Isabel Bigelow

Into the Woods

2010

“… look into the stains of walls, or the ashes of a fire, or clouds, or mud … you may find really marvelous ideas. The mind of the painter is stimulated to new discoveries … various ...

I often cross Manhattan on the way to appointments. Though I have done this many times over the years, one clear blue day, the brightness of the clouds caught my attention. Looming over 5th Avenue in Manhattan, NYC, The Flat Iron Building...

Painted on panel, this piece dates back to the 1990's when I created a collection of small panel paintings. Relic of a Sunken Day shows layers of oil glazes on aluminum on panel crea...

Robertson K. Mygatt (American, 1862-1919) Uplands Oil on panel, 5 1/4 x 6 5/8 inches FRAMED: 9 x 10 1/2 inches (approx.) Exhibition label on verso: "Salamagundi Club/Thumb-box Exhibi...

Oil paint on wood panel Unique work Hand-signed on the back by the artist

Oil, acrylic, ink and sand on wood panel Purple, blue, aqua, black, teal, indigo, violet, lavender, gray Geometric abstraction

"Door #22 (Paint)" (2018) by Francesca Reyes Original oil painting on wood panel; measures 8" H x 6" W x 1" D Rich blue palette with white doorway; accents of cranberry, pink, beige and green From the artist's door series...

Mid Century Abstract Stream Painting by Gibbs C.1968 Original oil on panel Dimensions 10" wide x 25" high The rabbet measures 15.5" wide x 30.5" high Please note: The rabbet is i...

"Atlas Dips His Toes In the Sky" depicts the energy of a city that sits in a valley. As with most of Todd Carpenter's paintings, this scene is of no particular place, but rather his...

Todd Carpenter As a painter, I examine how the depiction of light contributes to our experience of paintings. The portrayal of light helps a painting to convey the atmosphere and mood of a scene, and is much of what enables a painting to convey depth and realism. Our perception of lighting features occurs largely through pathways in the brain that carry only black and white information, pathways which are distinct from areas that encode the colors and details we use to delineate specific objects. By painting in grayscale, I try to interact specifically with this region of our visual system, with the hope of conveying some of the spaciousness and emotional significance that light can imbue on scenes. Light, whether as the crisp contrast of a back-lit forest or the gray haze of an industrial landscape, is what defines a scene. Its power to communicate the feel of a place is the principle subject of my paintings. The Blue...