Oil More Art

Time to reflect, at Kellersee in Holstein Switzerland in Schleswig-Holstein. The inspiration for this painting, my first since I've been able to devote myself to painting full-time,...

This oil painting captures the quiet reverence of a French priest standing within the hallowed walls of a church, bathed in the warm glow of golden light filtering through stained-gl...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

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A serene and mysterious atmosphere envelops a snow-covered landscape. Traces of grass dot the foreground, while a shroud of fog softly blurs the distant tree ...

Faun`s rest, 2021, 80x70 cm

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Artist Lisa Elley displays an impression of a breezy coastal seascape on a beautiful summer's day. She draws inspiration from one of her plein air painting tr...

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A street in Chicago comes alive on a rainy afternoon. The wet pavement reflects the city lights, creating a shimmering effect as cars and pedestrians move thr...

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Artist Onelio Marrero depicts a mother and her child dropping coins into a fountain for good luck. The quiet moment is painted in brilliant morning light with dappled shadows in the foreground. Behind them lies a verdant backdrop of foliage around a stone church and a view of the distant city beyond. Onelio's rich textures and detailed brushwork greatly enhances the piece. "The separating line between the church and the fountain reminds us of the demarcation between faith and luck," says Onelio.

About the Artist
Onelio Marrero paints city scenes of everyday life. In an impressionistic style he captures the romanticism of New York City, the picturesque fountains in Central Park and the wet city streets after a rainy afternoon. His use of warm tones creates a sense of nostalgia and the feeling that you have visited or seen this particular scene before. Onelio will often paint from direct observation, or he will work from a combination of photographs and combine numerous sources into one piece. In this way his work combines reality with fantasy, creating a new story with each painting. His work captures an appreciation for beauty in all of its greatest forms; nature, art, and people.

Words that describe this painting: fountain, church, plaza, spring, stonework, architecture...

Greek icon Oil on wood, gold background 18th / 19th century

Night , 150x150 cm, oil on canvas

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Growing up in Minnesota, artist Joanie Ford loved the winter days, ice fishing, and when snow blanketed the trees. This oil painting reflects her fond memorie...

Sergei Inkatov’s original, abstract fine art oil paintings have been exhibited internationally. His expressionistic artworks are vivid and richly textured. Inkatov’s paintings radiat...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

A finely detailed still life with flowers in a white vase by American artist George Henry Hall (1925-1913). Hall was born in Manchester, NH, and began his career as an artist at the ...

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This painting is part of artist Onelio Marrero's latest series exploring the terrain and geology of the hilly northwest of New Jersey. On his painting hikes, ...

White peaks, 20x28 cm, oil on canvas

In my creation, I pour my soul into the vibrant dance of sunflowers under an evocative sky. Each stroke is a symphony of colors, blending impressionistic warmth with a touch of reali...

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"This painting was inspired by the dramatic lighting and shadows receding into West 14th Street at sunset," says artist Nick Savid...

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The artwork offers a glimpse of a peaceful summer day at the beach. The tranquil sea stretches into the distance, while the sandy, pink shore gradually transi...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Wellies I" by Richard Gower is a captivating original figure ...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

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A glowing still life of sunflowers and wildflowers arranged on a rich blue backdrop. Artist Jeff Fleming describes his painting style as kinetic impressionism. Jeff started the piece with a pencil sketch on the canvas, then with gloved hands, he generously applied oil paint using his fingers. Jeff says he created this scene purely from imagination.

About the Artist
Artist Jeff Fleming uses fingerpainting to create exuberant portraits of dogs. Growing up in Southern California, Jeff was first introduced to fingerpainting in kindergarten. He painted through high school and college and won several art awards, including Best of Show in a city wide student competition. After graduating with a degree in journalism and advertising, he went to work as an art director. For the next 40 years, he created print, radio and television ads for a number of top agencies. "After retiring in 2019, the clouds of stress and pressure cleared and allowed me to set my creative energy free," says Jeff. He began developing new techniques focused on the excitement and energy of painting. Today, he uses a variety of methods and tools, including fingerpainting wearing nitrile gloves, traditional paint brushes, bamboo shish kebab sticks, kite string, spraypaint and splattering. While working, Jeff always listens to music, including Broadway musicals, dance music and rhythmic Hawaiian tunes.

