Art by Medium: Plaster

"Concrete Gardens" is a body of work that translates Patrick Burns' deep love of the land and complicated past into richly textured, mixed-media paintings with reverberating, monochr...

This painting by Joan Nelson depicts a sepia-toned scene placed behind the walls of a dark brown building. Potentially depicting a rooftop or a balcony, a way further into the buildi...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

In the heart of contemporary art lies a masterpiece that transcends the conventional boundaries of form and function: "Keyboard (FR-09)" by the visionary artist Daniel Arsham. Crafte...

When we fall in love with someone, do we see them for who they really are, or only what we dream of seeing in them? Who is the bigger deceiver—the one who pretended, or the one who l...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

This is an abstract painted plaster cast relief sculpture designed to be mounted directly to the wall or installed on a shelf. It is reminiscent of a fossil or natural or scientific curiosity in a "Wunderkammer," or historical cabinet of curiosities. It is signed on the back. Ava Blitz...

In Sylvia Schwartz' structures, silicone molds are cast from both natural and hand-made forms, including clay coils, volcanic rock patterns, seaweed, and her own fingerprints. The h...

This is a plaster cast relief sculpture painted with black and white designed to be mounted directly to the wall or installed on a shelf. It is an abstract image evoking flowing water and sea life. It is reminiscent of a fossil or natural or scientific curiosity in a "Wunderkammer," or historical cabinet of curiosities. It is signed on the back. Ava Blitz...

Bartolomeo Paoletti (1757-1834) and Pietro Paoletti (1801-1847). Original nineteenth century plaster cameo seals edged in folded paper and tipped with gold, as issued by Bartolomeo Paoletti (1757-1834) and his son Pietro Paoletti (1801-1847). These ‘Grand Tour’ souvenirs were brought home by wealthy European travellers. Rome was the ultimate destination and a tour of the treasures contained in its many museums complemented a young man’s education. Collecting boxes and faux bindings containing plaster casts of ancient gems...

Ragisména series White M6, 2024 by Rodrigo Zampol From Ragisména Series Plaster on canvas Dimensions: 30 cm H x 20 cm W Weight: 3 kg Unique piece Signed on the back The piece has a...

Sara Fine-Wilson's "Cram" is a 7 x 2 x 3 inch small scale abstract mixed media sculpture, primarily in shades of white with touches of brown. Multiple ceramic elements were previousl...

This piece titled "Don's Auto & Truck Repair" is original artwork made from paper, inkjet print, enamel, wire, chain, aluminum tube, and pastel by Drew Leshko. This piece measures 10...

Sara Fine-Wilson's "Caterpillar" is a small 16 x 6 x 6 inch abstract mixed media sculpture in neutral white, gray and brown with a playful, raw and refined quality. In this whimsica...

Worn White 01 46.13 x 46.13 x 3.38, 25.0 lbs Plaster Hand signed by artist Artist's Commentary: "Made of plaster, gypsum, water, wood, sand, salt, and crushed gold glass, this ar...

Laurence Perratzi is a French figurative artist exploring the body’s expression. Her work is a reflection on movement strongly influenced by her ath...

"Into the Depths" captures the pivotal moment of decision, where one stands on the threshold of self-discovery. It represents the brave journey inward, into the metaphorical forest o...

