Antonio Nicolo Gasparo Jacobsen

Portrait Of The Steam/Sail Ship The Prins Frederik Hendrik.

1896

This oil is a classic example of Jacobsen's work from his best period done way before 1900. In these oils the water is done with great sense of naturalism, due to his constant experi...

Duncan McFarlane. This excellent ship portraitist began his life's work in Liverpool. It is believed that he later sailed to America and was employe...

Provenance: Alexander Gallery, NYC 1985 Manoogian Collection, Detroit, MI Private Collection, Great Neck, NY Exhibitions: Alexander Gallery, NYC "Hudson River Masters" 1986 Rau Ant...

This 3 masted schooner, was one of the fastest vessels in the 1880s. Traveling through New England, Stubbs was a known figure painting in the regular ports along the coast. This oil ...

When you gaze upon "Yacht Wanderer (Slave Ship)" by William Gay Yorke, you're not just looking at a maritime painting; you're peering into a fragment of history with profound and com...

"The Winning Yacht," painted by Edward Moran in 1883, stands as a striking example of maritime art, capturing the exhilaration and beauty of yacht racing in the late 19th century. Mo...

60"x144" large scale painting, oil on canvas, created on two joined canvases. The deep blue palette gives a sense of underwater space in this grand depiction of coral reefs. Artist, Karen Marston presents this endangered species in a grand scale to show its beauty and importance to our environment. Karen Marston is a painter living and working in Brooklyn, NY. Her work has been seen in a number of solo exhibitions in New York City. In addition to her 2018 show Harbingers, at the Owen James Gallery in Soho, other recent solos include: 2017’s To Embrace the Whole Sky with the Mind, at Station Independent Projects on the Lower East Side, Demeter’s Wrath in 2016 at the Owen James Gallery and Storm Watch...

William Turner Gallery is proud to present a small solo exhibition of paintings by artist Lawrence Gipe called “Recent Pictures,” which draws fr...

William Turner Gallery is proud to present a small solo exhibition of paintings by artist Lawrence Gipe called “Recent Pictures,” which draws fr...

William Turner Gallery is proud to present a small solo exhibition of paintings by artist Lawrence Gipe called “Recent Pictures,” which draws fr...

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...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...