Large Art

Crimson glass feathers are gathered into a fiery composition in this dramatic wall sculpture by artist John Paul Robinson. The work is enhanced by the pa...

Dimitris Kritsas, a fashionable young couturier, poses among the gleaming white Doric columns of the temple to Poseidon at Sounion, Greece, 1967. Posing with him, four models show off colorful dresses of red, salmon, turquoise, and pastel yellow. This iconic photo depicts a scene of vintage glamour set against a classic Greek blue sky. Slim Aarons Dmitris Kritsas at the Temple to Poseidon, Sounion, Greece Estate Edition of 150 1967, Printed Later 48 x 48 inches $4500 40 x 40 inches $3950 30 x 30 inches $3350 20 x 20 inches $2500 Complimentary dealer shipping to your framer, worldwide. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Site Details: The Temple of Poseidon is an ancient Greek temple on Cape Sounion, Greece, dedicated to the god Poseidon. There is evidence of the establishment of sanctuaries on the cape from as early as the 11th century B.C. Sounion’s most prominent temples, the Temple of Athena and the Temple of Poseidon, are however not believed to have been built until about 700 B.C., and their kouroi (freestanding Greek statues of young men) date from about one hundred years later. The material and size of the offerings at the Temple of Poseidon indicate that it was likely frequented by members of the elite and the aristocratic class Approximately 13 kilometers south of Thorikos in the southern most region of Attica, the deme of Sounion is most well known for its sanctuaries of Poseidon and Athena. Its placement at the foot of Attica allowed it to function as a border deme as it could easily been seen by ships nearing Attica. The temple of Poseidon at Sounion was constructed from 444 to 440 BC. This was during the ascendancy of the Athenian statesman Pericles, who also rebuilt the Parthenon in Athens. The temple of Poseidon was built on the ruins of a temple dating from the Archaic period, about which the Greek geographer Strabo noted: "Geraistos [in Euboia] . . . is conveniently situated for those who are sailing across from Asia to Attica since it is near Sounion. It has a sanctuary (hieron) of Poseidon, the most notable of those in that part of the world, and also a noteworthy settlement. The main temple we see today is mainly made out of marble with an intricate taenia (the fancy borders on the ceiling). The marble is an Agrileza marble. The marble used on the Temple of Poseidon at Sounion came from the marble quarries, a place where marble is removed from the earth, in the Agrileza mines. This type of marble was 'coarsed grained' meaning that it had a rougher texture than smooth, shiny marble. As indicated by literary and archaeological evidence, the "leveled summit" on the coast of Cape Sounion was likely a cult site from as early as the end of the eighth century BC. Two cult centers dedicated to Athena and Poseidon respectively are believed to have been established by 700 BC. Subject: The name of Greek fashion designer...

An Exceptional and Monumental White Marble Figural Sculpture Clock, "A Nubian Slaying The Lion" by Jean-Joseph Jacquet (Belgian, 1822–1898), circa 1860 This extremely impressive whi...

an homage to Caspar David Friedrich, towering thunder clouds over the Mediterranean Sea, captured with a large format camera to allow epic scale photograph...

"Naked" Oil Painting 35" x 27" inch by Anastasiia Danilenko Anastasiia Danilenko is an artist and graphic designer. But the area of her occupat...

mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the iconic pool reflections paintings by artist David Hockney H2O IV by Erik...

This work represents a beautiful view of New York's rooftops under the snow and pink-tinted sky. It is a celebration of love, tenderness and passion between two beings. It could ther...

Paul Delvaux 1897-1994 Belgian Study for “L’Acropole” Signed and dated "P.Delvaux 1965" (lower right) Watercolor, pen and ink on paper This preliminary drawing for Paul Delvaux’s greatest masterpiece L’Acropole, which resides today in the Centre Pompidou in Paris, features the artist’s most beloved subject — mystical scenes of nude women. A centrally-placed, stoic woman draped in a long green gown stands with her arms outstretched by her sides. She gazes at another idealized woman in the foreground, lying nude on a chaise lounge, while behind her, multitudes of other women in white dresses undertake a long procession towards a distant door. The captivating scene exudes the unique Surrealist style for which the artist has become known. With this skillful rendering of the surreal setting, Delvaux has mastered depicting nude women in a sensual yet non-erotic manner. The artist drew inspiration from a variety of sources, including the futuristic writings of Jules Verne and the mythos of Homer, and blended them with his subconscious themes, which frequently included the nude female form. In combination with the loose concepts of form and perspective found in the 16th-century Mannerist paintings that Delvaux studied in Italy before World War II, his distinctive style served to create memorable dreamscapes without veering into lewdness. Like the very best Surrealist images, the work is both innovative and engaging. Paul Delvaux's earliest and most lasting influences in his art were the futuristic writings of Jules Verne and the mythos of Homer. After completing his initial artistic training at the Académie Royale des Beaux-Arts in Brussels, Delvaux exhibited with Surrealists Dalí...

