Paintings

What could be more beautiful than the human soul, which retains its kindness and love in all circumstances of life. In this piece, I've poured my passion into every stroke, blending...

[Constant Gardener] and [Memory Landscape Series] are projects Shizico Yi began in 2015. She explores the forms, layers, and materials to express the relationship between space, time...

Monumental, important WPA painting by Percy Albee. The painting is oil canvass measuring 36" x 48". Titled verso "New Americana", this WPA painting was exhibited at the Carnegie Inst...

This charming mid-19th-century oil painting by French artist Théophile Emmanuel Duverger (1821-1886) depicts a young woman preparing a chil...

Adam in Maine, oil on canvas 42" x 39" Look for Subsidized Shipping on Checkout This is a painting of David Shevlino's son Adam when he was about 6 or 7. When he was young we m...

Artist: Vahe Yeremyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2024 Style: Impressionism, Title: Summer valley, Size: 43" x 55.5" ...

Artist: Vahe Yeremyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2024 Style: Contemporary Art, Title: Adrift, Size: 44.5" x 64" x 1'...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative take...

Artist: Vahe Yeremyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2024 Style: Impressionism, Title: Morning Fog, Size: 43.5" x 57" x ...

Artist: Vahe Yeremyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2024 Style: Contemporary Art, Title: Portrait, Size: 44" x 57" x 1'...

Abstract expressionist library with books in greige tones. Worked in oil and knife, the subject ends up disappearing in favor of abstraction, the colors are soft but vibrate a lot....

Damien Hirst Spin Painting, 2009 (Damien Hirst Skull): A mesmerizing Damien Hirst Spin painting with explosions of vivid color amidst the timeless,...

A painting by Tom Wesselmann. "Bedroom Breast" is an oil on cut-out aluminum painting executed in a lush palette primarily of blues, turquoise, peach, pi...

This large abstract painting by Teodora Guererra features a blue and white palette. Paint appears to drip over a textured under layer of the painting. It is created with oil paint on...

Sunflowers, Countryside, River, Yellow, Sky, Clouds, Ukraine Georgij MOROZ (Dneprodzerzinsk, Ukraine, 1937 - St. Petersburg, 2015) MUSEUMS Moscow, Tret’jakov Gallery Moscow, USSR Ar...

Seascape Moonlight with Crashing Waves Vintage British Oil Painting Art measures 20 x 16 inches Frame measures 24 x 20 inches This painting depicts a serene and dramatic coastal sc...

Summer in La Baule 9- Idleness Therapy Scene: Women enjoying sunbathing in La Baule Technique: oil, acrylic, and ink on old book pages on wooden frame 80x80 cm ■■ 31.5x31.5 inch ...

Artsit: Olga Volha Piashko Painting oil on canvas Original: One-of-a-kind Artwork hand signed no frame is required cause of the particular shape of the canvas Olga Volha Piashko ...

Original acrylic painting of bamboo entirely in shades of indigo blue. A 30 x 40 inch canvas framed in a white 2 inch deep solid wood floater frame. Exterior dimensions are 32h x 42 ...