Size includes wood mounting. George Aarons (born Gregory Podubisky, in St. Petersburg, Russia, 1896 - died in Gloucester, Massachusetts 1980) was a distinguished sculptor who lived and taught in Gloucester, Massachusetts, for many years until his death in 1980. He had, many students in the area and he designed Gloucester's 350th Anniversary Commemorative Medal. Aarons moved from Russia to the United States when he was ten. His father was a merchant. He began taking drawing classes during evenings at Dearborn Public School in Boston as a teenager and went on to study at the Boston Museum of Fine Arts in 1916. Aarons later moved to New York City to study with Jo Davidson, and other Paris-trained masters at the Beaux-Arts Institute. He eventually returned to the Boston area and established studios in Brookline and Gloucester, Massachusetts. During his lifetime, he was recognized internationally and won several prestigious awards. Aarons had studios in Brookline, Massachusetts and Gloucester, Massachusetts where he produced large bronze and marble figures and wood carvings. He produced several projects for the Works Progress Administration including a group of three figures for the Public Garden (Boston), a longshoreman, fisherman and foundry worker, as well as a large relief (1938) for the South Boston Housing Project and façade of the Baltimore Hebrew Congregational Building (1956). His works are at the Museum of Art in Ein Harod, Israel; Fitchburg Art Museum in Massachusetts, Musée de St. Denis in France; Hilles Library at Radcliffe College in Cambridge, Massachusetts; and Hillel House at Boston University in Massachusetts. He did reliefs for Siefer Hall at Brandeis University in Waltham, Massachusetts (1950); Edward Filene (the founder of Filene's Department Store and a philanthropist) on the Boston Common; Fireman's Memorial in Beverly, Massachusetts; a memorial to Mitchell Frieman in Boston; the U.S. Post Office in Ripley, Mississippi; and at the Cincinnati Telephone Building; the Combined Jewish Philanthropies building in Boston (1965); and a commemorative medal for the 350th Anniversary of the City of Gloucester, Massachusetts (1972). Characteristic of his era, George Aarons was among the foreign-born American sculptors of the early 20th century who started their careers as academicians and evolved into modernists and increasingly abstract artists. Over thirty pieces spanning the length of this sculptor's career were featured in this exhibition, including work in various medium bronze, wood and original plasters. Like his contemporaries, Aarons experimented with direct carving in wood, and he was one of the few academically trained sculptors who consistently cut his own works in marble. His early work was classically inspired figurative work, along with sensitive portraits. Some of his most powerful sculpture comes from his middle period, when he worked through his emotional pain following the global realization of the Jewish Holocaust. He depicted humanity deep anxiety over this tragedy with figures that are at once symbolically charged and movingly beautiful. Aarons late work consists of radically simplified forms that continue to reference the human form and often are carved directly in wood and stone. Aarons summered and taught classes on Cape Ann for many years before moving to Gloucester full-time with his wife about 1950. While Aarons is best known locally for his domestic-scale works, he also executed numerous monumental, public commissions that can be found throughout the United States in cities such as Washington, D.C.; Baltimore, Maryland; and Cincinnati, Ohio; as well as in France and Israel. As noted in a Gloucester Daily Times Article, Aarons wanted his sculptures to honor the struggles and nobility of people and rail against the evil done against them. And that was why, even as his work grew more and more abstract, stylized and simplified, he never left behind the form of the human figure that had been his focus from his earliest works. Aarons told the Gloucester Daily Times in September 1954 that he found it hard to remember at just what age he started studying art, but he recalled that the nude model had to partially dress when he was in class because he was so young. He initially studied painting and drawing at the museum school, but he once said he became fascinated by sculpture when he met an established sculptor at the Copley Society in Boston who invited Aarons to his studio and offered him some clay to "play around" with. After he graduated, he apprenticed under sculptors Richard Brooks, Robert Baker and Solon Borglum. He worked as a carpenter, shipbuilder, dishwasher and chimney sweep. He fashioned architectural decorations, including figures for fountains and now and then a few commissioned portraits. He returned to Boston by the early 1920s and began to exhibit his own works and get commissions for portraits, fountains and reliefs. His sculptures from this time are dreamy and romantic in the realistic, academic style of the time. A painted portrait of the young Aarons that is included in the North Shore Arts Association exhibit shows a determined fellow with dark brown hair, a suit and bow tie. However, in 1922, this determined young artist was living with his parents on Calder Street in Dorchester. In the 1930s, Aarons adopted the streamlined, monumental style of the socialist works of the time. Aarons made money, as he would all his life, from commissions, selling his personal work and teaching sculpture, but the Depression of the 1930s was tough for everyone. So Aarons found work though the federal Works Progress Administration, one of Franklin Roosevelt's New Deal programs. He received his first major commission when he was asked to create a public sculpture for the South Boston Harbor Village public housing project around 1937. He was elevated to the position of supervisor for the project and received a corresponding $5 pay increase to make his weekly salary $32. The raise convinced him he was fit to marry and he proposed to Gertrude Band, an attractive brunette dancer whom he had been dating for more than a year. They were married before the Harbor Village project was dedicated on Labor Day 1938. Aarons' design featured a brawny, larger-than-lifesize fisherman, longshoreman and a laborer flanked by a boy and girl at either end to portray the children who would live in the apartments. Aarons elected to do the piece in cast stone to employ carpenters and laborers as well as craftsman for a total of 10 men. In his sculpture, Aarons focused more and more on the theme of oppressed people as he worried about the spread of fascism and Nazism during the 1930s, World War II and after. He had done pieces during the mid-1930s about the oppression of African-Americans, including "Negro Head," which is in the North Shore Art Association retrospective. After the war, he also delved into Jewish themes and became increasingly known as an important Jewish artist, leading to commissions from Jewish organizations across the country and abroad. "He gets into raw emotion. Some people describe him as an expressionist because of the emotion (in his work)," Reynolds says. But Aarons, also sculpted sensual sexual nudes...