Words that describe this painting: impressionism, flowers, vase, spring, blooms, Iris Scott...

Portrait of a Gentleman in Blue Coat Standing by Curtain c.1695 Attributed to Constantyn Netscher (c.1668-c.1723), not signed The gentleman in this portrait has been depicted standi...

Stuck in thoughts, 120x90cm, oil on canvas

A Rare Jacobean Portrait of Lady Elizabeth Wheeler (née Cole), 1623 Attributed to Cornelius Johnson (1593–1661) This remarkably rare early oil on panel, presented by Titan Fine Art, has emerged as far more than an anonymous “Portrait of a Lady.” Preserved in outstanding condition—its surface retaining exceptional clarity in the lace and textiles—it has only recently been reunited with the identity of its sitter: Elizabeth Cole (1607–1670), later Lady Elizabeth Wheeler, a Westminster gentlewoman whose later life brought her into intimate royal service as laundress for His Majesty’s person. That combination—high quality, uncommon survival, a newly identified sitter, and a life that intersects directly with the last acts of Charles I—places this portrait in a category of genuine rarity. It is not simply a beautiful Jacobean likeness; it is a rediscovered historical document - legible and compelling. The sitter is presented half-length against a dark ground, enclosed within a painted sculpted oval surround that functions like an architectural frame. This device, fashionable in the 1620s, concentrates the viewer’s attention and heightens the sense of social presentation: the sitter appears both physically and symbolically “set apart,” as if viewed through a refined aperture. The portrait’s immediate power, however, lies in the costume—an ensemble of striking modernity for c. 1623 and rendered with a precision that survives with remarkable crispness. She wears a deep green gown—a fitted overgown with open sleeves—over a finely embroidered linen jacket (a stiffened bodice/waistcoat garment). The sleeves form pronounced “wings” at the shoulder, a structurally assertive fashion detail of the early 1620s that enlarges the silhouette and signals sophistication. Beneath the green overlayer, the white linen jacket is richly ornamented in gilt embroidery. The goldwork is arranged as scrolling foliate forms—looping, curling tendrils punctuated by seed-like stippling—organised into balanced compartments across the bodice and sleeves. The motifs read as stylised botanical forms with rounded fruit-like terminals and leaf elements: not literal naturalism, but controlled abundance. The technique is described with extraordinary intelligence, mimicking couched metallic thread through patterned, “stitched” marks, while tiny dots and short dashes create a lively tactile shimmer. This embroidered jacket sits above a newly fashionable high-waisted, sheer apron or overskirt. The translucent fabric falls in soft vertical folds and is articulated with narrow lace-edged bands, giving the skirt a crisp rhythm of alternating sheer and patterned strips. At the neck, a fine ruff frames the face: a disciplined structure of pleated linen finished with delicate lace. Draped diagonally across the torso are long gold chains, painted to suggest weight and metallic gleam; they function both as ornament and as a further signifier of status. The cumulative effect is controlled luxury: she is not overloaded with jewels, but clothed in textiles whose cost and craftsmanship speak unmistakably. The recent sitter’s identification rests on heraldic and genealogical analysis: the arms shown on the painting correspond to those recorded for several families in armorial sources, but when the lines of descent are tested against survival and chronology, the viable bearer by 1623 resolves to Cole, and—crucially—to the London branch. That resolution matters because it anchors the portrait to a very specific social world: London/Westminster civic gentry and Crown administration, the milieu in which portraiture served as both self-fashioning and social instrument. The recent identification of the sitter (the London Cole branch of the family) is not merely genealogical; it has direct implications for authorship. A London-based mercantile or civic-gentry family would have ready access to leading immigrant artists, familiarity with heraldic display conventions, and the means to commission oil on panel, still standard among Netherlandish-trained painters. In that context, the portrait’s age inscription and date become especially revealing. The painting states the sitter to be nineteen years of age. Yet Elizabeth Cole’s birth in 1607 suggests she would be younger if the portrait is dated as early as 1623. The key insight is that the “incorrect” age is best understood not as a mistake but as a deliberate social adjustment, a performative statement rather than a documentary one. The most persuasive explanation is strategic. Portraits of high-status unmarried women were frequently made in connection with marriage negotiations. In the early 1620s, Elizabeth’s future husband, William Wheeler, was resident abroad at Middelburg in Zeeland in the Dutch Republic. If a portrait was intended to support or facilitate a match with an educated, ambitious man—“a man of learning and letters,” —then presenting a seventeen-year-old as nineteen would subtly reposition her as more mature and more nearly a peer in age, Wheeler being around twenty-two. The portrait thus becomes an instrument of alliance, not merely a likeness: an image designed to persuade, reassure, and elevate. This reading aligns perfectly with the period’s wider conditions. The early 1620s in England were charged with anxiety and expectation: James I’s later reign was marked by court faction, diplomatic tension, and the pressures of European conflict. The so-called “art market” was inseparable from these dynamics. Portraiture flourished because it served multiple functions: it fixed lineage, advertised alliance, signalled readiness for marriage, and projected the stability of elite households in an uncertain world. For Westminster families whose power came through office, portraiture was also a declaration of belonging—proof that administrative elites possessed the cultural polish traditionally associated with older aristocratic rank. Elizabeth’s later life vindicates the portrait’s impression of steadiness. Although no record survives of her marriage ceremony to William Wheeler, wills suggest she had married him by the mid-1630s, and there are strong grounds—consistent with the portrait’s implications—for a union already in place by the early 1630s, possibly earlier. Wheeler himself rose rapidly. By 1639 he held a manor at Westbury Leigh in Wiltshire and sought letters of denization due to overseas birth, enabling him to stand as Member of Parliament for Westbury. He leased the principal manor of Westbury the following year, coinciding with his election. In government service he became Remembrancer of the Exchequer and held office across regime change, a testament to administrative skill and political pragmatism. It is Elizabeth, however, who makes this portrait exceptional. She became laundress for His Majesty’s person, responsible for the washing and oversight of the King’s personal linen—an office that, despite its domestic description, required unusual trust, discretion, and access. Her role becomes visible in 1643 when she was granted a warrant signed by the Speaker of the House of Commons to follow the King to Oxford with her servant after the outbreak of the Civil War. She continued to serve during the King’s captivity after 1646, and at Carisbrooke Castle in 1647 she and her maid were implicated in smuggling secret correspondence to and from Charles I, in service of escape plans. After the King’s failed attempt to escape in March 1648, she was removed—yet the King’s trust persisted: he was permitted to send her remaining jewels in an ivory casket...

