Pop Art Portrait Paintings

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

Joaquim Sabaté Casanova - Stained glass window with a nude woman - Oil on canvas Oil on canvas - Hand signed - c.1990 Oil measures 92x65 cm. Frameless. Quimet Sabaté will enter the...

Portrait Kitten - Cat Animal portrait. - Cat - Technique: oil, acrylic, and ink on old book pages on wooden frame 40x40cm ■■ 15,8x15,8 inch 》》R E A D Y -- T O -- H A N G《《 ❶ → O...

Artist Notes : I am enamoured with Superman and everything he stands for. He is the uber-immigrant, something people often forget. He is not human but merely looks human. Kal-El the ...

Kurt 2023 Icon portrait of the grunge artist Kurt Cobain from Nirvana band. Technique: oil, acrylic, and ink on old book pages on wooden frame 55x55cm ■■ 21,6x21,6 inch UPDATE: I'm very happy to inform that the artwork was shared on social network of official Nirvana band. Sustainability: Wooden frame is made by the artist by recycling old books. In an ecological approach, each packaging is tailor-made and is itself from a recycling network. 》》R E A D Y -- T O -- H A N G《《 ❶ → Original signed work. Certificate of authenticity included. ❷ → Protection for shipping (plywood, foam, thick cardboard) ❸ → International Delivery Company – DHL/UPS/FEDEX ➍ → Fast delivery - 3-6days from France to USA ■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■ Discover my work on Channel 4 UK in the TV Show "Huges Home" with Hugh Dennis _ Episode 4 ■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■ Bazévian Delacapucinière...

This sculptural painting by Natasha Lelenco, created on a wooden circle with a thickness of two centimeters and a diameter of 26 centimeters, is one of the most recent works from the...

This sculptural painting by Natasha Lelenco, created on a wooden circle with a thickness of two centimeters and a diameter of 26 centimeters, is one of the most recent works from the...

Portrait Cheval Blanc Animal portrait. Technique: oil, acrylic, and ink on old book pages on wooden frame 40x40cm ■■ 15,8x15,8 inch 》》R E A D Y -- T O -...

"Self Portrait" Acrylic on canvas Painting 46" x 78" inch by Ty Joseph From 7 L's series 2018 * * * The meaning of L series * * * Although influenced by Pop Art, with its bold, ey...

"Self Portrait" Acrylic on canvas Painting 36" x 36" inch by Ty Joseph From 7 L's series 2017 acrylic on canvas 36" x 36" inch * * * The meaning of L series * * * Although influen...

"BASQUIAT" Acrylic on canvas Painting 36'x36' inch by Ty Joseph From 7 L's series 2019 acrylic on canvas 36" x 36" inch * * * The meaning of L series * *...

"Warhol" Acrylic on canvas Painting 36" x 36 inch by Ty Joseph From 7 L's series 2018 acrylic on canvas 36" x 36" inch * * * The meaning of L series * * ...

"Hockney" Acrylic on canvas Painting 36" x 36" inch by Ty Joseph From 7 L's series 2018 acrylic on canvas 36" x 36" * * * The meaning of L series * * * Although influenced by Pop...

Shepard Fairey Jasper Johns Red, 2010 Silkscreen and mixed media collage on wood. Hand signed twice - on both the front and the back 23 3/4 × 17 1/2 inches Frame included Edition HPM...

"Marilyn" is an acrylic on canvas portrait of Marilyn Monroe by 20th Century, Philadelphia pop artist John Stango. The 49" x 40" canvas is unframed and signed "Stango" in the lower l...

Unique hand painted silkscreen on canvas. Hand signed on verso by Steve Kaufman. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity included. All ...

Bob Stanley (b. 1932 - d. 1997 New York, United States), an American painter renowned for his gritty depictions on canvas, which ingeniously incorporated photographs. His artistic jo...

Bob Stanley (b. 1932 - d. 1997 New York, United States), an American painter renowned for his gritty depictions on canvas, which ingeniously incorporated photographs. His artistic jo...

Bob Stanley (b. 1932 - d. 1997 New York, United States), an American painter renowned for his gritty depictions on canvas, which ingeniously incorporated photographs. His artistic jo...

