Gloria Banning Paintings

In this lovely abstract painting, the sky often represented in Noreen Taylor’s work, is a collage of colours—pink, orange, mauve, blue, and white. Taylor...

A meadow in Tuscany on a summer's evening at my friend's house, near Sestina. The heat of the day has left a balmy warmth and the low sun is casting long deep shadows across the wild...

This is a lyrical work depicting a traditional wildflower meadow in full bloom in high summer. The pastel colours are drawn from soft green grasses and the pretty pinks and yellows o...

Artist/ School: French Expressionist painter, circa 1970 Title: abstract expressionist composition Medium: oil painting on canvas, unframed canvas: 39.25 x 25.5 inches Provenance...

Hinksey Meadow Elaine Kazimierczuk Original Abstract Painting Acrylic Paint Image Size: H 100 cm x W 119cm Canvas Size: H 100cm x W 119cm x D 3cm Framed Size: H 105 cm x W 124 cm x...

Spilling Waves” is an original seascape painting by Helen Howells. It was inspired by the emotional responses and memories of walks, taken along the Welsh coastline. It is not of any...

Marcia Wise's 'Calm Glow' in a 24 x 24 x 1.25 inch abstract oil painting on canvas inspired by the influences of water and wetland vegetation in blues, lavenders, pinks and yellows w...

Ruggero Vanni's Birth of Light is a 60 x 48 inch abstract gestural oil painting. It is an abstract landscape of vigorous brushstrokes and light, with a strong luminous central focus. The main colors are orange, yellow, and rust. There are clear references to the masters of the Hudson River School, also known as Luminism, as well as the Romantic paintings of English artist William Turner. Vanni states, "My works allude to natural phenomena, in a raw state, devoid of the limiting constrictions of literal representation. Nature is there, as a landscape, a view looking up in the air, or plunging down underwater. Imagery kept on the edge of recognition, so the final association is created in the mind. Contrasts of matter, color, light, are created to provoke emotional responses. In the large paintings the atmospheric composition is built by raised brushstrokes shattered and reassembled to reveal an underlying struggle. In the smaller works paper is cast tumultuously as a counterpoint to its inherent frailness. References to the history of painting are multiple and mixed: Venetian impasto and glazing, Luminist light, Abstract Expressionist texture, Baroque perspective. It is important to avoid mannerism, metabolize the suggestions and integrate them with empirical visual stimuli. Dissecting responses to everyday experiences into light, color, matter. There is no intent to escape reality, but to create a visual experience that communicates directly with our psyche; open to be reinterpreted continuously through our own evolution and the changing times." Ruggero Vanni was born in Paris. He studied painting from 1973 to 1978 at the Istituto d’Arte in Rome, Italy, under the guidance of Italian artist Michelangelo Conte...

Patrick Adams HILLTOP AND LAVENDER SKY Oil paint on two canvases 60.00 X 40.00 in $7,500.00 In Two Worlds: the diptych landscapes Art has a very elusive nature. On the one hand, it...

Enter a realm of luminous beauty and urban splendor with Alex Hook Krioutchkov's captivating cityscape masterpiece, "Manhattan Lights, NYC." This original painting offers a dazzling ...