A vibrant culture is captured in colour and dynamic form in this lively abstract painting by David Sorensen. After visiting Cuba in 1999, the Canadian artist created a series of paintings. The light, the bright colours and the rich atmosphere of life in Havana inspired Sorensen’s colour palette—a brilliant square of yellow in the center, surrounded by graphic shapes in red, orange, lime green, blue and black. Lines of blue and black create a grid-like pattern that runs both horizontally and vertically across the canvas. “Through the medium of his art, a bridge is built between inner sensation and outer world experience, illusion and reality, what we cannot see and what we see, life and afterlife.” John K. Grande, Montreal poet and writer Born in Vancouver Sorensen (1937-2011) studied at UBC and the Vancouver School of Art. His teachers were renowned—Arthur Erikson...

Instagram: chebotaru.a The painting “Morning Perastâ€

Kisses for You #4, 2018

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The artwork captures the serenity of the ocean. Painted with oil paint and cold wax, the waves carry a slightly raised texture, adding to the realistic qualit...

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Artist Onelio Marrero shares about his recent visit to Boston. While there, he and his wife took in the many cultural and historic sights. One of the places they spent some time was at the Historic Boston Library where Onelio examined the Sargent murals. The series of murals known as "Triumph of Religion", depict Judeo-Christian themes. "I painted myself as the figure in the room with the blank panel that Sargent never completed. It was to be a scene depicting 'The Sermon on...

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Artist George Peebles exhibits palm trees overlooking the Caribbean. He captures the relaxed scene with an impressionist approach. Fresh blue waters drift to ...

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A thick green marshland shines from the bright reflections of the evening light in this expressionist landscape by artist George Peebles. Grasses fade away in...

