Art by Medium: Oil Crayon

Oil and oil crayon on paper.

Acrylic, ink, oil stick, and crayon on paper

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium combined with dry pigments, oil paint, and embedded fragments of burlap. The surfaces eventually build up into a dense, rugged terrain." --Thaddeus Radell

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium combined with dry pigments, oil paint, and embedded fragments of burlap. The surfaces eventually build up into a dense, rugged terrain." --Thaddeus Radell

medium: oil stick on Arches paper Anastasia Pelias was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native a...

Street Art, graffiti, bright colors, Gestural Abstraction

Abstract artwork containing multitude of cooler colors.

Abstract artwork dominated by lime green and various shades of blue.

Scott likes to think of his work as what it might look like if an overly observant 5 year old kid from New Jersey left hieroglyphics for alien life forms to discover. A mixture of ...

Bijin-ga Series XXVI (Nº 26) Title: Hanaôgi of the Ôgiya House Hanaôgi, one of the most famous courtesans of the Edo period working in the Ôgiya House, an exclusive brothel in the Yoshiwara appears beautifully dressed holding a writing brush on her right hand and a decorated piece of paper in the shape of a “cartuche”, maybe to write a message of love for a client. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

Quaker is a piece that fuses expressionism with the raw energy of street art, creating a canvas full of meaning and contradictions. Made with mixed media, the painting features a rei...

Bijin-ga Series I (Nº1) Title: Karagoto of The Chojiya Head and bust portrait of the beautiful courtesan Karagoto, of the Chojiya House, who appears looking to her left while drying her right ear with the sleeve of her yukata (a fine summer garment, normally made of cotton that was normally used after bathing). The wide sleeve falls from her ear covering her right breast and leaving the left one uncovered. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

“Hitomoto of The Daimonjiya in Kyô-Machi Itchôme” Hitomoto holds a bouquet of flowers looking to her left, with a surprised face, and with her mouth aj...

ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native and ancestral roots in New Orleans, LA...

Bijin-ga series II (nº 02) Title: “Hairdresser” The interest in this picture is focused on the hairstyles of both women, a hairdresser leaning forward with a bow of intense black color, arranging his client's especially long hair. The ways of gripping both the hair and the comb, making it slide through the ocher-scented kimono of the customer, decorated with sea stars, stand out. Highlighting with great detail the drawing of loose hair on the obi of white lines on a red background, and the kosode of plum color. This image is part of the Bijin-ga Series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print "Hairdresser" (1798-1799), 39,8 x 26,8 cm. Museum of Fine Arts. Boston-USA. Utamaro drawn a series of twelve prints whose themes were related to the manual works of women, and this "Hairdresser" is one of them. Mario BGil reproduces the seal of the censor (Kiwame) and writes his own signature, Mario BGil, in Japanese, with the date 14 (2014). The mesaurements of the drawing are 76 x 56 cm. (29,92 x 22,05 in.), with a painted surface of 67 x 49,5 cm. With his work on the bijing-ga series, Mario BGil wanted to embellish, give brilliance and volume to the images presented by japanese artist Kitigawa Utamaro in those beautiful engravings, ennobled with the patina of time, which have served as inspiration. The result obtained is almost life-size portraits, endowed with strong chromaticism and valuable contrasts, all enhanced, in turn, with the volume provided by the weight and rigidity of the paper, and its thick texture (Fabriano Artistico “grana grosso”, 640g/m2; the thickness and hardness of the paper makes it necessary to transport it without rolling). In this way, Mario BGil pays tribute to his admired artist and offers us a new and enriched vision of this popular facet of oriental art from the 18th and 19th centuries. ABOUT THE ARTIST Mario BGil is a self-taught artist who for years has combined his creative activity with his work in the business world, away from commercial art galleries. Man of very diverse interests and great artistic sensitivity, studied Art History and in 2012, a deep interest in oriental art was awakened in him so that he began to study the great masters of Japanese Ukiyo-e prints, who had such an influence on the European avant-garde of the late 19th century. The discovery of Kitagawa Utamaro (1753-1806), a key figure in the metropolitan culture of Edo (now Tokyo), and a point of reference in the history of Japanese engraving...

ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native and ancestral roots in New Orleans, LA...

In this work titled "Classic Profile" Ceravolo has used one of his favorite New York models and has combine oil and acrylic with oil stick to create this timeless subtle and classic ...

acrylic, sumi ink on canvas black white red yellow Thomas Slate uses large gestural drawings to create energetic abstractions. The layered process of his pieces creates a rich textu...

acrylic, sumi ink on canvas, framed in maple Thomas Slate uses large gestural drawings to create energetic abstractions. The layered process of his pieces creates a rich textured su...

acrylic, sumi ink on canvas, framed in maple Thomas Slate uses large gestural drawings to create energetic abstractions. The layered process of his piece...

acrylic, sumi ink on canvas, framed in maple Thomas Slate uses large gestural drawings to create energetic abstractions. The layered process of his piece...

acrylic, sumi ink on canvas, framed in maple black, red, yellow, white Thomas Slate uses large gestural drawings to create energetic abstractions. The la...