Divide by artist Doug Freed is a deep blue contemporary abstract landscape oil on canvas painting that measures 72 x 96 and is priced at $18,000. Doug Freed attempts to capture the mystical light found in natural atmospheric effects: the haze in the distance on humid summer days, the overcast gloom of winter skies, and the softness of landscape bathed in fog, and the quieting mood of approaching darkness. In his luminescent multi-paneled oil paintings Freed tries to find the gray area between traditional landscape painting and its abstraction into color fields. Artist Statement For nearly twenty years, I made non-objective grid structured paintings. I started to see references to landscape in these works. I've literalized those references by painting oil landscape vistas of horizons, clouds and bodies of water. These paintings consist of two or more vertical panels. Usually one panel is landscape imagery. The adjacent panels are often atmospheric voids with vestiges of recognizable landscapes. I try to capture the mystical light found in natural atmospheric effects: the haze in the distance on humid summer days, the overcast gloom of winter skies, and the softness of landscape bathed in fog, and the quieting mood of approaching darkness. My intent is to create paintings imbued with a meditative, spiritual presence suggesting issues about time and ecology. I do this by softly modulating color, tone and value. The color varies from quiet, monochromatic works to fully orchestrated chromatic ones. By blending from one hue to another I create color which makes its self gradually felt, weeping forth. In this manner, I create illusions of mysterious emanations of light, places where ones eyes and spirit are invited to linger. I try to imbue my work with a monumental presence, epic in both size and scope. I do this by orchestrating the separate elements of color, texture and structure into a harmonious whole. I seek a somewhat reductive image rich in value and contrast. The surface of the work is devoid of textural incidence. I don’t want anything to distract from the illusion of depth so I deny any marks which would hold the viewer on the surface of the painting. In my luminescent multi- paneled oil paintings I try to find the grey area between traditional landscape painting and its abstraction into color fields. The compositions are about ambiguities of form and void, foreground and background and surface and deep space. My roots lie in tonalism, color field painting and minimalism. However, my work contains an ever-present awareness of the dramatic use of light of the post-renaissance chiaroscurists. It combines a classical awareness of structure with a romantic use of color always in combination with a unique sense of ambiguity. My work continues in its evolution of style the search for an abstract means of probing the ambiguities of physical and spiritual experience of light, and its power to foster a more intense life of the spirit through profound emotional experience of form, color and composition. SELECTED PUBLIC COLLECTIONS K.U. Medical Center, Wichita, KS Museum of Art & Archeology University of Missouri, Columbia, Missouri Hoecht Marion Roussel (Commission), Kansas City, Missouri FBL Financial Group, Des Moines, IA Kemper Museum of Contemporary Art, Kansas City, Missouri Wichita Center for the Arts, Wichita, Kansas Daum Museum of Contemporary Art, Sedalia, Missouri The Newark Museum, Newark, New Jersey St. Louis Art Museum, St. Louis, Missouri Springfield Art Museum, Springfield, Missouri Mildred Lane Kemper Art Museum, Steinberg Collection, Washington University, St. Louis, Missouri Arkansas Art Center, Little Rock, Arkansas College of Architecture and Design, Kansas State University, Manhattan, Kansas Fort Hays, Kansas State University, Hays, Kansas Memorial Union Collection, University of Missouri, Columbia, Missouri Norman R. Eppink Art Gallery, Emporia State University,, Emporia, Kansas Hutchinson Community College, Hutchinson, Kansas Johnson County Community College, Overland Park, Kansas Lincoln College, Lincoln, Illinois State Fair Community College, Sedalia, Missouri Hallmark Cards Inc., Kansas City, Missouri Sprint Corporation, Kansas City, Missouri MacGraw Hill Publishing Co., New York City, New York Pioneer Hybrid, Des Moines, Iowa Pella Corporation, Pella, Iowa Fort Smith Public Library (Commission), Fort Smith, Arkansas Deloitte & Touche (Commission), St. Louis, Missouri Publishing Enterprises, Inc. (Commission), Sedalia, Missouri Parks & Recreation Department, Columbia, Missouri United Telephone Systems, Inc., Kansas City, Missouri American Family Doctors, National Headquarters, Kansas City, Missouri DST Corporation, Kansas City, Missouri Crown Center, Hallmark Art Collection, Kansas City, Missouri Hewlett Packard Corporation, St. Louis, Missouri Emerson Electric (Commission), St. Louis, Missouri Mark Twain Bank, Creve Coeur, Missouri Boone County Bank, Columbia, Missouri Landmark Bank, Madill, Oklahoma Septagon Industries (Commission), Sedalia, Missouri KEO Building Corporation (Commission), Sedalia, Missouri D & W Leasing, Sedalia, Missouri 1st National Bank, Rockford, Illinois Mark Twain Bank Shares, Ladue, Missouri Bank of Olathe, Olathe, Kansas Blue Cross/Blue Shield of Missouri, St. Louis, Missouri Cessna Aircraft...

'Atmos' is appropriately titled light atmospheric quality. The oil paint is layered thinly in most places on the canvas. There is also linseed dipped charcoal drawn on and painted o...