Ronnie Landfield (1947- American) "Untitled" 1982 Acrylic on Paper Dimensions: Sheet 30" X 42" Frame 32 X 44 Hand signed and dated lower right Provenance: Denman Associates, Seattle gallery Ronnie Landfield (American, 1947-) is an abstract painter. During his early career from the mid-1960s through the 1970s his paintings were associated with Lyrical Abstraction (related to Postminimalism, Color Field painting, and Abstract expressionism), and he was represented by the David Whitney Gallery and the André Emmerich Gallery. Landfield is best known for his abstract landscape paintings, and has held more than seventy solo exhibitions and more than two hundred group exhibitions. Born and raised in Pelham Parkway in the Bronx, Landfield first exhibited his paintings in Manhattan in 1962. He continued his study of painting by visiting major museum and gallery exhibitions in New York during the early sixties and by taking painting and drawing classes at the Art Students League of New York and in Woodstock, New York. He graduated from the High School of Art and Design in June 1963. He briefly attending the Kansas City Art Institute before returning to New York in November 1963. At sixteen Landfield rented his first loft at 6 Bleecker Street near The Bowery (sublet with a friend from the figurative painter Leland Bell), during a period when his abstract expressionist oil paintings took on hard-edged and large painterly shapes. In February 1964, Landfield traveled to Los Angeles; and in March he began living in Berkeley where he began painting Hard-edge abstractions primarily painted with acrylic. He briefly attended the University of California, Berkeley and the San Francisco Art Institute before returning to New York in July 1965. From 1964 to 1966 he experimented with minimal art, sculpture, hard-edge geometric painting, found objects, and finally began a series of 15 - 9' x 6' mystical "border paintings". After a serious setback in February 1966 when his loft at 496 Broadway burned down, he returned to painting in April 1966 by sharing a loft with his friend Dan Christensen at 4 Great Jones Street. The Border Painting series was completed in July 1966, and soon after architect Philip Johnson acquired Tan Painting for the permanent collection of The Sheldon Memorial Art Gallery in Lincoln, Nebraska. In late 1966 through 1968 he began exhibiting his paintings and works on paper in leading galleries and museums. Landfield moved into his loft at 94 Bowery in July 1967; there, he continued to experiment with rollers, staining, hard-edge borders, and painted unstretched canvases on the floor for the first time. Briefly in 1967-1968 he worked part-time for Dick Higgins and the Something Else Press. Landfield was part of a large circle of young artists who had come to Manhattan during the 1960s. Peter Young, Dan Christensen, Peter Reginato, Eva Hesse, Carlos Villa, William Pettet, David R. Prentice, Kenneth Showell, David Novros, Joan Jonas, Michael Steiner, Frosty Myers, Tex Wray, Larry Zox, Larry Poons, Robert Povlich, Neil Williams, Carl Gliko, Billy Hoffman, Lee Lozano, Pat Lipsky, John Griefen, Brice Marden, James Monte, John Chamberlain, Donald Judd, Frank Stella, Carl Andre, Dan Graham, Robert Smithson, Robert Rauschenberg, Andy Warhol, Kenneth Noland, Clement Greenberg, Bob Neuwirth, Joseph Kosuth, Mark di Suvero, Brigid Berlin, Lawrence Weiner, Rosemarie Castoro, Marjorie Strider, Dorothea Rockburne, Leo Valledor, Peter Forakis...

The delicate summery pastel shades of this work capture a traditional wildflower meadow in June. The colours are drawn from soft green grasses and the pretty pinks and yellows of the...

James Robinson (1944-2015) Austin, Dallas, Houston Artist Image Size: 24 x 36 Frame Size: 32 x 44 Medium: Acrylic on Canvas "Last Light" Biography James Robinson (1944-2015) Biograph...

Le Havre, lively quay. Oil on canvas 19th century. Bears a M. Koekkoek signature at the bottom left. Relining. Old restorations. Light cracking. Small paint losses in the sky. Good g...