With private collectors like, Elton John, Rod Stewart, Alice Cooper and Hugh M. Hefner, Ceravolo's Large scale paintings have received international acclaim for more than four decade...

ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native and ancestral roots in New Orleans, LA...

This fantastic 1920's oil crayon drawing is by Dutch artist Adriaan Lubbers. It shows a birds eye view of New York. The view is of the river and boats towards Manhattan. A really ic...

Bijin-ga series XXVIII (Nº 28) Title: Tatsumi Roko Portrait of Tatsumi Roko, a geisha of the pleasure quarters in the Edo period. The image belongs to the series Renowed Beauties Likened to the Six Inmortal Poets. The popular top-class geishas of the day , known as “oiran”, were depicted in this type of print. In ukiyo-e woodblock prints, this close-up portrait view of the upper body is known as an okubi-e (bust portrait). This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

Chorus Line Oil pastel on paper, c. 1960's Signed (see photo) Provenance: Estate of the Artist Estate of the artist (Estate No. 745) Condition: Excellent Image/Sheet size: 5 3/4 x 4 inches Sam Spanier (1925-2008) Born in Brooklyn New York, Sam Spanier studied painting with Hans Hofmann (1949–50) and also at the Taos Valley Art School (1951). His formative years as a working artist were spent in Paris (1951–52), where he also became involved with the work of G. I. Gurdjieff, through his disciple, Mme. Jeanne de Salzmann. By 1953, Spanier’s work had already begun to meet with critical acclaim. That year, he had his first solo gallery show, and was selected by Milton Avery and Hans Hofmann to receive the prestigious Lorian Fund Award. His second solo exhibition, in 1955, was curated by renowned museum director, Gordon Washburn. Spanier’s early work was reviewed by Dore Ashton, Donald Judd, Fairfield Porter, Stuart Preston, and Irving Sandler, among other significant critics of the period. Spanier’s spiritual path increasingly became the central focus of both his life and his art. In 1960, he was introduced to the teachings of Sri Aurobindo, which led to visits to the Sri Aurobindo Ashram in Pondicherry, India, in 1962 and 1964, during which he was inspired to leave New York City and found Matagiri (in 1968)—a spiritual center in Woodstock, New York—with his lifelong partner, Eric Hughes. The work he embarked upon there bifurcates his life as an artist, separating him from New York’s art world, and radically altering the trajectory of his career. From that point forward, it would be difficult, perhaps impossible, to consider his artistic endeavor apart from the life of dedication he had undertaken, and to which he remained committed. As early as 1954, Dore Ashton had recognized in Sam Spanier a “haptic visionary;” in 1960, Irving Sandler wrote that the people in Spanier’s paintings “seem to have witnessed some transfiguring event.” In his later paintings—usually worked in oil pastel on panel or paper—made during intermittent creative periods, from the mid-1970s to the final years of his life, the artist’s inner life remains always apparent in his subject matter; and from the portraits and abstract Buddha-like figures and heads, to the fantasy landscapes, the paintings are redolent with a rich intensity of color and light that can only be described as inspired. Sam Spanier’s works are in the collections of the Historical Society of Woodstock Museum, and the Woodstock Artists Association & Museum. He received the Woodstock Artists Association Lifetime Achievement Award in 2007. Selected Solo Exhibitions: Urban Gallery, New York (1954, 1955, 1956); Wittenborn Gallery, New York (1958); Gallery Mayer, New York (1958, 1959, 1960); Unison Gallery, New Paltz (1986, 1995, 2009); Limner Gallery, New York (1988); Fletcher Gallery, Woodstock, New York (1999). Selected Group Exhibitions: Salon des Comparaisons, Musée d’Art Moderne, Paris, France (1952); October Exhibition of Oil Paintings, New York City Center Gallery, New York (1954); Salon de Mai, Musée d’Art moderne de la ville de Paris, Centre Culturel de Saint-Germain-en-Laye, Paris, France (1954); Carnegie International, Carnegie Institute, Pittsburgh, Pennsylvania (1955); Les Plus Mauvais Tableaux, Galerie Prismes, Paris (1955); Première Exposition Internationale de l’Art Plastique Contemporain, Musée des Beaux-Arts de la Ville de Paris (1956); Recent Paintings USA: The Figure, The Museum of Modern Art (1960); Winter’s Work, Woodstock Artists Association, Woodstock, New York (1985); Juried Group Show, Woodstock Artists Association, Woodstock, New York (1986); Woodstock Artists, Self-Portraits, Historical Society of Woodstock Museum, Woodstock, New York (1988); Portraits, Albert Shahinian Fine Art, Poughkeepsie, New York (2003); The World We Live In, Upstate Art, Phoenicia, New York (2003); Show of Heads, Limner Gallery, Phoenicia, New York (2004). Selected Writings on the Artist: Dore Ashton, “Sam Spanier,” Art Digest (May 1, 1954) and “Sam Spanier,” The New York Times (March 16, 1960); Cassia Berman, “Sam Spanier: A Divine Calling,” Woodstock Times (February 7, 2008); Lawrence Campbell, “Sam Spanier: Exhibition of Paintings at Urban Gallery,” Art News (April 1, 1954); Sam Feinstein...

