Art by Medium: Panel

Mary Didoardo Deep Dive, 2022 oil on wood panel 8 x 8 in. (dido093) This small abstract oil painting on wood by Mary Didoardo features he...

Oil on panel WEIR FARM Series: “[This] series runs the full range from natural to post-impressionism, yet always having the themes of the American pictorial sense of place with an a...

Crowell's abstract paintings are in the challenging media of oil paint and cold wax. "Techniques I originated in my practice 20 years ago are now widely recognized and taught. My pro...

Lesley Anne Spowart (American, born 1957) "Beautiful Blue" 2020 Acrylic Paint, Mixed Media, Wood Panel, Wood The artist signed the bottom left and back of the painting. "Beautiful B...

This abstract painting by Roger Mudre is made with acrylic paint over metal leaf on panel. It features a cool blue and metallic silver palette and is part of Mudre's Venezia series, ...

Born in Beacon, New York, returning exhibitor Laura Moriarty received training through an apprenticeship in hand papermaking (1986-1990), and is otherwise self-taught. Since 1992, he...

This beautiful contemporary high textured abstract painting is great for a classic and contemporary setting. The variation of colors and rich texture would greatly bring a space to l...

​"My passion for the vestiges of aged surfaces that inspires my painting has been influenced by my travels in Finland, France, Germany, Greece, Italy, Mexico, Russia, and Sweden." --...

This is a one of a kind original abstract oil painting on panel by Southern California artist, Daniel Ketelhut. Its dimensions are 18" x 24" x 1". It is unframed. A certificate of au...

Aleksandr Rodin (1922-2001) Painter Born in a family of farmers. Wife Rasma Lace - art scholar. Studied at the Stalingrad School of Art, Saratov Art School, graduated from the Depar...

GEOMETRIC COLLAGE WITH 4 CIRCLES Size: 29.5 x 24.5 cm (including frame) Mixed media on wooden panel A very unique original artwork by British artist Dave Boyd, constructed from disc...

Petals on the Water by Jeff Slemons shows the beauty of nature with Koi and Waterlilies .There is the use of the palette knife which builds up a texture o...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

​"My passion for the vestiges of aged surfaces that inspires my painting has been influenced by my travels in Finland, France, Germany, Greece, Italy, Mexico, Russia, and Sweden." --...

Erin Vincent is a Toronto based-artist whose work draws on a variety of repetitive and labor intensive processes and materials. Things and common objects have always fascinated Vinc...

Abstract, landscape, animals, flowers, bees. Oil on panel.

Beauty & Wonder, by John Wood, 40 x 40 inches, mixed media on paper mounted on panel. Bare wood edges. John Wood’s beautiful abstract imagery is the culmination of a lifetime of wor...

This painting is a small framed early work by Heather Hartman. The majority of the canvas is overcast with ivory and grey cloud cover. In the lover left-hand quadrant of the painting...

Crowell's abstract paintings are in the challenging media of oil paint and cold wax. "Techniques I originated in my practice 20 years ago are now widely recognized and taught. My pro...

Contemporary pastel toned abstract painting by Houston based artist Kristen Anton. The work features grey, pink, brown, and orange blocks of color accented with layers of brushwork. ...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

Like his mentor the great American Impressionist William Merritt Chase, Charles Webster Hawthorne was equally admired in his own day as both a talented painter and a highly influential instructor. Hawthorne first studied with Chase at his Shinnecock Summer School of Art, which was specifically dedicated to open-air landscape painting. Not only did Hawthorne quickly absorb all the principles of Chase’s instruction, but he also became determined to found his own school based on the same model. In 1899 Hawthorne discovered the small fishing village of Provincetown on the furthermost tip of Cape Cod, and after purchasing a large house on Miller Hill, he opened the Cape Cod School of Art, which proved to be an immediate success. While Hawthorne’s own approach as a teacher owed much to Chase, he developed a distinctly unique painting style and teaching method that defies easy categorization. He was greatly impressed with the work of Franz Hals, which he was exposed to during his trip to Holland in the summer of 1898. Hawthorne was particularly struck by Hals’ Regentesses of the Old Men’s Almhouse, and from this work he absorbed a deep appreciation for the power of human expression and an economy of technique. Hawthorne applied these lessons to his own realistic portraits of Provincetown fishermen and their families; these works have a somber, almost melancholy quality to them, and they reveal a sense of the vulnerability of the human condition. Stylistically, Hawthorne maintained a life-long commitment to the importance of color. “Beauty in art,” he said, “is the delicious notes of color one against the other.” Of equal importance to him was capturing the effects of light. He told his students: “Everything in painting is a matter of silhouettes. Hold light against shadow, not light against light.” He developed a particular technique of layering glazes and texturing the surface of his paintings, which heightens the relationship between the colors and creates a light effect that seems to emanate from within the painting. These stylistic techniques in combination with his straightforward compositions of one or more figures shown at close range create the hallmarks of Hawthorne’s best paintings. Hawthorne and his wife Ethel’s 1905-1907 trip to Italy did not result in a drastic impact on his artistic style. Nonetheless, it proved to be a transformative and enlightening voyage. The extensive trip was financed by collectors who paid in advance for a painting to be produced abroad. On the trip, Hawthorne explored the work of old masters and was struck particularly by the paintings of Titian, which to Hawthorne, demonstrated the master’s true adoration for the act of painting itself through his handling of paint and color. Where Titian’s paintings...