Alexander John Drysdale (1870-1934) New Orleans Louisiana / New York Artist Size: 20 x 30 Frame: 26 x 36 Medium: Oil Wash? Watercolor? Dated: 1917 "Misty Bayou" Housed in the original magnificent frame. Alexander John Drysdale (1870-1934) New Orleans Louisiana / New York Artist Alexander John (A.J.) Drysdale was an early 20th century Louisiana artist who specialized in landscapes using the technique of oil wash, that gave his works a characteristic of a hazy look. Drysdale made use of this technique by diluting the oil paint with kerosene and applying it with cotton balls. Alexander John Drysdale, born in Marietta, Georgia on March 2, 1870, came to New Orleans at the age of fifteen with his parents. His father, Reverend Alexander J. Drysdale, became the rector of Christ Church Cathedral. Alex received private tutoring from a Professor Mehado and art lessons from Ida Hackell at the Southern Art Union. Later in New Orleans (1887) he studied art under Paul Poincy (1833-1909). The exact date of Drysdale's arrival in New York is unknown, but he enrolled in the Art Students League where he received instruction from Charles C. Curran and Frank Vincent DuMond. Apparently, he remained in New York for about five years and did not go to Europe for further study. After some time, Drysdale began specializing in landscapes, executed in a tonalist manner. Back in New Orleans, Drysdale was inspired by local subjects, especially swamp or bayou areas and other desolate wetlands. Over a period of many years Drysdale's landscapes evolved to a unique stylistic maturity. In 1909 he received a gold medal from the New Orleans Art Association. It is easy to see the influence of two artists that he admired: Corot and Inness. Working equally well in oil and watercolor (he also did scenes in charcoal), Drysdale usually divided his scene into halves or thirds, typically, a foreground consisting of tall swamp grasses achieved with broad vertical strokes; a middle ground consisting of a backdrop row of trees at the horizon line executed with staccato, jabbing strokes resulting in textural contrast; and a background devoted totally to a tonalist-like moisture-laden sky often hazy with no clouds or only a slight indication of them. This formulaic compositional format rendered with an economy of technique resulted in imagery with repetitious forms and shapes diffused in a nebulous space. In this regard, Drysdale's works are impressionistic; he also tended to use the violets and blues of the impressionist palette. Yet he lacked a specific interest in color and light. Although his expression of the Louisiana scenery is very personal, even mystical, the artist appears to have been very limited in subject matter. One of his last works was a mural for the Shushan (New York) Airport administration building, and shortly before his death he was employed as an artist by the Civil Works Administration. Drysdale was a member of the Arts and Crafts Club of New Orleans, and his work was in the permanent collection of the Delgado Museum for many years. The artist worked at his studio at 320 Exchange Place in the picturesque Vieux Carré until his death at the age of sixty-three. Stewart (in Painting in the South, 1983), describes how Drysdale was a shrewd businessman. He would solicit new homeowners who might need a canvas to decorate a wall, or a cotton broker who recently made the headlines. Drysdale died in New Orleans, on February 9, 1934. Sources: Louisiana Artists from the Collection of Dr. and Mrs. James W. Nelson. Baton Rouge, LA: Louisiana State University, 1968; Wiesendanger, Martin and Margaret Wiesendanger, Nineteenth Century Louisiana Painters and Paintings from the Collection of W. E. Groves. New Orleans: W. E. Groves Gallery, 1971, pp. 44-45; Painting in the South: 1584-1980, Exh. cat. Richmond, VA: Virginia Museum, 1983, pp. 106-107, 114, 276; Chambers, Bruce W., Art and Artists of the South: The Robert P. Coggins Collection of American Paintings. Exh. cat. Rochester, NY: Memorial Art Gallery of the University of Rochester, 1984, p. 88; Zellman, Michael David, 300 Years of American Art. Seacacus, NJ: Wellfleet Press, 1987, p. 634; Gerdts, William H., Art across America: Two Centuries of Regional Painting, 1710-1920. New York: Abbeville Press, 1990, vol. 2, pp. 110-111. Submitted by Richard H. Love and Michael Preston Worley, Ph.D. Biography from The Johnson Collection ALEXANDER JOHN DRYSDALE (1870–1934) Born in Marietta, Georgia, Alexander John Drysdale was the only son of an ordained Episcopal priest whose ministry required frequent moves to parishes in Georgia, Alabama, and Tennessee. In 1883, he accepted the call to become dean of Christ Church Cathedral, New Orleans, and was later elected a bishop. Alexander, thirteen years old when the family settled in New Orleans, began his art studies under the instruction of Ida C. Haskell, a California-born artist who was on the faculty of the recently established Southern Art Union. The local academy had been founded by several leading artists, including Andres Molinary, William Henry Buck...

artist: Anastasia Kurakina watercolor tempera on paper one of a kind hand signed BIO In search of the human essence As an artist, Anastasia Kurakina (lives and works in London) nu...