Bijing-ga Series XXII (Nº 22) Title: THE FLICKLE TYPE Upper half of the body of a woman in yukata (summer kymono) with part of her chest bare. Depicted just after a bath, she is turning her head and drying her hands with the towel hang on her shoulder. Her just-washed hair is tied around an ornate hairpin, the hair style called bai-mage (spiral-shell chignon). The unkempt hair of the nape and the movement of the hands one on the other are clear examples of Utamaro's mastery, who had an exceptionally observant eye for women. The Fickle ( or Fancy-free) Type is flirting with more than one member of the opposite sex This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

Artist Commentary: For ten years I lived in Minnesota and had a studio in Northeast Minneapolis, which I loved. When I moved to the city, I began to paint compositions of abstracted crowds of people as imagined from above. Can you envision this painting as a large crowd of people? You can hang this either horizontally or vertically. A little impressionistic in expression, this painting also reminds me of a garden of happy flowers. Keywords: color, abstract, movement, motion, circles, yellow, bubbles, gray, orange, colorful, texture, busy Details about the piece: - This is a hand painted, original painting - Created in Minneapolis, Minnesota, USA - Artist now lives and works in Baltimore, Maryland, USA - Professional grade oil paints and ArtResin on wood panel - Other materials include professional grade watercolor and oil pastel - Wood Panel with Birchwood face and 1.5" Poplar wood cradle - Ready to hang with wires and D ring - Signed on the back - Certificate of authenticity and care sheet included with original Artist Biography: Farida Hughes’ lively and intriguing abstract paintings take their inspiration from the gathering and dispersing of crowds, group relationships, and shared histories and stories of people. She developed her abstract mixed media style, and methods of mixing oil paint with resin, after many years of painting with oil paint and experimenting with oil painting mediums. Hughes studied Studio Art and English at Fordham University in New York and received an MFA in Painting from the University of Chicago. Her work is exhibited widely in galleries and art centers and collected nationally. She is currently represented by Walker Fine Art...

Bijin-ga series XXI (Nº 21) Title: The courtese Hinakoto of the Hyôgorô House of Edo The courtesan Hinakoto is depicted by smoking tobacco. She takes the pipe delicately in her left hand and, in her right hand, she seems to be holding a “uchiwa” (rigid hand fan) that comes out from the bottom of the drawing, decorated with written calligraphy. Some strands of hair that fall on her temple and her scant clothing show that the painter has surprised her in a relaxed moment in which she does not lose her elegance and slenderness. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native and ancestral roots in New Orleans, LA...

acrylic, paintstik on canvas painting can be hung vertically or horizontally Thomas uses large gestural drawings to create energetic abstractions. The layered process of his pieces ...

Based in the Bay Area following studies at Stanford University, Pinkusevich works as a painter and multidisciplinary artist. Born and raised in the USSR, her understanding of rules, ...

Bijin-ga series XXV (Nº 25) Title: SOMENOSUKE OF THE MATSUBAYA Somenosuke of house Matsubaya, known as a youthful courtesan who quickly rose through the ranks of popularity is shown producing a concealed letter, glancing about to confirm she is indeed alone. The highlights of the drawing are the fine carving of the courtesan´s hair-line and the fine dress; an elegant kimono with vivid colors and intricate dessing. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

BIJIN-GA SERIES XVIII (Nº 18) Title: Obvious Love (Arawaruru Koi) This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print Obvious Love (Arawaruru Koi) (1793-94); 38,8 x 26,2 cm.. Art Institute Chicago, USA. A sensual woman seems to care little that her kimono is open, exposing a breast. Her hair is in disarray , the hairpin at the front about to fall and she holds one of the hairpins in her left hand. She appears to be looking down outside the frame of the picture, perhaps in mid-conversation. The term “arawaruru” refers to a love so wholehearted that it expresses itself in the lover´s face and mannerisms. In the 1780's and 90's the publisher Tsutaya Juzaburo and the designer Kitagawa Utamaro worked together on the production of many woodblock prints, most of them of the bijin-ga type. One of their most popular productions was a set of images that purported to depict psychological classifications of women - 'fickle', 'interesting', etc.. Perhaps in response to this success, they then came up with something similar - a set of prints...