Dancer III, bronze sculpture by French contemporary artist Yann Guillon. Dimensions of the sculpture: 100 x 50 x 20 cm // 39.37 x 19.68 x 7.87 in. Height of the sculpture with shaft...

Sezione Aurea - A13 is a wall sculpture by Italian contemporary artist Mattia Bosco. Palissandro marble and gold leaf, 82.5 cm × 15 cm × 9.5 cm. Unique wo...

Feline VI is a bronze sculpture by French contemporary artist Pierre Yermia which represents a walking feline (a leopard, a jaguar or a cheetah). The dark patina with blue shades emp...

"Flare" Art print Edition of 25 (36 x 36 inch) by Yevgeniy Repiashenko "Flare" by Yevgeniy Repiashenko Year photo was taken: 2013 Art Print Limited Edition of 25 Picture size: Heig...

Artist: Jack Graves III (American, 1988-) Title: "Brigitte Bardot Icon IV" Series: Icon *Signed by Graves lower right. It is also signed, titled, and dated on verso Year: 2022 Mediu...

After Athena was born fully armed from Zeus' forehead, Triton, acting as a foster parent to the goddess, raised her alongside his daughter, Pallas. The sea god taught both girls the ...

This exquisite portrait of a gentleman depicted in a sumptuous black coat edged with silver and slashed sleeves is an excellent example of the type of portrait fashionable in England and the Low Countries during the 17th century. The confident pose, striking orange sash - the colour of the house of Orange Nassau - and the leather gorget imbue the sitter with a sense of masculinity and power. The profusely decorated costume is of the highest quality and de rigueur of an elite class - the artist has carefully cultivated this portrait to emphasise the sitter’s wealth and standing in the society that he belonged to. The casual pose, with one arm resting on a hip, is much less formal than earlier decades, and it speaks of ‘sprezzatura’ – one’s appearance should not appear laborious, but instead, effortless. The oil on cradled panel portrait can be dated to circa 1650 based on the hairstyle and the attire - small falling collar, short doublet (doublets reduced in size to just below the ribcage in the late 1650’s), and the type of slashed sleeves with the sleeve seams left open to reveal the white fabric. The demand for portraits in the Netherlands was great in the 17th century. Bartholemeus van der Helst was considered to be one of the leading portrait painters of the Dutch Golden Age surpassing even Rembrandt as the most sought-after portraitist in Harlaam. The Dutch Golden Age, roughly spanning the 17th century, was a period when Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still life’s of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The new wealthy class were keen to have their portraits commissioned and many artists worked in this lucrative field. Such was the popularity of art that everyone had a painting, even the humble butcher, and hundreds of thousands of paintings were produced. By tradition the sitter is Maarten Tromp (1598-1653) who was an Admiral in the Dutch Navy (the reverse of the portrait contains an old handwritten inscription “van Tromp”). Certainly, the distinctive orange sash is similar to those worn by officers of the Dutch army in the Netherlands who served under the Princes of Orange and the House of Nassau. However, it should be noted that the physiognomy differs from other images of Tromp. Tromp was the oldest son of Harpert Maertensz, a naval officer and captain. He joined the Dutch navy as a lieutenant in July 1622 and was later promoted from captain to Lieutenant-Admiral of Holland and West Frisia in 1637. In 1639, during the Dutch struggle for independence from Spain, Tromp defeated a large Spanish fleet bound for Flanders at the Battle of the Downs, which marked an enormous change - the end of Spanish naval power. He was killed in action during the First Anglo-Dutch War in 1653 where he commanded the Dutch fleet in the battle of Scheveningen. Gloves were an absolutely vital accessory and the elaborate pair in this portrait are embellished with threads of silk and precious metals and salmon-coloured lining. He wears only one glove and holds the other, providing an opportunity to better display the cuffs and detail on his right wrist and forearm. The gloves are probably made from the most prized leather which came from Spain, in particular from Cordova. Cordovan leather was