SKYLAR FEIN was born in Greenwich Village and raised in the Bronx. He has had many careers including teaching nonviolent resistance under the umbrella of the Quakers, working for a g...

An original work by Noche Crist (1909- 2004). Titled "Femme Fatale" and signed on reverse. Wonderful work made with cut wood, paint and plaster. Catalogue of an exhibition in 2008 ...

This piece was created by Italian artist Mario Toppi in 1959. Toppi worked primarily in fresco, creating works that pay material homage to Italy's long artistic history, yet remain m...

Elizabeth Jordan is an artist working primarily in sculpture and whose work uses multiple materials to produce unique, organic forms. In addition to a solo and group shows at Ivy Brown Gallery, she has exhibited at The American Academy of Arts and Letters, the Nassau County Museum of Art, The Cornell Art Museum in Delray Beach, Florida and the New York Artists Equity Gallery. In 2023, she received a 2023 Fellowship from the New Jersey State Council on the Arts in sculpture, and in 2022 was awarded the Alex J...

One of a kind painting by Noche Crist (1909- 2004). Noche Crist was an American artist born in Romania. Painting is made with casein on plaster on wood. Catalogue of a postumous ret...

Mane-Katz (1894-1962) maquette plaster relief for bronze sculpture. (it is made from sort of composite material and then painted or colored from the casting. there is no foundry mar...

RICHARD GARBE, RA (1876-1957) The Falconer Signed and dated on the reverse: Richard Garbe, ARA / 1932 Patinated plaster 49.5 cm., 19 ½ in. high Proven...

A minimalist depiction of a woman in a large hat by Constantin Antonovici. This white marble sculpture is composed almost entirely of two colliding ovals, with a few ridges visible o...

Sara Fine Wilson's "Rumble" is a small scale abstract mixed media ceramic and plaster sculpture in a neutral palette measuring 6 x 3 x 3 inches. M...

The Palace at 3am (2022) by Gary Sczerbaniewicz. Wood, laser cut & etched chipboard, latex, plaster, and cast plastic.

Sara Fine-Wilson's "Levitate" is an abstract mixed media sculpture in neutral tones. Multiple ceramic elements were previously hand formed and extruded, then fired and incorporated i...

This is a one of a kind original painting by southern California artist, Kathleen Kane Murrell. Its dimensions are 40" x 40" x 2". It is acrylic and oil on panel, painted, plexiglass...

Imprints/I am Yourself is a work of collection; a collection of images augmented by Casey Waterman to create a habitat where paralleled materials, connotations, and ambiguity comment...

André Bloc (Alger 1896 - New Delhi 1966) Project for Maison habitacle Plaster H 45 x L 23 x P 20 cm Traces of stamp (signature) below

Daniel Arsham (American, 1980-) 35MM Camera Sculpture Plaster and crushed glass multiple, contained in the original foam-lined presentation box with a pair of original handling glove...

French mid 20th century Wood and plaster picture frame Internal measurement (to house painting or mirror): 26 x 21.5 inches Overal outer measurements: 31.5 x 27 inches Provenance: fr...

Artwork is exclusive to IdeelArt. Knaut builds her compositions slowly over time, adding layers of colors and materials and then scraping them away, working them over and over. Gest...

Artwork made with birch, acrylic, satin lacquer & metallic gold venetian plaster UltraMarine is a mixed media wall sculpture. Made from acrylic washes on birch, MDF and gold metallic Venetian plaster paint. Finished with an elegant satin clear lacquer to enhance the wood grain. The multiple opacities of navy and indigo are almost denim-like in color and allow the brown wood grain to add texture and interest to the piece. Ultramarine takes on the abstract form of a soaring building or perhaps a church spire or other tall building in form. Ultramarine is a monochromatic piece which is minimalistic in nature, so the form, composition and the balance of the piece trump a definitive subject matter. However, the shape is reminesent of mid-century modernism, the sputnik design movement and futurism. The result is an elegant wall sculpture...

Kathleen Hope MODULAR 48 cement, pigment, plaster 8.00 X 8.00 in $250.00

"Concrete Gardens" is a body of work that translates Patrick Burns' deep love of the land and complicated past into richly textured, mixed-media paintings with reverberating, monochr...

A gift yet come to fruition, the boys destined from the start for greatness or infamy. Laid out before him, a life full of visions longing for a chance to be conjured and revealed.

This is a one of a kind original painting by southern California artist, Kathleen Kane Murrell. Its dimensions are 36" x 48" x 2". It is acrylic on canvas, glass beads, Japanese pape...

This is a one of a kind original painting by southern California artist, Kathleen Kane Murrell. Its dimensions are 40" x 52" x 1.5". It is acrylic and plaster on canvas. It is unfram...