Natalia Pankova (1965) - Sunflowers - Oil on canvas Oil measurements 50x50 cm. Frameless. Natalia Yuryevna Pankova (Russian: Наталия Юрьевна Панкова, Gorky, June 28, 1965) is a Ru...

Diptych of abstract paintings by Rajan Seth comprising of Mocha and Dark Knight. These are two original paitings, the width of the two paintings side by side is 200cm and the height...

Abba - cube, 120x120сm, Oil, Canvas, sand

Magic horse racing, 100x200cm, Oil, Canvas, Sand

Judith Holding Holofernes' Head is an old master artwork realized by an unknown Artist of 17th century. Oil on canvas. The painting depicts Judith Holding the head of Holofernes.

Military Camp Scene and Battle. Pietro Graziani (XVII/XVIII century), entourage. A pair ( two) of small paintings. Antique XIX century frames in gilt wood.  In good condition. Oi...

The Madonna, Christ Child and St. John Italian Old Master, circa 1700's period oil painting on canvas, unframed Canvas: 28.5 x 24 inches conditon: overall very good for its age, a fe...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...

Dave Seeley's "Venus" (2023) is a captivating oil on canvas on panel original that showcases the artist's exceptional skill in depicting the female form amidst a surreal, underwater ...

Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 30 x 40 Frame Size: 39 x 49 Medium: Oil on Canvas Dated 1957 "Bluebonnet Creek" Texas Hill Country Biography Porfirio Salinas (1910-1973) Porfirio Salinas was a self-taught artist who painted landscapes of Central Texas with an emphasis on the vast bluebonnet fields that grow there in the springtime. Born in 1910 in Bastrop, Texas, he attended public schools in San Antonio. He also observed works in progress by the director of the San Antonio Art School, Jose Arpa, as well as landscape painter, Robert Wood. Wood is said to have paid Salinas five dollars a picture to paint bluebonnets because "he hated to paint bluebonnets". Salinas served in the military from 1943 to 1945. Although he was assigned to Fort Sam Houston, he was allowed to live at home. At the fort, Colonel Telesphor Gottchalk assigned him to paint murals for the officer's lounge and various other projects, and Salinas continued to be able to paint during his entire conscripted period. Even before he achieved notoriety among galleries, dealers, and museums, Salinas was widely followed and appreciated by many Texans, including former President Lyndon B. Johnson, who may be considered responsible for launching Salinas popularity beyond the boundaries of Texas. In 1973, Texas capital, Austin, honored Salinas for having "done much to bring the culture of Mexico and Texas closer together with his paintings". Salinas died in April 1973 in San Antonio, Texas. From the years of the Great Depression through President Lyndon Johnson's Great Society of the 1960s, Texan Porfirio Salinas (1910-1973) remained one of the Lone Star State's most popular artists. Today, his works remain popular with Texas collectors and those who love landscapes of the beautiful "Hill Country" that lies in the center of the state. One of the first Mexican American painters to become widely recognized for his art, Salinas was a favorite of President Lyndon Johnson and his wife, Lady Bird Johnson, as well as of Sam Rayburn, the longest-serving Speaker of the House of Representatives, and Texas Governor John Connelly. In fact, President Johnson was so enamored with his Salinas paintings that the artist will forever be associated with America's first Texas-born President. Works by Porfirio Salinas are in a number of museum collections, grace the halls of the Texas State Capitol and the Governor's Mansion in Austin, and are included in virtually every major private collection of Early Texas Art. Porfirio Salinas was born on November 6, 1910, near the small town of Bastrop, Texas, about thirty miles from Austin. His father, Porfirio G. Salinas (1881-1967), and his mother, Clara G. Chavez, struggled to make a hardscrabble living as tenant farmers, but eventually were forced to give up farming. The family moved to San Antonio, where Salinas' father was able to get a job working as a laborer for the railroad, but the scenic area around Bastrop, with its pine trees and the wide expanse of the Rio Grande River, would forever remain a touchstone for the artist. For the rest of his life, Salinas and his brothers went back frequently to visit their grandmother in her little farmhouse. When in Bastrop, Porfirio painted on the banks of the Rio Grande or in the groves of pine trees. The Salinas family was close-knit and Porfirio was the middle child of five children, so he had an older brother and sister as well as a younger brother and sister. His mother was a native of Mexico, so throughout his childhood the family made the long drive to Mexico to visit Clara Salinas' family. As a child growing up in the bi-lingual section of San Antonio, Salinas drew and painted incessantly and