tanned with a special vegetal process that left it both highly impermeable and divinely soft. King Charles I, posed in a rather relaxed manner for Daniel Mytens’s portrait in 1631, is wearing gloves and boots in matching Cordovan leather. The hide is thick, but you can see just how supple it is from the way the gauntlet dimples and the long boot legs fold over themselves, rippling and wrinkling at the ankles. Apart from keeping hands warm the use of gloves during the 15th through the 19th centuries were full of symbolism and they were worn regardless of the season. They kept the skin unblemished - soft, smooth hands were considered highly attractive. This combination of necessity and proximity to bare skin made gloves a deeply personal gift and they took on a strong symbolic significance and were regarded as emblematic of fidelity and loyalty for hundreds of years. Such was the importance of their symbolism was that some gloves were never intended to be worn at all. Their luxury made them ideal gifts at court, and so in the 15th and 16th centuries, ambassadors often presented them as symbols of loyalty. Until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. Gentleman often gifted their bride-to-be with a pair of gloves (the obligatory gift) and were handed over at the betrothal and put on display before the wedding took place. It was probably their direct contact with the skin that led to the eroticism of gloves. Not only were pairs often exchanged between lovers, but from the 16th to the 18th centuries, it was common practice to remove one glove and give it as a gift to a favourite. The idea of the item being presented still warm from the wearer’s hand is certainly suggestive. Following the death of King George IV, his executors purportedly found over a thousand mismatched ladies’ gloves among his possessions. The sentiment of a 17th-century poem reveals the popularity of the practice: “Come to our wedding to requite your loves / Shew us your hands and we’ll fit you with gloves.” Such generosity might be pricey for the hosts, but gloves of varying quality could be offered depending on the status of the recipient. Pairs made with the finest Spanish leather might be reserved for immediate family, while coarse sheep’s leather could be distributed among the servants and tradesmen. The apportioning of quality according to class provided a very clear message of the gloves’ intended use. For refined guests, they were decoration; for the lower classes, they were functional. Bartholomeus van der Helst...

Aerial Views, Boneyard 004 is a limited-edition photograph by German contemporary artist Bernhard Lang. Available dimensions and editions:...

Aerial Views, Boneyard 004 is a limited-edition photograph by German contemporary artist Bernhard Lang. Available dimensions and editions:...

Aerial Views, California Plants 022 is a limited-edition photograph by German contemporary artist Bernhard Lang. Available dimensions and ...

"The Cross" is a painting by Alexander Calder. The painting is signed in the lower right, "Calder". The framed dimensions are 30 x 37.5 x 1.75 in. "The Cross...

Fine Art Print on Etching Hahnemühle paper. Prints available in two dimensions: - 60 x 90 cm, edition of 10. - 70 x 105 cm, edition of 8. Hamlet is a limited edition photograph by ...

Two figures, cast in shadows, stand in the foreground between a nude female figure in the background. Loose brushwork, thick with expressive, bold colors and strong contrast in shadows, add to the mystery of this gathering of characters. This artwork is mounted to a wood cradle and can hang directly on the wall. Please contact the gallery for framing options. Georgia Hinaris...

Rome (Campidoglio), a large format photograph of Michelangelo's famous Roman square, from a series of works capturing Rome's urban surfaces and wallscape color palettes 40 x 27 inch...

Bronze sculpture, green patina, 82 cm x 42 cm x 16 cm. Limited edition of 8 + 4 artist’s proofs.

Cedars - A dense stand of western red cedar guard the path into the darkness beyond the lamplight. A gap in the foliage creates a void, an invitation to enter into an unknown and unc...

This exquisite glass wall sculpture extends almost 60 inches across. It was featured in Robinson's solo exhibition at the Canadian Clay and Glass Gallery. It evokes a remarkable sens...