What is it?, canvas / oil 80x120 cm

Diptych "Day", each part 90x60cm

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This painting is part of Suren Nersisyan's series of California landscapes focusing on the nature and stunning light around Los Angeles. He draws inspiration ...

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A powerful buffalo strides into view, its massive form radiating strength and dignity. In this oil painting, artist Karen Barton captures not only the animal’...

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Artist Elizabeth Garat paints an inspiring view of the California coast. She references the piece on scenes from an expedition to the beautiful coastal town of Cayucos, California. The stately tree stands alone in the surrounding field, capturing the viewer's attention. Elizabeth fully offers the tranquility of the quiet view.

About the Artist
Growing up in California and Colorado, Elizabeth spent much of her formative years outdoors. “Exposure to nature early on planted the seed of landscape painting in me,” she says. She enjoyed spending time on her grandfather’s sunny sheep ranch and going to the beach with her grandmother. Her grandmother also would bring her to art galleries in Laguna Beach, where she was first introduced to California Impressionism...

Crayon skies and scribbled trees, A sun with smiles, no rules to please. Stick-figure dreams on paper fly, No need to ask the how or why. Each line a laugh, each shape a song, In tho...

Born in 1982 in Manzanillo, Cuba, artist Darwin Estacio Martinez honed his artistic skills at the Professional Academy of Fine Arts "El Alba" in Holguin...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

Landscape of Auvergne, France. From my studio window, this spectacular sea of clouds fills the valleys, transforming an earthly landscape into a celestial world. I am fascinated b...

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Mountains and sea merge in this abstract landscape, where shifting forms and colors reveal a world suspended between calm and chaos. Each stroke carries depth, ...

Modern Impressionist Textured Oil Painting of Ballet Dancer performing in Swan Lake. A signed oil on canvas on stretchers and framed in a traditional frame. This beautiful painting ...

Bloom, 100x80cm, oil on canvas

In my paintings, I chose the main character Gestalt wooden figurine of a man) and trying to "animate" his\her

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A roseate spoonbill opens its wings beside a clear, shimmering river, its gaze fixed on its own reflection. Bright colors create a dreamlike scene. The composit...

A 30" x 24" or 76.2cm x 60.96cm Contemporary, Floral, Original Oil Painting On Canvas. This gorgeously textured painting is full of beautiful details and color passages. Nasturtiums...

This is an impressionist-style painting of a sunny, colorful flower garden bathed in light and filled with giant iris flowers and other beautiful garden flowers. In the distance is t...

oil on canvas Cleve Gray is a painter admired for his large-scale, vividly colorful, and lyrically gestural abstract compositions. He achieved his greatest critical recognition in ...

A wonderful illustration of a boy and his telescope studying the moon with his dog by his side by American illustration and landscape artist John Newton Howitt (1885-1958). Howitt wa...

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Lush green lily pads and pink water lilies float calmly on a pond. Gentle ripples reflect the early morning sunlight, with the mist adding to the glow. Painte...

Oil on canvas 60x40 cm

When David Sorensen visited Havana, Cuba in 1999 he was captivated by the rich textural atmosphere of the city. Using a spatula and paintbrush he created a series of abstract paintings in bright colours and graphic form. No 5 features a sky-blue square in the center, laid over a field of similar shapes in various sizes. Thick lines that run both vertically and horizontally across the canvas add drama. The colour palette—orange, yellow, red, and indigo is both joyful and intense. “Through the medium of his art, a bridge is built between inner sensation and outer world experience, illusion and reality, what we cannot see and what we see, life and afterlife.” John K. Grande, Montreal poet and writer Born in Vancouver Sorensen (1937-2011) studied at UBC and the Vancouver School of Art. His teachers were renowned—Arthur Erikson...

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Inspired by the fox’s clever charm, this portrait captures both its keen expression and lively spirit. Artist Karen Barton layered oil paint using a mix of pa...

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Sunrise. Colored clouds recede into space, dominating this painting looking upriver. This painting is done in oil on stretched canvas. It is sealed with wax...

Oil on canvas 60x40 cm

Harvesting, 98x68 cm, oil on canvas

In my paintings, I chose the main character Gestalt wooden figurine of a man) and trying to "animate" his\her