by the time he was ten, he was already producing work that was mature enough to sell to his schoolteachers. Many years later in an article in the New York Times he was described as a "boy whose textbooks were seldom opened and whose sketchbook was never closed." Instead of studying, the young artist spent his spare time watching artists paint in and around San Antonio. As an aspiring painter, Salinas was fortunate to grow up in the historic city, which had the most active art scene in Texas. It was his exposure to older, professional painters that encouraged the precocious young painter to leave school early in order to help his family and pursue a career as a professional artist, despite his father's inability to see art as a career with any future for his son. When Salinas was about fifteen he came to know the artist Robert W. Wood (1889-1979). He met Wood while he was employed in an art supply store and he soon began to work as an assistant to the English-born painter, who had moved from Portland to San Antonio in 1924. Although the diminutive Englishman was already an established professional artist, he did not have a great deal of formal art training and so he was then studying with the academically trained Spanish painter Jose Arpa (1858-1952) in order to augment his knowledge and give his work a more polished look. Salinas was an eager young man, and while working in Wood's downtown San Antonio studio he learned to stretch canvases, frame paintings and to sketch in larger compositions from small plein-air studies for the English artist. He began to accompany Wood and Arpa to the hills outside San Antonio, where they painted small Plein-air studies of fields of blue lupin - the state flower, the famous "Bluebonnets" of Texas - in the springtime and scenes of the gnarled Red Oaks as they changed color in the fall. He was soon assisting Wood in the tedious work of painting the tiny blue flowers that collectors wanted to see in the landscapes they purchased of central Texas. According to a 1972 newspaper story, "Legend has it that one day in the 1920s artist Robert Wood decided he could not bear to paint another bluebonnet in one of his landscapes. He hired young Porfirio Salinas to paint them in for him at five dollars a painting." Whether this story is accurate or apocryphal isn't clear, but the ambitious and independent young Salinas wasn't destined to be anyone's assistant for very long. The formative event of Porfirio Salinas' teenage years was the Texas Wildflower Competitive Exhibitions, a Roaring-Twenties dream of the eccentric oilman Edgar B. Davis (1873-1951). These competitive shows of paintings of wildflowers and Texas life were mounted in San Antonio from 1927 to 1929. Held at the newly opened Witte Museum each spring, the exhibition featured large cash prizes donated by the philanthropic Davis, which were an inducement for artists to travel from all over the United States to paint in the Hill Country of Texas. The "Davis Competitions," as they were known, helped to cement San Antonio's reputation as an art center, a legacy that remains with the "River City" today. The shows generated a great deal of excitement in the area, helping to make celebrities of the some of the artists who had already settled there and encouraging others to make San Antonio their home. Over the three years that the wildflower competitions were held, more than 300 paintings were exhibited, and many thousands of viewers saw the paintings at the Witte Museum and on tours throughout the state and in New York. Each year Davis would generously purchase the winning paintings and then donate them to the San Antonio Art League. Young Porfirio Salinas would have been able to not only watch his two mentors - Robert W. Wood and Jose Arpa - paint the works that they entered in the Davis Competitions, he would have been able to see Arpa take several of the major prizes, receiving the judge's accolades for "Verbena," "Cactus Flower" and "Picking Cotton," works that are still on view at the San Antonio Art League Museum today. Unfortunately, Davis eventually put his donations to work in other charitable endeavors, bringing to an end the wildflower events, but only after they inspired Salinas and other young painters and had helped to make wildflower paintings the most sought-after subject for traditionalist Texas collectors. In 1930, when he was only twenty, Salinas hung out a shingle and began to paint professionally, augmenting the sales of his easel paintings with what little business he could garner by painting signs for local concerns. It was a struggle for the young artist to make a living, as the effects of the Great Depression were settling in. His early works are very similar to those of Robert Wood's, both in subject matter and treatment. Salinas did small paintings of Bluebonnets for the tourists who visited San Antonio to see the famous Alamo as well as paintings of the Texas missions...

