "Come paint with Connie Marlo". Max had been interested in art since his youth and he was frequently impressed with paintings displayed by local artists at various community events. Consequently, he decided to go to Connie's Saturday morning art class at a studio on North La Brea Avenue (between Sunset and Hollywood) in Los Angeles. But, as fate would have it, he immediately took a detour from this class when he found a piece of paper on the floor of the studio referencing another art class dealing with compositions, patterns, rhythms and color harmony. The instructor's name was Hal Reed, a former art student of the Russian/American Master, Nicolai Fechin. Hal owned the building (previously the Will Foster Studio) and had founded the Art League of Los Angeles. When Max found Hal, he asked Hal if he could join his class. Hal said "No, the class was full" but he said Max could monitor the class in the back of the classroom. Max took him up on the offer and began observing the weekly class. During the class, Hal told his students that they should practice what they were learning by going to "live model" classes. Max began attending these classes where he learned how to draw figures. After a few months, Hal and Max became good friends. Hal was so impressed with Max's work that he offered Max the opportunity to teach at another location that Hal was opening in the San Fernando Valley. Max accepted the offer and began teaching his own art class. For Max, it was a quick jump from learning to teaching. Max then found that several of his students had to commute to his art class from the west end of the "Valley". To better serve this group of students, Max decided to relocate to another studio in Calabasas. Max continued teaching, and at this time he was producing very impressive portraits, both oil paintings and charcoal drawings from live models (Max never worked from photos). Max demonstrated real talent, and the style of his drawings and paintings were being compared to those of Nicolai Fechin. And, like Fechin, Max also had an interest in sculpting. One day, Max decided to design and cast a bronze owl sculpture to put in his Calabasas Fine Art Gallery. Later, someone approached Max when he was at the foundry and asked him about his success selling the owl sculpture. The individual who asked this question was convinced that there was a broader market for these sculptures and he ordered a dozen of the owl sculptures from Max. This encouraged Max to do more castings. Some of the new castings were antique sculptures he found and reproduced. As this new business grew, he decided to establish his own foundry, employing up to 15 workers. The business continued for many years, up until the late 1990's when Max got tired of the foundry business and sold it. Max, who was now in his 70's, decided to move on to his next venture as an artist, dedicating himself to doing the actual sculpting of original art. He loved the creativity of sculpting and he had his sculptures cast at local foundries, ironically the same ones that used to be his competition. Max was now fully engaged in his new artistic direction and, over time, he produced a large body of work. He created very impressive sculptures, including about 100 full-size sculptures. He sold some of these to high-end clientele, the Foundry at SLS Las Vegas, and to Hollywood studios. Even though Max now seemed to be totally in his element, he somehow also found time to continue to teach painting classes at the California Art Institute in Westlake Village in Los Angeles. At the institute, he specialized in figure work. Max continued to draw, paint and teach, but he says he stopped sculpting when he turned 90. Max produced four books showcasing his drawings and paintings. The first is "Faces, The Drawings of Max Turner", copyright 2000, that showcases nearly 100 of his portrait drawings. Within the "Acknowledgements" section, he lists Hal Reed and Joseph Nordmann, two former students of Nicolai Fechin. In 2006, Max produced his second book titled "Figures and Faces", reflecting not only portraits but also figure drawings and paintings. It is a wonderful book of Max's work, but it is currently difficult to find. The third book is titled "Faces 2, The Paintings and Drawings of Max Turner", copyright 2009, which includes 75 portrait paintings and drawings. In the "Preface" of this book, Max describes growing up in a small and isolated mining town during the Great Depression. He states that as a kid, he had little exposure of any culture or view of what the rest of the world was like. His neighbor was the trash collector and Max would sometimes go through his truck looking for anything of value. Among other things, he found magazines like Cosmopolitan, Good Housekeeping and Red Book, with covers that frequently showed drawings or paintings of faces. Max states that these images were the very first source of inspiration for him. He says that he began looking more carefully at people's faces and if they had character, he would draw them. By drawing them, Max says that he was making them part of his world, his world of "Faces". In 2018, Max published his newest book showcasing his drawings and paintings. It is titled "Max Turner's Figure Sketches". This softbound book includes 76 pages and over 120 drawings and paintings. In the Introduction, Max explains "I have found that when approaching the figure, one should begin with the gesture. After having captured the essence or feeling of the pose, one can then proceed to build on it." The figure sketches in this wonderful book reflect a Master's work that consistently captures the "gesture"-showing the emotion, movement and expression. Two more books are on the horizon for Max, both dealing with his passion for sculpting. His first, "The Sculpture of Max Turner" is a compilation of his commercial and noncommercial pieces throughout his career. The second, "Terra Cotta Sculpture by Max Turner" is a complete collection of figures done at the California Art Institute. These much anticipated books should be out later in 2018. Max now considers himself primarily a sculptor. But others in the art world are more than impressed with his drawings and paintings as well. His portraits are often described as having a Fechin-esque appearance, referring to the style of Nicolai Fechin. When Max observed those first art classes given by Hal Reed, it should be noted that Hal had previously been a student of the Russian/American Master Nicolai Fechin in the early to mid-1950's. In fact, Hal was a student in the last art class that Fechin taught before he unexpectedly died in 1955. Hal was so strongly influenced by Fechin that he later produced two 30-minute art instruction videos as part his Art Video Productions wherein he specifically described Fechin techniques that he learned in Fechin's class. The Fechin style and techniques were in play when Max later met Hal. Over the years, many of Max's art students, art collectors, gallery owners, as well as the Director of the Monterey Museum of Art have commented on the Fechin-esque qualities of Max's wonderful charcoal drawings and paintings. So, while Max may consider himself primarily a sculptor, his drawings and paintings are also impressive and very much sought after. When Nicolai Fechin died in 1955, three of the nine students in his last art class became life-long friends. Max subsequently became friends with not only Hal Reed, but also with prior Fechin students Joseph Nordmann and Albert Londraville...