"Road to Damascus" Mid 20th Century American Abstract 1960s Color Field James Daugherty (1887 – 1974) "The Road to Damascus" 16 x 20 inches Oil on panel Initialed and dated 63 lowe...

Please contact me with zip code for best shipping rates and timely delivery. This is a large, vertical acrylic painting of an imaginary, dream-like landscape with naturalistic flower...

Dimitri incorporates and captures free form expression using urban iconography, text, collage and traditions methods.

This beautiful contemporary high textured abstract painting is great for a classic and contemporary setting. The variation of colors and rich texture would greatly bring a space to l...

According to the artist, "everything in life inspires me, not quite with direct interpretation, but as I see and experience faces, words, gestures, colors and shapes – all of it – I ...

Sky Water shows the beauty of nature with Koi and Waterlilies .There is the use of the palette knife which builds up a texture of the oil paints used in this landscape painting. Petals on the Water display the interaction between the koi and the waterlilies in the oil painting. One can almost hear the movement of the water in Petals on the Water. Sky Water is framed and there is no charge for the frame. Jeff Slemons...

LOOK FOR FREE SHIPPING AT CHECKOUT. ARTIST EXPLANATION OF THE PAINTINGS: In Bloom measures 36" x 36" x 1.5" and is oil on birch panel . Ready to hang with wire on the back. Artist d...

Bryan Ryley: Rigorous Inquiry at the Intersection of Material and Structure Bryan Ryley, a significant figure in contemporary Canadian abstraction, operates from his studio in Verno...

James Minden 51906 Holographic style painting- incised plastic and acrylic on wood panel 18 x 18 inches 2019 To get a sense of the holographic effect look at the video on that vime...

This is a one of a kind original abstract oil painting on panel by Southern California artist, Daniel Ketelhut. Its dimensions are 48" x 36" x 2". It is unframed. A certificate of au...

Untitled 5 (JF 22) (Abstract Painting) Gesso wash, pencil, and oil on wood panel — Unframed. Feinberg works with a variety of techniques and mediums, including painting, paper colla...

Represented by George Billis Gallery, NYC & LA --“Adhering collage elements to panels on which he can also paint, Cutlip gives just the right heft to his compositions, a balancing ...

Murmur (Abstract Painting) Beeswax, resin and pigment on canvas mounted on panels. Unframed. This work is from a series of formal compositions of quiet horizontal abstraction, base...

In this abstract oil painting, Dintino uses muddy colors to evoke images of garbage, swamps, and junk yards. The dirty green melds into the orange and creates a muddy orange, which then melds into a black, almost as if the colors were being infected. The painting almost reeks with the colors Dintino decided to use, as each one has its own aroma and pungency. Dintino's work has to do with the melding of title and piece. His paintings all illustrate his ideas and words through visuality and color. Creating large panoramic pieces makes his work atmospheric and immersive, allowing the viewer to literally feel the title of his painting. This is quite a synesthetic approach to making art and allows ideas and words to sing. Born in San Francisco, California in 1964, Patrick Dintino grew up in Sunnyvale, in the south bay area. He went to college in San Diego earning a BA degree in Industrial Arts from San Diego State University, and co-founded Artists in Motion art...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

In this abstract oil painting Dintino evokes images of childhood, and adulthood. In a very nostalgic way, Dintino uses the peaches and warm toned colors to help recall images of stu...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