Bob Stanley (b. 1932 - d. 1997 New York, United States), an American painter renowned for his gritty depictions on canvas, which ingeniously incorporated photographs. His artistic jo...

Unique hand painted silkscreen on canvas. Hand signed on verso by Steve Kaufman. Canvas is not stretched. Artwork is in excellent condition. Certificate of authenticity included. ...

This sculptural painting by Natasha Lelenco, created on a wooden circle with a thickness of two centimeters and a diameter of 26 centimeters, is one of the most recent works from the...

Denied Warhol Repent & Sin No More Black and White Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Authentication Board. 20 x 16" i...

Denied Warhol Oxidation (Piss) Painting by Charles Lutz Metal pigments and artist's urine on canvas with Denied Stamp of the Andy Warhol Art Authentication Board. 20 x 16" inches 200...

Denied Warhol Oxidation (Piss) Painting by Charles Lutz Metal pigments and artist's urine on canvas with Denied Stamp of the Andy Warhol Art Authentication Board. 20 x 16" inches 200...

"Peter" is an oil on masonite painting made by Alex Katz in 1995. The artwork size is 15 7/8 x 7 1/8 inches. The framed sized is 18 7/8 x 10 1/4 x 1 1/2 inches. The painting is signe...

This sculptural painting, part of Natasha Lelenco's Currency Exchange series, depicts the figure of an anonymous wooden face inscribed with a Dutch phrase, "Nu ik een beetje mijn ple...

This sculptural painting, part of Natasha Lelenco's Currency Exchange series, consists of a profile portrait on a wooden tondo with intense fluorescent pink colors of a character fra...

This sculptural painting by Natasha Lelenco, crafted on a wooden circle with a thickness of two centimeters and a diameter of 26 centimeters, is one of the recent works from the Curr...

This piece from Natasha Lelenco's Exchange Currencies series, painted in acrylic with yellow and ochre tones against an intense red background, features a hyperrealistic profile port...

This wooden coin, with a diameter of 26cm, is a sculptural painting belonging to Natasha Lelenco's Exchange Currencies series. In this case, crafted with mixed media on pine wood, th...

This piece, belonging to Natasha Lelenco's Exchange Currencies series, features a profile portrait of a woman on a circular wooden surface that emulates a coin. On the coin, the Maor...

J. C. Morey is a Spanish artist from the province of Alicante. He was born into a family of artists and connected to the art world since the 60s, which gave him the opportunity from ...

This sculptural painting by Natasha Lelenco, created on a wooden circle with a thickness of two centimeters and a diameter of 26 centimeters, is one of the recent works from the Curr...

This sculptural painting by Natasha Lelenco, created on a wooden circle with a thickness of two centimeters and a diameter of 26 centimeters, is one of the recent works from the Curr...

Ricardo Goyo was born in Barcelona in 1972. He began his artistic career studying in France at the National School of Fine Arts in Nice. There he had the opportunity to meet, work, a...

This piece belongs to the "Exchange Currency Series" created by Natasha Lelenco in 2024, starting from the concept of the "face" on coins. In this case, the painting is a profile por...

This piece belongs to the "Exchange Currency Series" created by Natasha Lelenco in 2024, starting from the concept of the "face" on coins. Crafted in acrylic on wood with a careful c...

This piece is one of the most news artworks of the "Exchange Currency Series" created by Natasha Lelenco in 2024, starting from the concept of the "face" on coins. It is a unique wor...

This piece belongs to the "Exchange Currency Series" created by Natasha Lelenco in 2024, starting from the concept of the "face" on coins. It is a unique work consisting of a meticul...

This sculptural painting belongs to the "Exchange Currency Series" created by Natasha Lelenco in 2024, starting from the concept of the "face" on coins. It is a unique work consisting of a meticulously crafted black woman portrait...

This piece, crafted on a 26cm wooden panel with blue and maroon tones, represents an invented portrait that refers to the extreme situation that migrants sometimes experience in thei...

This piece is one of the latest additions to the "Exchange Currency Series" created by Natasha Lelenco in 2024, inspired by the concept of the "face" on coins. It is a unique work co...