This unexpected bird portrait was a grab shot as street photographer Mitchell Funk was entering the New York City subway. The real charm of the image is that it's more of an abstrac...

Lotophage, L'Éternel Recommencement and Skull, (Triptcyh) 2020, by Hunter & Gatti Acrylic and oil pastel on Pigment Print Overall Image size: Image size: 76 cm. H x 183 cm. W Indivi...

The Radiants, Le Fauteuil de l'oubli & Head, (Triptcyh) 2020, by Hunter & Gatti Acrylic and oil pastel on Pigment Print Overall Image size: Image size: 76 cm. H x 183 cm. W Individu...

The Radiants and Head, 2020, by Hunter & Gatti Acrylic and oil pastel on Pigment Print Overall size: 76 cm. H x 122 cm. W Individual Size: Image size: 76 cm. H x 61 cm. W One of a K...

Strangers and Autre Moi, 2020, by Hunter & Gatti Acrylic and oil pastel on Pigment Print Overall size: 76 cm. H x 122 cm. W Individual Size: Image size: 76 cm. H x 61 cm. W One of a...

L'Éternel Recommencement & Temporaire, 2020, by Hunter & Gatti Acrylic and oil pastel on Pigment Print Overall size: 76 cm. H x 122 cm. W Individual Size: Image size: 76 cm. H x 61 ...

Skull, Pharrell Williams portrait, from the series LIVE FOREVER (Framed) 2020, by Hunter & Gatti Acrylic and oil pastel on Pigment Print Image size: 76 cm. H x 61 cm. W Framed size:...

L'Éternel Recommencement Pharrell Williams portrait (Framed) 2020, by Hunter & Gatti Acrylic and oil pastel on Pigment Print Image size: 76 cm. H x 61 cm. W Framed size: 90.5 cm. H ...

Lotophage, Pharrell Williams portrait (Framed) 2020, by Hunter & Gatti From "Live Forever" Series Acrylic and oil pastel on Pigment Print Image size: 76 cm. H x 61 cm. W Framed size:...

Strangers. Pharrell Williams portrait, from the LIVE FOREVER series by Hunter & Gatti Acrylic and oil pastel on pigment print Image size: 76 cm. H x 61 cm. W Framed size: 90.5 cm. H...

Temporaire, Pharrell Williams portrait (Framed) 2020, by Hunter & Gatti Acrylic and oil pastel on Pigment Print Image size: 76 cm. H x 61 cm. W Framed size: 90.5 cm. H x 82.5 cm. W x...

The Radiants, Pharrell Williams portrait (Framed) 2020, by Hunter & Gatti Acrylic and oil pastel on Pigment Print Image size: 76 cm. H x 61 cm. W Framed size: 90.5 cm. H x 82.5 cm. W...