0riginal acrylic on panel painting by the well known American artist, Syd Solomon. Signed Syd Solomon lower center. Signed and dated Syd Solomon 1971 and inscribed as titled on the reverse. 30 × 24 inches. Condition is very good, no issues. The painting is framed in its original wood with silver reveal floating frame. Overall framed measurements are 32.5 by 26.75 inches. Provenance: A private collector. American, 1917-2004 SYD SOLOMON BIOGRAPHY: Written by Dr. Lisa Peters/Berry Campbell Gallery Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd. There, Solomon met and befriended many of the artists of the New York School, including Jackson Pollock, Franz Kline, Willem de Kooning, James Brooks, Alfonso Ossorio, and Conrad Marca-Relli. By 1959, and for the next thirty-five years, the Solomons split the year between Sarasota (in the winter and spring) and the Hamptons (in the summer and fall). In 1959, Solomon began showing regularly in New York City at the Saidenberg Gallery with collector Joseph Hirshhorn buying three paintings from Solomon’s first show. At the same time, his works entered the collections of the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Wadsworth Athenaeum in Hartford, Connecticut, among others. Solomon also began showing at Signa Gallery in East Hampton and at the James David Gallery in Miami run by the renowned art dealer, Dorothy Blau. In 1961, the Guggenheim Museum’s H. H. Arnason bestowed to him the Silvermine Award at the 13th New England Annual. Additionally, Thomas Hess of ARTnews magazine chose Solomon as one of the ten outstanding painters of the year. At the suggestion of Alfred H. Barr, Jr., the Museum of Modern Art’s Director, the John and Mable Ringling Museum in Sarasota began its contemporary collection by purchasing Solomon’s painting, Silent World, 1961. Solomon became influential in the Hamptons and in Florida during the 1960s. In late 1964, he created the Institute of Fine Art at the New College in Sarasota. He is credited with bringing many nationally known artists to Florida to teach, including Larry Rivers, Philip Guston, James Brooks, and Conrad Marca-Relli. Later Jimmy Ernst, John Chamberlain, James Rosenquist, and Robert Rauschenberg settled near Solomon in Florida. In East Hampton, the Solomon home was the epicenter of artists and writers who spent time in the Hamptons, including Alfred Leslie, Jim Dine, Ibram Lassaw, Saul Bellow, Barney Rosset, Arthur Kopit, and Harold Rosenberg. In 1970, Solomon, along with architect Gene Leedy, one of the founders of the Sarasota School of Architecture, built an award-winning precast concrete and glass house and studio on the Gulf of Mexico near Midnight Pass in Sarasota. Because of its siting, it functioned much like Monet’s home in Giverny, France. Open to the sky, sea, and shore with inside and outside studios, Solomon was able to fully solicit all the environmental forces that influenced his work. His friend, the art critic Harold Rosenberg, said Solomon’s best work was produced in the period he lived on the beach. During 1974 and 1975, a retrospective exhibition of Solomon’s work was held at the New York Cultural Center and traveled to the John and Mable Ringling Museum in Sarasota. Writer Kurt Vonnegut, Jr. conducted an important interview with Solomon for the exhibition catalogue. The artist was close to many writers, including Harold Rosenberg, Joy Williams, John D. McDonald, Budd Schulberg, Elia Kazan, Betty Friedan...

"in City and in Forest 12" explores the assimilation of aerosol painting, pyrography and sanding techniques on wood. The artist engages her work with notions of repetition, graffiti and blur derived from the pictorial works of artists Jack Whitten...

This is a one of a kind original abstract oil painting on wood panel by Southern California artist, Daniel Ketelhut. Its dimensions are 18" x 18" x 1.5". It is unframed. A certificat...