The portrait of a man with a Spanish-style beard and mustache is a work that captures the essence of the North Italian pictorial school of the 17th century. This portrait, probably ...

Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 25 x 30 Frame Size: 34 x 39 Medium: Oil on Canvas Circa 1950 "Lazy Day Blues" Texas Bluebonnet Biography Porfirio Salinas (1910-1973) Porfirio Salinas was a self-taught artist who painted landscapes of Central Texas with an emphasis on the vast bluebonnet fields that grow there in the springtime. Born in 1910 in Bastrop, Texas, he attended public schools in San Antonio. He also observed works in progress by the director of the San Antonio Art School, Jose Arpa, as well as landscape painter, Robert Wood. Wood is said to have paid Salinas five dollars a picture to paint bluebonnets because "he hated to paint bluebonnets". Salinas served in the military from 1943 to 1945. Although he was assigned to Fort Sam Houston, he was allowed to live at home. At the fort, Colonel Telesphor Gottchalk assigned him to paint murals for the officer's lounge and various other projects, and Salinas continued to be able to paint during his entire conscripted period. Even before he achieved notoriety among galleries, dealers, and museums, Salinas was widely followed and appreciated by many Texans, including former President Lyndon B. Johnson, who may be considered responsible for launching Salinas popularity beyond the boundaries of Texas. In 1973, Texas capital, Austin, honored Salinas for having "done much to bring the culture of Mexico and Texas closer together with his paintings". Salinas died in April 1973 in San Antonio, Texas. From the years of the Great Depression through President Lyndon Johnson's Great Society of the 1960s, Texan Porfirio Salinas (1910-1973) remained one of the Lone Star State's most popular artists. Today, his works remain popular with Texas collectors and those who love landscapes of the beautiful "Hill Country" that lies in the center of the state. One of the first Mexican American painters to become widely recognized for his art, Salinas was a favorite of President Lyndon Johnson and his wife, Lady Bird Johnson, as well as of Sam Rayburn, the longest-serving Speaker of the House of Representatives, and Texas Governor John Connelly. In fact, President Johnson was so enamored with his Salinas paintings that the artist will forever be associated with America's first Texas-born President. Works by Porfirio Salinas is in a number of museum collections, grace the halls of the Texas State Capitol and the Governor's Mansion in Austin, and are included in virtually every major private collection of Early Texas Art. Porfirio Salinas was born on November 6, 1910, near the small town of Bastrop, Texas, about thirty miles from Austin. His father, Porfirio G. Salinas (1881-1967), and his mother, Clara G. Chavez, struggled to make a hardscrabble living as tenant farmers, but eventually were forced to give up farming. The family moved to San Antonio, where Salinas' father was able to get a job working as a laborer for the railroad, but the scenic area around Bastrop, with its pine trees and the wide expanse of the Rio Grande River, would forever remain a touchstone for the artist. For the rest of his life, Salinas and his brothers went back frequently to visit their grandmother in her little farmhouse. When in Bastrop, Porfirio painted on the banks of the Rio Grande or in the groves of pine trees. The Salinas family was close-knit, and Porfirio was the middle child of five children, so he had an older brother and sister as well as a younger brother and sister. His mother was a native of Mexico, so throughout his childhood the family made the long drive to Mexico to visit Clara Salinas' family. As a child growing up in the bi-lingual section of San Antonio, Salinas drew and painted incessantly and by the time he was ten, he was already producing work that was mature enough to sell to his schoolteachers. Many years later in an article in the New York Times he was described as a "boy whose textbooks were seldom opened and whose sketchbook was never closed." Instead of studying, the young artist spent his spare time watching artists paint in and around San Antonio. As an aspiring painter, Salinas was fortunate to grow up in the historic city, which had the most active art scene in Texas. It was his exposure to older, professional