ANJA VAN HERLE "Bubble Bliss" Acrylic on Wood 40 x 40 inches Born in Belgium in 1969, Anja Van Herle combines a European sense of high fashion in her artwork with an American sense ...

ANJA VAN HERLE "Mrs. Hisses" Acrylic & Swarovski Crystal on Wood 72 x 35 inches Born in Belgium in 1969, Anja Van Herle combines a European sense of high fashion in her artwork with...

This piece is one of the most recent in the "Exchange Currency Series" created by Natasha Lelenco in 2024, inspired by the concept of the "face" on coins. It is a unique work consist...

This piece belongs to the "Exchange Currency Series" created by Natasha Lelenco in 2024, starting from the concept of the "face" on coins. It is a unique work consisting of a portrai...

"Wild and Free" Oil Painting 47" x 39" inch by VIQA Wild and free, she is like a whirlwind of passion, indomitable and daring. Her heart beats to the rhythm of freedom and her soul burns with the fire of passion for life. she does not know the word "impossible" and does not stop in front of obstacles. She rushes forward like a flame, scattering bright sparks in the darkness. Her courage and bravery inspire and mesmerize all those who dare to approach her fiery passion. VIQA (Victoria Badion...

James Wolanin’s paintings transport the viewer to an effervescent, candy coated world inspired by vintage advertisements, photographs, and the artist’s own personal history. The Russ...

James Wolanin’s paintings transport the viewer to an effervescent, candy coated world inspired by vintage advertisements, photographs, and the artist’s own personal history. The Russ...