Artist: Jack Graves III (American, 1988-) Title: "Jacques-Henri Lartigue Icon (Florette Orméa)" Series: Icon *Signed by Graves lower left. It is also signed, titled, and dated on verso Year: 2022 Medium: Original Acrylic Painting on Canvas Canvas size: 40" x 32" Condition: The stretched canvas was custom built by the artist himself. In mint condition Notes: Jacques Henri Lartigue (1894-1986) was a French photographer and painter, known for his photographs of automobile races, planes and female Parisian fashion models. His work was part of the painting event in the art competition at the 1924 Summer Olympics. Florette Orméa was Jacques Henri Lartigue's third and last wife. They were married from 1945 till Lartigue's death in 1986. Orméa was a regular model to Lartigue for his art photography. Biography: Jack Graves III is an American artist, born in 1988 in Jacksonville, Florida. He grew up surrounded by inspiration having an art dealer as a father, John Graves...

The Bus (2017), by contemporary photographer Christophe Jacrot. From his Norilsk series. Inkjet print on Rag Canson paper 315 gr. Prints are available in two dimensions : 60 x 90 c...

Serendipity (2) by Patricia Volk. Fired clay constructed, painted and mounted on wood, 95 cm × 35 cm × 18 cm. Patricia Volk is a member of the Royal Society of Sculptors (FRSS) and a...

This framed original 18th century etching is entitled "Fregio antico di marmo con Ippogrifi, nel cortile del palazzo della Valle" (Ancient Marble Frieze with Hippogriffs in the Courtyard of The Palace of the Valley). The etching is by Giovanni Battista Piranesi, published in Rome in 1778. It is from Piranesi's monumental work "Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi", (Vases, candelabra, grave stones...

Polyester sculpture, 2019. 100 cm × 80 cm × 30 cm. Available colors: white, black, red and blue. Limited edition of 8 + 4 artist’s proofs.

The tunnel, Vercors is a limited edition photograph by French artist Christophe Jacrot, form the series Vercors. The series features snowy landscapes in the French region of Vercors....

"Euphoria" Art print Edition of 25 (36 x 24 inch) by Yevgeniy Repiashenko "Euphoria" by Yevgeniy Repiashenko Year photo was taken: 2013 Art Print Limited Edition of 25 Picture size: Height: 36" inch Width: 24" inch * * * NOT framed - ships in a tube * * * This is an archival pigment print on photo paper with 1" float border (not included in listed image dimensions). Prints are signed and numbered by the artist on verso and come with a certificate of authenticity. ABOUT THE ARTIST Yevgeniy Repiashenko is a well-versed photographer working in such genres as dynamic dance and sculpture, portrait, and fashion...

Rene Jerome Legrand (British, Born 1953) The Rockpool (Corfu) - Oil on Canvas, 30 by 40 inches, Signed and Framed 38 by 48 inches. Rene Legrand st...

Color lithograph, Edition 30. Jacquette also creates compelling images of the landscape and the sea from the air or atop hills or mountains. In this colorful print she depicts a view of the Maine...

Artist: Richard Merkin (American, 1938-2009) Title: "Oedipus and Luxor" *Signed by Merkin in pencil lower right Circa: 1980 Medium: Original Screenprint on white Arches 88 paper Limi...

Using bold imagery and a bright color palette, Steve Banks takes pieces of popular culture to create this work entitled "Promised Land (of Sky Blue Waters)". He creates a scene with animated comic book characters and imaginative uses of commercial products, in this case by using the Hamm's Logo as the center piece. The three-dimensional quality of the piece adds to the overall aesthetic. Please contact the gallery for framing options. Steve Banks Promised Land (of Sky Blue Waters) mixed media 40h x 30w in 101.60h x 76.20w cm STB014 STEVE BANKS b. Cedar Rapids, IA, 1972 EDUCATION 1997 MFA – Florida State University 1995 BFA – Northwest Missouri State University SOLO EXHIBITIONS 2018 Pop Culture Palimpsest. Figge Art Museum, Davenport, IA 2014 A More Refined Mayhem. Cortona Gallery, Ashford University, Clinton, IA Ill-Suited For The Pleasantries. Black Hawk College Artspace, Moline, IL 2013 Dutiful Citizen. Maquoketa Art Experience, Maquoketa, IA 2009 Carry-on Baggage. University of Western Illinois, Macomb, IL 2008 Funky Aftertaste. Moressey Gallery. St. Ambrose University, Davenport, IA 2005 Surfacing. Next II Gallery, New Orleans, LA Process, Perception and Clandestine Skivvies. Bucktown Ctr for the Arts, Davenport, IA 2004 Last Gasp. Midcoast Art Under Glass at The Parker Building, Davenport, IA 2003 B.M.O.C. and Nitzles. Peanut Gallery, Rock Island, IL 2002 Walls and the Mask. Peanut Gallery, Rock Island, IL 1997 The Faces of Masks: Color Photographic Studies. Tallahassee Airport Gallery, Tallahassee, FL 1996 Masks. Oglesby Gallery, Tallahassee, FL GROUP EXHIBITIONS 2018 Liberation, Gallery Victor Armendariz, Chicago, IL Dr. Portmanteau's Galorium Emporium. Black Hawk College ArtSpace Gallery, Moline, IL Faculty Art Show. Catich Gallery, Saint Ambrose...