Finding My Way 3 Cheryl D. McClure oil on wood panel 30 x 30 x 2 Inv #: 821 Price $3,300 To make my paintings I have come to the realization that I use what I call the ‘Three I’s” of INFLUENCES, INTUITION. and INTENT. Like a lot of artists, McClure’s interest in art developed early in childhood. She recalls, “When I was eight years old, I begged my dad to let me take an after-school painting class. I was shocked when I got there and found out they were painting with paint by number kits. I did not want to do that. I hate coloring inside the lines. So, the teacher allowed me to look for images to use as inspiration. In my memory, I think the first one must have been a reproduction of a Cezanne landscape. I just did what I did all on my own, but I loved mixing colors. Then my dad died, and we moved from Oklahoma to Texas. Sadly, I never really did anything else until I was in my twenties. I then took up painting again all on my own and trying to learn from other artists demonstrating their painting techniques and taking workshops. I have been painting ever since, more than forty years.” She continues, “For many years I only painted with acrylics or mixed media collage. In 2005, I also started painting with encaustic and have gone back to using oil paint again. I suppose acrylic remains my dominant medium. Mixing it up now and then keeps me on my toes and is a great way to learn. Each medium can teach you certain aspects of painting others do not. Each medium has its strengths and weaknesses depending on what you want to express. You can learn from all. I did not love watercolor because it took too much pre-planning. But I learned a lot about negative shapes and composition. I learned a lot with pastel and charcoal about making marks. By working back and forth with different media, I am growing as a painter.” If I used only intent, I would more than likely be disappointed because my imagined intent is always elusive. I get more than I imagined by not setting too many rules about how to get there. Using all of these factors, I can use the knowledge of formal issues that comes from viewing a lot of art and, also, from being in the studio making art all of the time. Using that comprehension of formal design as an aid to intuitively know what is the right relationship of color, mark, space, etc. is the intent. Intention is necessary to direct you to explore the former two. Intention also demands you delve more into your own reasons for making art. 2020 University of Texas, College of Pharmacy Partnership Exhibit, Tyler, TX Beauty of Art and Medicine IV, Rogers Nursing and Health Sciences Building, Tyler Junior College, Tyler, TX Stable, Cerulean Gallery, Dallas, TX 2019 Mississippi Art Colony Fall Travel Show, juror, Stanley Kurth Small Works, Gallery Mack, Seattle, WA 2017 Black Tie (optional), Invitational, Adam Peck Gallery, Provincetown, Mass. Mississippi Art Colony Fall Travel Show, David Hornung, juror, Meridian Museum of Art, Meridian, Miss., Southern Cultural Arts Center, Vicksburg, Miss., Museum of the Mississippi Delta, Greenwood, Miss. You Name It, Cerulean Gallery, Amarillo, Texas 2016 N° 10, Invitational, Adam Peck Gallery, Provincetown, Mass. 2015 One + One, Invitational, A Gallery Art, Provincetown, Mass. 2014 East Texas Regional...

This painting explores the graphic simplification of the wild coastline around the Hartland Point lighthouse in North Devon, England. The point marks th...

Gold leaf floater framed included. 21" x 17" Liane Ricci’s abstract paintings defy categorization. They are based in geometry and largely composed of bold lines dissecting and runni...

Ryōan-ji is the Japanese Zen temple in Kyoto, a monastery that gave rise to the idea of ​​the purely abstract Zen garden that inspired this series Francisco Larios’ works are done by...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

For Henry Hudson (Abstract painting) Acrylic on aluminum panel - Unframed. The technique Johnson employs is extremely rigorous, involving, as he says, “...

Artwork made with pigment (Iwaenogu), glue & water on cotton paper (Washi) marouflaged on Japanese wooden panel Fusako Ekuni is a Japanese artist born in 1947 and who lives & works ...

Behind the Curtain is an original composition realized by the Belgian artist Martine Goeyens. Acrylic on panel. Hand-signed on the lower right corner. Very good conditions. The co...

Gold leaf floater frame included. 11" x 9" Liane Ricci’s abstract paintings defy categorization. They are based in geometry and largely composed of bold lines dissecting and running...

Close to the Sun (Abstract Painting) Oil on wood panel — Unframed. Dana Gordon’s kaleidoscopic compositions are contemplative and evoke somewhat Orphic Cubism. His paintings have a...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

"Abstraction" Mid 20th Century American Abstract 1960s Color Field James Daugherty (1887 – 1974) Abstraction 6 3/4 x 8 3/4 inches Estate stamp verso Oil on panel Provenance: Estat...

#1377 (Abstract painting) Oil on canvas on wooden panel - Unframed. Boecker begins each new work by penciling in his composition. But the work ultimately is about the colors and lay...

"Cascadia 6" explores the assimilation of aerosol painting, pyrography and sanding techniques on wood. The artist engages her work with notions of repetition, mark-making and blur de...

This is a one of a kind original abstract painting on wood panel by Southern California artist, Daniel Ketelhut. Its dimensions are 24"x 18"x 1". It is unframed. A certificate of aut...

Erin Vincent is a Toronto based-artist whose work draws on a variety of repetitive and labor intensive processes and materials. Things and common objects have always fascinated Vinc...

This beautiful contemporary high textured abstract painting is great for a classic and contemporary setting. The variation of colors and rich texture would greatly bring a space to l...