"My Ex" is a painting by Maestro Pancho Malezanov. About the painting: TECHNIQUE: Acrylic, painting on canvas STYLE: POP ART, Contemporary Edition : Unique, signed Weight: Approximately 2 kg. The painting is unframed. Frame: Optional Snow Pearl gallery offers the possibility to increase the value of this artwork by adding a gorgeous wooden Italian contemporary frame of your choice. We can also offer a very special ancient restored frame. The frame can be hand-carved with composition ornamentation and hand-applied, with water gilded with 22 Kt. genuine gold leaf over rouge burnishing bole and then patinated to the appropriate patina. This will slightly increase the price, the shipping cost and the delivery time. His paintings bring emotion of happiness, love, energy and beauty represented by the vast creative power of his talent.” Dear art lovers, if you like the art of maestro Malezanov, please click the link to follow this artist and art gallery Snow Pearl to discover all our artists and beautiful artworks. Thank you so much! we appreciate your interest to our work. Snow Pearl art gallery provides certificates of authenticity for all artworks of the artist. . Maestro Malezanov has track records of multiples exhibitions. His works are owned in multiples collections around the word. Maestro Pancho Malezanov Was born in Sofia in 1964. Graduated from Secondary Art School in Sofia in 1984. Participated in general exhibitions in major galleries in Sofia in 1988-1989. SOLO EXHIBITIONS 2019 – Arsenal of Arts Gallery, Plovdiv - European Capital of Culture 2017 – Art Moore House, London U.K. 2017 - Bulgarian Cultural Institute, London, United Kingdom 2016 – The Art Fondation, Sofia, Bulgaria 2016 – Pentimento Gallery, Sofia, Bulgaria 2015 – Nataly Gallery, Sofia, Bulgaria 2014 – Artamoncev Gallery Sofia Bulgaria 2011- Anima Art Gallery Hilton Sofia Bulgaria 2011- Bulgarian Cultural Institute, London, United Kingdom 2008- Gallery Ikar Sofia Bulgaria 2007- Bulgarian Cultural Institute-Berlin Germany 2004 - Avant-garde Gallery, Plovdiv 2004 - Apollo and Mercury Gallery, Sofia 2003 - Iridium Gallery, Sofia 2003 - Draca Gallery, Sofia 2001 - Monitor Daily Gallery, Sofia 2000 - Municipality Gallery, Varna 2000 - Art 36 Gallery, Sofia 2000 - Draca Gallery, Sofia 2000 - Romfeya Gallery, Plovdiv 1998 - Art Club Gallery, Sofia 1998 - Gallery of the Bulgarian National Assembly 1997 - Ata-Ray Gallery Sheraton Hotel, Sofia 1997 - Macta Gallery, Sofia 1996 - Ata-Ray Gallery, Sofia 1995 - Macta Gallery, Sofia 1994 - Macta Gallery, Sofia 1993 - Ata-Ray Gallery, Sofia 1992 – Mericas Gallery, Athens, Greece SELECTED GROUP EXHIBITIONS 2018 - Art fair Lausanne 2018 – Nuance Art Gallery, Sofia, Bulgaria 2017, Antwerp Art Fair, Antwerp, Belgium 2016 - Hay Hill Gallery London U.K. 2016 - Autumn arts Salon, Wadenoijen, Netherlands 2015 - Hay Hill Gallery London U.K. 2015 - Slater Memorial Museum Norwich CT 2014 – Hay Hill Gallery London U.K. 2013 – Hay Hill Gallery London U.K. 2013 – Wimbledon Fine Art, London, U.K. 2013 Makta Art Gallery Kempinski Hotel Sofia Bulgaria 2005 – Apolonia Arts Festival, Bulgaria 2003 – Delight Hamilton Gallery, Seattle, WA (US) 2002 – Gettysburg, PA (US) 2001 – Washington, D.C. 2001 – Aleksey von Schlippe Gallery, Univ. of Connecticut, New London, CT (US) Pancho Malezanov’s wild cars have broken into the Art moorhouse gallery- London! I have read that designers strive to give character to cars, often inspired by nature - sometimes their headlights look like the eyes of an owl or an eagle, grills snarling predatorily like shark’s teeth, the body curved like a purring kitten orsleek like a hungry tiger ... not to mention the many horses under the bonnet ... It is this nature of cars, including some of the most expensive and vintage brands, that artist Pancho Malezanov unveils his new series "(Auto) portraits". First of all, because he has experience with painting animals and knows their desires well. Secondly, because he sees their characters embodied in metal, leather and glass. The result is futuristic – a car, yet behind the windows, the character of a powerful untamed beast is revealed. Not always, of course. How can you not trust a brand whose radiator grill is colored like a rainbow, whose multicolored lights wink at you, all stemming from Malezanov’s imagination. He has managed to turn the car into a living creature who prowls around the urban jungle. You will stand up and pay attention after seeing such a car. And you’ll be sorry that you drive a boring black or white machine. No problem – simply listen and take inspiration on how to bring colour to your life and to your car from this exhibition. If you do not want to take a risk with an insanely expensive classic brand, at least you can hang up your own Malezanovartwork on your wall and lift your mood by how he intertwines technique with technology, combining the flamboyant cars with detailed backstories and turns them into colorful toys for a grown boy’s room. Mila Vacheva – "24 Hours" newspaper The prominent art critic Maximilian Kirov writes about the author: ..."As an artist Pancho Malezanov always prefers to interact with nature directly, but it is difficult to call him a landscape artist in the exact meaning of the term. He is not interested in particular details, but prefers to unite the entire scenery through a randomly situated point of view, which does not take into account the horizon line or the static position from which each natural object is seen. This point of view almost always has a peculiar “bird’s plan view”, which allows him to contemplate a panoramic scene. This is a “bird’s eye vision...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

"Stupid Game" is one of the pieces from the "Fetishes" series created by moldovan-spanish artist Natasha Lelenco in 2022. This artwork talks about peace and about the stupid game of ...

Artist: Peter Max, German/American (1937 - ) Title: Profile Year: 1986 Medium: Acrylic on Canvas, signed u.r. Size: 40 in. x 30 in. (101.6 cm x 76.2 cm) Frame Size: 49.5 x 39.5 inches

Unique acrylic painting and silkscreen on canvas. Hand signed and dated by Andy Warhol on verso. Martin Lawrence provenance label on verso. Canvas size 20 x 20 inches. The artwor...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

"Blue Flower" is one of the pieces from the "Fetishes" series created by Natasha Lelenco in 2022. Conceived as a portrait emerging from an intense fluorescent pink, the piece contain...