The Village, limited edition photograph by French artist Christophe Jacrot, form the series Blizzard 2. C-Fine Art Print on Etching Hahnemühle paper. Available in two dimensions: -...

Smoke-fired stoneware sculpture, black metallic paint, oak wood table. One-Off. Dimensions: 99 cm × 75 cm × 65 cm. This artwork belongs to the series entitled Les Ombres d’Alice (Ali...

Caravaggio painted "The Incredulity of St. Thomas" with Christ looking down as he pilots Thomas’ hand to his side. Not looking at Thomas or the others, but to his wound. He seems interested in the proof of his embodiment. He wants to know that this is real. He too, questions his body, his life and death. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This artwork is unframed. Contact the gallery for framing options. Reenactment is a material culture where the feel of authentic wool has transformative power. The closer you can recreate the “kit” of the authentic soldier the closer you are to that past. In the pursuit of touching the past there are questions- Is this real? Did this happen? Is this me? Is this us? The gesture of piloting a finger into the side represents these repetitive questions. - William Blake Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War...

Stahlwerk 006, limited-edition photograph by German contemporary artist Bernhard Lang. Since 2010 Bernhard Lang dedicates himself to aerial photography, traveling around the world a...

large format photograph of a sea of green sun umbrellas and yellow-green striped sun chairs, a Mediterranean pre-summer season study of Italian beach clubs in the iconic coastal resort town of Forte dei Marmi, Italy FORTE DEI MARMI by Frank Schott 26.5 x 40 inches / 67cm x 102cm signed edition of 25 48 x 72 inches / 122cm x 183cm signed edition of 7 archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Michael Wolf, Gregory Crewdson, Ed Rusha...

Trees and Church (Bavaria) is a limited edition photograph by French artist Christophe Jacrot, form the series Blizzard 2. Fine Art Print on Etching Hahnemühle paper. Prints availa...

Lobster in Armour (Homard en armure) is a one-off bronze sculpture by French contemporary sculptor Chésade. The artist has a particular penchant for the sea world...

This intimate portrait was composed by the Bulgarian-born French Expressionist painter Jules Pascin. Known as the "Prince of Montparnasse," Pascin made a name for himself throughout ...

2006, edition of 20 resin fiberglass painted & varnished 39 2/5 × 23 3/5 × 15 7/10 in - 100 × 60 × 40 cm The artwork is signed by the Artist , carved with edition number and date und...

The blond figure, along with the floating peonies, combine to explore the dynamic between the eternal and the temporal, as well as our own relationship with nature. The gold leaf adds a three-dimensional softness as well as a glow upon which the female figure floats. Her skin is seductively painted; her teal dress falls off her shoulder; white peonies float by; the scene is set for a dreamy visual feast. The painting is framed in a gilt frame. Michael Van Zeyl Peonies in White Light oil and 12K gold leaf on linen wrapped panel 24h x 36w in 60.96h x 91.44w cm EDUCATION 1987-1990 American Academy of Art, Chicago, IL 1999-2000 American Academy of Art, Chicago, IL - Life Drawing & Oil Painting Palette & Chisel Academy, Chicago, IL - Painting & Life Drawing Art Students League, New York, NY - Painting EXHIBITIONS 2017 “Anne Harris...

