Adam Umbach Figurative Paintings

This mixed media painting on canvas measures 36x54" framed size 38x56". Titled "Brando and G", it is in Ceravolo's classic urban Pop style. In this mixed media painting on canvas ...

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...

Excerpt from review by art critic Joe Nolan: 'On the Boat' is the best work in the show, and it’s among the best paintings Aldrich has produced. The portrait depicts a woman sailing...

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

"Nanette (Back with Fence)" is a textural, contemporary figure painting by Knoxville based artist Eleanor Aldrich. Refusing engagement, the figure is turned away from the viewer. Further distance is created by a rugged representation of a chain link fence and layers of paint, enamel, and silicone. The only clue to the figure's gender is in the title, and the collision of industrial materials with a female representation provides a poignant conflict. Flashes of found paper provide hints of a t-shirt or other type of graphic clothing...

JENNY DAY is a painter who lives in Santa Fe, New Mexico. She earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Alaska Fa...

"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...

I often base my work on the covers of Nancy Drew books. She is illustrated as a doubly conscious figure: partially mugging for the viewer, and partially inv...

"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 the series of paintings titled “That Feeling When,” Aldrich expands the excess of materials to large figure paintings and small, overfilled sculptures. Aldrich uses thick materials that protrude from the surface, reminding the viewer that the paintings are not only physical objects in themselves, but also create the illusion of the picture. The work employs a risky excess of material that borders on uncontrollable; becoming metaphoric for barely controlled femininity, the attraction and repulsion of materialism, and the body pressing against constraints. The figures in the paintings are seen from behind or have turned away. The viewer is put in a place of questioning whether they are a voyeur or a co-viewer with the figure of something deeper in the picture plane. The full body paintings of young women based on Nancy Drew...

A person reclines in a red striped lawn chair. The subject's body presses against the back of the hair, revealing a Notre Dame Fighting Irish logo on hi...

A cello is held up between the legs of its accompanying musician in a snowy landscape. Snow has collected on the protruding bits of Cello and on the tops of the musician's knees. Though we can't see the face of the musician, we see their bare arms, folding upwards, as if they have buried their face in their hands. -- Building on her previous show, Main Squeeze, which featured bodies pressing through the grid of lawn chairs, in “That Feeling When,” Aldrich expands the excess of materials to large figure paintings...