painters that encouraged the precocious young painter to leave school early in order to help his family and pursue a career as a professional artist, despite his father's inability to see art as a career with any future for his son. When Salinas was about fifteen he came to know the artist Robert W. Wood (1889-1979). He met Wood while he was employed in an art supply store and he soon began to work as an assistant to the English-born painter, who had moved from Portland to San Antonio in 1924. Although the diminutive Englishman was already an established professional artist, he did not have a great deal of formal art training and so he was then studying with the academically trained Spanish painter Jose Arpa (1858-1952) in order to augment his knowledge and give his work a more polished look. Salinas was an eager young man, and while working in Wood's downtown San Antonio studio he learned to stretch canvases, frame paintings and to sketch in larger compositions from small plein-air studies for the English artist. He began to accompany Wood and Arpa to the hills outside San Antonio, where they painted small Plein-air studies of fields of blue lupin - the state flower, the famous "Bluebonnets" of Texas - in the springtime and scenes of the gnarled Red Oaks as they changed color in the fall. He was soon assisting Wood in the tedious work of painting the tiny blue flowers that collectors wanted to see in the landscapes they purchased of central Texas. According to a 1972 newspaper story, "Legend has it that one day in the 1920s artist Robert Wood decided he could not bear to paint another bluebonnet in one of his landscapes. He hired young Porfirio Salinas to paint them in for him at five dollars a painting." Whether this story is accurate or apocryphal isn't clear, but the ambitious and independent young Salinas wasn't destined to be anyone's assistant for very long. The formative event of Porfirio Salinas' teenage years was the Texas Wildflower Competitive Exhibitions, a Roaring-Twenties dream of the eccentric oilman Edgar B. Davis (1873-1951). These competitive shows of paintings of wildflowers and Texas life were mounted in San Antonio from 1927 to 1929. Held at the newly opened Witte Museum each spring, the exhibition featured large cash prizes donated by the philanthropic Davis, which were an inducement for artists to travel from all over the United States to paint in the Hill Country of Texas. The "Davis Competitions," as they were known, helped to cement San Antonio's reputation as an art center, a legacy that remains with the "River City" today. The shows generated a great deal of excitement in the area, helping to make celebrities of the some of the artists who had already settled there and encouraging others to make San Antonio their home. Over the three years that the wildflower competitions were held, more than 300 paintings were exhibited, and many thousands of viewers saw the paintings at the Witte Museum and on tours throughout the state and in New York. Each year Davis would generously purchase the winning paintings and then donate them to the San Antonio Art League. Young Porfirio Salinas would have been able to not only watch his two mentors - Robert W. Wood and Jose Arpa - paint the works that they entered in the Davis Competitions, he would have been able to see Arpa take several of the major prizes, receiving the judge's accolades for "Verbena," "Cactus Flower" and "Picking Cotton," works that are still on view at the San Antonio Art League Museum today. Unfortunately, Davis eventually put his donations to work in other charitable endeavors, bringing to an end the wildflower events, but only after they inspired Salinas and other young painters and had helped to make wildflower paintings the most sought-after subject for traditionalist Texas collectors. In 1930, when he was only twenty, Salinas hung out a shingle and began to paint professionally, augmenting the sales of his easel paintings with what little business he could garner by painting signs for local concerns. It was a struggle for the young artist to make a living, as the effects of the Great Depression were settling in. His early works are very similar to those of Robert Wood's, both in subject matter and treatment. Salinas did small paintings of Bluebonnets for the tourists who visited San Antonio to see the famous Alamo as well as paintings of the Texas missions...