"Hills" Photography Edition of 18 (24x36 inch) by Yevgeniy Repiashenko Hills Photography Edition of 18 (24 x 36 inch) by Yevgeniy Repiashenko Y...

large scale photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from the body of works titled 'Flow' Flow II by C...

ARTIST STATEMENT I'm currently working with figures and portraits and combine human forms with botanicals to explore our relationship with natural elements. Capturing the movement of the figure or an expression of a living soul presents endless possibilities and inspiration enabling me to blend with different themes. I've studied classical methods of oil painting with a focus on the 17th century Dutch Masters. The subjects I am drawn to are individuals with character, athletic figures and blooming floral arrangements with elegance and ethereal beauty. The reference for my work comes from my direct observation of natural day light in my north light studio illuminating and blanketing the form of my subjects. I am fascinated and challenged by the process of transforming a flat, blank canvas into the illusion of dimensional form, atmosphere and mood. That process is usually well thought out but sometimes painted direct and use intuition to complete my idea. Both of these methods present challenges but each way fills the void of the other and opens up the possibility of new visual ideas to meet my objective. BIOGRAPHY For Michael Van Zeyl, portraiture is much more than a one-sided translation of the artist’s point of view taking form in a subject. It’s an engaging visual dialogue that renders a soul in light, shadow and pigment, continuing the conversation for future generations to appreciate. While subtle observation and technical skill are only part of Michael’s gift, his experience has honed his craft to the highest standard. His talents were apparent by age seven and he spent subsequent decades mastering a wide range of painting techniques. In particular, 17th century Dutch and 19th century impressionist styles have resonated with him and surfaced in his own works. His formal training began at the American Academy of Art in Chicago, continuing on at Chicago’s Historic Palette & Chisel Academy and the Art Students League in New York, where he studied with the most accomplished artists who also paint directly from life under natural light. Michael is currently a faculty and board member at the Palette & Chisel and has been the club’s most popular instructor for several years. Michael’s work is already appreciated in many public and private collections, such as the United States District Court, University of Chicago, DePaul University School of Law, Chicago Theological Seminary and American Hotel Register. He has received awards from the Portrait Society of America, The Artists Guild, the Oil Painters of America and the 2014 recipient of the Dorothy Driehaus Mellin Fellowship for Midwestern Artists. EDUCATION 1987-1990 American Academy of Art, Chicago, IL 1999-2000 American Academy of Art, Chicago, IL - Life Drawing & Oil Painting Palette & Chisel Academy, Chicago, IL - Painting & Life Drawing Art Students League, New York, NY - Painting EXHIBITIONS 2017 “Anne Harris...

"Inside" Photography Edition of 18 (36 x 36 inch) by Yevgeniy Repiashenko Inside Photography Edition of 18 (36 x 36 inch) by Yevgeniy Repiashenko Year photo was taken: 2016 This p...

2011 - 8 Editions mix media resin and diamondsstrass 39 1/3 × 35 4/10 × 35 4/10 in - 100 × 90 × 90 cm The artwork is signed by the Artist , carved with edition number and date under ...

Artist: Dagmar Mezricky (Czech, 1944-) Title: "Tenderness Gives Rise to Harmony" *Signed, numbered, and dated by Mezricky in pencil lower left Year: 1988 Medium: Original Lithograph...

This simple graphic painting of a lawn chair beside a lake under a moonlit sky pays homage to the Canadian summer. Painter, printmaker, sculptor, designer, historian, and author Ch...

2008, Edition of 20 resin fiberglass painted & varnished 39 2/5 × 23 3/5 × 15 7/10 in - 100 × 60 × 40 cm The artwork is signed by the Artist , carved with edition number and date und...

Invader Rubik Camouflage, 2023 Diasec-mounted Giclée on aluminium composite panel, weighing 13.5kg 39 2/5 × 39 2/5 in | 100 × 100 cm Edition of 812

A rare chance to collect a large painting by Shizico Yi at the lowest price possible. We offer this rare Artist Proof ( Only 3 proofs in this large size ever made, this is No2 of the...

This is an original vintage oil painting on canvas by Lucile White. The central subject of the artwork is a castle or church, with a grand dome and an elaborate bell tower that pun...