Bijing-Ga series XXVII (Nº 27) Title: Tomomoto Toyohina Tomimoto Toyohina was a much sought-after geisha (entertainer) who performed narrative ballads accompanied by the shamisen. She was one of several non-prostitute beauties, including teahouse waitresses, whom Utamaro depicted repeatedly in the early to mid 1790s. She appears here with a brush in hand, dressed and combed with simple elegance. This composition is from a six-print series comprising half-length portraits of famous beauties (Famous beauties of Edo). Utamaro elevated Tomimoto Toyohina to the status of one of the three most renowned beauties of her age (together with Okita and Ohisa). She was from a prominent family of musicians that provided entertainment in the Yoshiwara. Toyohina’s appeal undoubtedly was as much due to her appearance as to her skills in singing, and Utamaro’s celebration of her would have further elevated the status of an already well-known lineage. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

[New Orleans, LA ::: b.1959 New Orleans, LA] ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her...

Anastasia Pelias was born in New Orleans, LA to a Greek immigrant mother and a first generation Greek-American father. She received her BFA from the Newcomb College of Tulane University in 1981, and her MFA from the University of New Orleans in 1996. Pelias has exhibited her work in solo and group exhibitions at galleries and museums nationwide, and has been featured in publications including Hyperallergic, New American Paintings, Artnet news, ArtDaily, Forbes, Pelican Bomb and New Orleans Art Review. Her work appears in the permanent collections at the New Orleans Museum of Art; the Ogden Museum of Southern Art, New Orleans; the Mobile Museum of Art, Alabama; Newcomb Art...

[New Orleans, LA ::: b.1959 New Orleans, LA] BIO ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both...

This original acrylic, enamel, oil stick and metallic spray paint on silkscreen board by Ceravolo titled "Woman 1" is from the Women series of paintings he is currently creating. Th...

Diego Tirigall's "Mona Lisa, Gioconda 2" introduces an exciting dimension to his reinterpretations of classical art, featuring his first-ever round canvas at 80x80 cm. This unique fo...

ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native and ancestral roots in New Orleans, LA...

"Paris Walk" was created by american artist Karen Blair in 2024. Indulge in the whimsical allure of Parisian charm with this happy soft abstract painting...

'Words Vs Action II' 2025 by Roohi Saleem. Oil and oil sticks on canvas, 66 x 44 in. This pastel painting is constructed as a dense compostition of abstract forms, featuring various ...

We are pleased to offer another impressive abstract expression painting by French artist Christophe. There is an excitement in the ar...

"A Little Bit of Magic" is an expressionist portrait of Mickey Mouse, the beloved Disney character. When you gaze upon the painting, you can't help but be amazed by the immense numbe...

[New Orleans, LA ::: b.1959 New Orleans, LA] ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her...

"DopiGram" is a striking artwork by Diego Tirigall that delivers a sharp critique of modern digital culture. Reimagining the iconic Campbell’s soup can as "DopiGram", the piece trans...

ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native and ancestral roots in New Orleans, LA...

ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native and ancestral roots in New Orleans, LA...

medium: oil stick on Arches paper Anastasia Pelias was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native a...

medium: oil stick and acrylic on aluminum Anastasia Pelias was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her na...

medium: oil stick and acrylic on aluminum Anastasia Pelias was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her na...

medium: oil stick and acrylic on aluminum Anastasia Pelias was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her na...

medium: oil stick on Arches paper Anastasia Pelias was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native a...

This original oil painting is noted for its bright and vivid analogous color palette and soft, yet distinctive geometric shapes that appear to dance within the frame. The artist, Wyn...

This original oil painting is noted for its bright and vivid color palette and soft, yet distinctive geometric shapes that appear to dance within the frame. The artist, Wynn Gay, wri...

This original oil painting is noted for its bright and vivid analogous color palette and soft, yet distinctive geometric shapes that appear to dance within the frame. The artist, Wyn...

This original oil painting is noted for its bright and vivid analogous color palette and soft, yet distinctive geometric shapes that appear to dance within the frame. The artist, Wyn...

2025 Oil and oil bar on Mosi (Korean ramie) 10 x 8 in. (25.4 x 20.3 cm) Unique Signed and dated, verso