Andrada Trapnell's "Shadows" is a captivating original artwork created in 2023. This piece measures 30 x 40 inches and features a masterful blend of oil on board. The painting depict...

Henry Woolway, It Was Always Part Of The Picture, 2021 Acrylic on Canvas 122 x 92 cm (48 x 36.22 in) Artwork is set in a stained red wood frame with a 5mm shadow gap Hand-signed ...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...

Andrada Trapnell's "Reaching for the Sun" is a captivating original artwork created in 2023. This piece measures 30 x 40 inches and features a masterful blend of oil on board. The pa...

Paul Emile PISSARRO (1884-1972) Calvados : River in the forest Original oil on panel Handsigned on bottom On panel 46 x 55 cm (c. 18 x 22 in) In a golden wood frame size 60 x 67 cm ...

"The Inevitable Desire of Growth" (2023) by street artist and muralist Vero Rivera Delicate, mandala-like abstract geometric pattern in black and metallic gold. Nonobjective hard ed...

Lively scene in the kitchen. Northern School. Oil on parquet panel, 18th century or earlier. Old restoration of the panel. Painting in good general condition. 19th century frame in w...

Henry Woolway, Moved In Motion, 2021 Acrylic on Canvas 122 x 92 cm (48 x 36.2 in) Artwork is set in a stained red wood frame with a 5mm shadow gap Hand-signed by the artist Abst...

Anastasia Kurakina's works on paper are the Vatican Museums collection since 2017 artist: Anastasia kurakina original print on paper hand signed BIO In search of the human esse...

Hiroshi Sato's "Corner Street No. 2" (2024) is an original oil on canvas artwork, measuring 36 x 28 inches. "Corner Street #2" is sold unframed but is ready to hang. This unique art...

A fine, large 18th century veduta capriccio scene with temple ruins after Gennaro Greco from the circle of Pietro Cappelli. The painting is presented in a more modern carved gilt woo...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...

Henry Woolway, Celebrate Tomorrow, 2023 Acrylic on Canvas 61 x 92 cm (24 x 36.22 in) Artwork is set in a stained red wood frame with a 5mm shadow gap Hand-signed by the artist A...

Jon Wassom's "Igniting the Inner Flame" is an original, handmade mixed media painting that depicts an a male nude in a contemplative pose. This piece is unframed yet ready to hang. ...

Meeting of riders. Oil on canvas 17th century. Attribution on the back to J. Parrocel (1646-1704) Relining and some small old repaints. Ligh...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...

Hiroshi Sato's "Closed" (2024) is an original oil on canvas artwork, measuring 28 x 54 inches. "Closed" is sold unframed but is ready to hang. This unique artwork is perfect for co...

Dave Seeley's "Gaia" (2023) is a mesmerizing oil on canvas on panel original that captures the essence of the earth goddess in a stunning display of skill and imagination. Measuring ...

Dave Seeley's "Pedestal" (2023) is a striking original oil on canvas painting. The nude female figure sits atop a rock formation, her contemplative pose and the warm, ethereal light ...

The Classical Landscape, most likely a Grand Tour painting Figures in an Extensive River Landscape early 19th Century Italian School Oil on canvas, 36" x 48" (91.5 x 122cm) plus elab...