Mixed media on canvas

Painting with plaster and gilt details. Attributed to Edgar levy. A modernist still-life painter whose style leaned towards Cubism, Edgar Levy had a studio...

Artist: Curtis Mitchell, American (1954 - ) Title: Broken Wall Year: 1989 Medium: Mixed Media Wall Sculpture (Plaster, Resin, Acrylic), signed and dated ...

One of a kind painting by Noche Crist (1909- 2004). Noche Crist was an American artist born in Romania. Painting is on casein paint on plaster on board. Catalogue of a postumous retr...

One of a kind painting by Noche Crist (1909- 2004). Noche Crist was an American artist born in Romania. Acrylic painting is on plaster on wood which gives the painting a wonderful te...

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

This piece was created by Italian artist Mario Toppi circa 1960. Toppi worked primarily in fresco, creating works that pay material homage to Italy's long artistic history, yet remai...

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

(Note to collectors: 1stDibs has graciously given us dealers promo codes for 15% off that we can offer you, in order to help artists, dealers and collectors keep art alive through th...

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

The two artists and industrial designers, Ampi Arozarena and Elena De La Fuente describe form and color as their core of exploration. They admire the dual identity the two elements c...

The two artists and industrial designers, Ampi Arozarena and Elena De La Fuente describe form and color as their core of exploration. They admire the dual identity the two elements c...

Spring Without the Bees, 2018

Elizabeth Jordan is an artist working primarily in sculpture and whose work uses multiple materials to produce unique, organic forms. In addition to a solo and group shows at Ivy Bro...

"Mur" is part of an edition of 5 pieces. Mattia Listowski (b. 1987, Paris, France) is a French sculptor, draughtsman, and photographer with French, Italian, and Polish origins, comi...

Shawn Dulaney The Virtues III Handmade paint on venetian plaster on paper, signed and titled verso 22 x 30 in. (sheet), 28 1/4 x 36 1/4 in. (frame). Shawn Dulaney’s paintings are layered constructions of color, spacious abstractions that read like cloud banks, flows of water, magnetic fields charged with monumental energy. Dulaney spent her childhood on a vast Colorado plateau looking west to the Rocky Mountains and has travelled widely, immersing herself in landscape. Her work captures the experience and feeling of place. Doug McClemont of ArtNews writes that Dulaney’s paintings “concern the earth, and the unyielding hand of nature”. Her work has been described by William Zimmer of The New York Times as belonging to “a very strong tradition, that of 19 th -century Northern European Romanticism in which nature was seen as corresponding to human emotional states.” He says of her work, “Ms. Dulaney makes it clear that her inner life is very much a part of each painting, and this alone distinguishes it from most abstraction…Shawn Dulaney is deliberately out for grandeur, but she is also out for intimacy. Her paintings take advantage of their innate ambiguity and declare themselves to be very current in the thinking that lies behind them.” "The kind of painting to which Ms. Dulaney's work is most closely related, at least superficially, is the Mark Rothko branch of Abstract Expressionism, in which a sense of deep space is sought." Dulaney makes handmade paints consisting of acrylic medium and powdered pigments allowing her to get a wide range of saturations and transparencies as they spread out on Venetian plaster and linen over panel. “Her surfaces”, as described by Dominick Lombardi-also of The New York Times, are “exquisitely painted and a pleasure to see.” Dulaney continues to travel between New York, the American Southwest, and the United Kingdom, as well as having recently been awarded the Pink House Artist Residency on the Beara Peninsula in Ireland. Her paintings capture the ephemeral and evoke the Celtic notion of a “thin place”, a place of energy where the veil between this world and the eternal is thin. A working artist for over 4 decades, Dulaney is represented by Sears Peyton Gallery, Weber Fine Art, Carrie Haddad Gallery and Beth Urdang Gallery. Exhibited widely, her paintings can be found in extensive public and private collections including those of the Hunterdon Museum of Art in NJ, the Venetia Resort in China, J Crew in NYC, as well as in the private collections of author Annie Proulx, actor Steve Buscemi, talk-show host Conan O’Brien and musician Stuart Copeland. Her work has appeared in episodes of TV’s Enlightened, Portlandia and Sex & the City, and the films It’s Complicated (2009), Interview (2007) and John Wick...

"Concrete Gardens" is a body of work that translates Patrick Burns' deep love of the land and complicated past into richly textured, mixed-media paintings with reverberating, monochr...

Elizabeth Jordan is an artist working primarily in sculpture and whose work uses multiple materials to produce unique, organic forms. In addition to a solo and group shows at Ivy Bro...