Figurative Paintings

45x45cm + 5cm of white edge Acrylic on canvas Shipped rolled in a tube I can do commissioned works

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

Psychedelic Abstract Interior with Mirror in Oil on Paper Moody abstract interior by Jennie T. Rafton (American, b. 1925). An interior of a house in shown with a large round mirror....

This vigorous drawing is clearly inspired by the numerous compositions on the Ecce Homo theme which were produced by Titian and his workshop at the painter's maturity. However, the number of characters and their expressionist treatment, the many variations to Titian's paintings reveal a drawing made by an original artist, perhaps of foreign origin, belonging to the peripheral circle of the "Titian solar system”, as described by the art historian Enrico Maria del Pozzolo. 1. Titian, the leading artist of 16th century Venetian painting and his botteghe Tiziano Vecelli (or Vecellio), known as Titian, was born between 1489 and 1490 in Pieve di Cadore in the Veneto region of Italy into a wealthy family of soldiers and lawyers. At the age of 15, he joined the studio of Giovanni Bellini, where he became friend with Giorgione, ten years his senior. Giorgione introduced him to a new pictorial style in which forms are defined by colour and pictorial substance, freeing himself from the meticulous underlying drawings characteristic of Bellini's painting. Titian became the official painter of the Republic of Venice upon Bellini's death in 1516. In 1518, the completion of his Assumption for the church of Santa Maria Gloriosa dei Frari in Venice established his reputation as the leading painter of the Venetian school: throughout his career, Titian had a considerable impact on other artists of his time, whether they were direct collaborators, occasional contributors, or other artists under his influence. Considered one of the greatest portraitists of his time, his fame spread throughout Europe and he became the official painter of the greatest European families: the Gonzagas, the Farneses (Alessandro Farnese, of whom he executed several portraits, was elected pope in 1534 under the name of Paul III), the Habsburgs (he went to Augsburg in 1548 to paint the portrait of Charles V and King Philip II of Spain, his successor, later became the artist's main patron). As Titian almost reached the age of 90 years, he saw during his lifetime the death of many of his loved ones (his wife Cecilia, his brother Francesco and his son Orazio). A pathetic feeling appears in his late artworks, such as his famous Pieta, his last work intended to decorate his tomb which remained unfinished. Titian's success was also based on the establishment of a large and versatile workshop, which, alongside the traditional assistance in the production of certain paintings, ensured the publication of numerous woodcuts, allowing the master's works to be widely distributed. Long ignored by art historians, the individual stories of these various collaborators, the organisation of this workshop and the interactions of the collaborators with the master are at the heart of contemporary studies on the artist. 2. A complex composition with expressionist overtones Executed with great virtuosity in black chalk, the composition of our drawing is complex, even slightly confused and probably reflects several phases of execution, if not several hands. The scene is organised around the characters of Christ and an executioner wearing a Phrygian cap. Christ is presented at mid-body, slightly at an angle, his torso bare, his shoulders draped in a cloak, his hands clasped together and probably bound. His head, as if weighed down by the crown of thorns, is slightly bent forward. The eyes and mouth are hollowed out by the black chalk to better express his sorrow. The man wearing a Phrygian cap holds a whip in his right hand, while his left hand, barely outlined, seems to be pulling aside Christ's tunic as if he were about to scourge him. Two other men, who may have been added at a later stage, occupy the space between the executioner and Christ. One is depicted in profile, while the one behind Christ appears to be wearing a military helmet. In an indistinct gesture, his left arm is raised as if to strike Christ. Slightly behind Jesus on his left side, appears a bearded old man wearing a turban. With his left arm raised, he holds out the palm of his hand in a gesture of amazement. His face is finely executed and contrasts with the hand depicted in a rather crude manner. This character may also have been added at a later stage, as he does not fit in perfectly behind the group formed by Jesus and his executioner. This frieze is completed in the left foreground by two additional figures depicted in three-quarter view. Soberly sketched but with great fluidity, only their heads emerge, as if Christ and his executioners were situated on a pedestal above a large crowd. Finally, on the right-hand side of the composition, a second helmeted soldier is depicted. His musculature can be seen under his armour while he stares intently at Christ. He is smaller than the other figures, even though he appears in the front row, revealing a certain clumsiness on the part of the artist. 3. Ecce Homo, one of Titian’s favourite subjects in his twilight years In 1543, Titian tackled the theme of the Ecce Homo in a masterly composition now in the Kunsthistorisches Museum in Vienna. Christ is presented by Pilate, dressed in an antique costume, at the top of a staircase, in a large, highly architectural setting animated by a crowd of characters. The title of the painting refers to a passage from the Gospel of St John (19, 1-5): “Then Pilate took Jesus and had him flogged. The soldiers twisted together a crown of thorns and put it on his head. They clothed him in a purple robe and went up to him again and again, saying, “Hail, king of the Jews!” And they slapped him in the face. Once more Pilate came out and said to the Jews gathered there, “Look, I am bringing him out to you to let you know that I find no basis for a charge against him.” When Jesus came out wearing the crown of thorns and the purple robe, Pilate said to them, “Here is the man!” From the 1540s onwards, Titian and his workshop repeatedly depicted the Christ of Sorrows for their principal patrons. In these paintings, Titian returned to the half-body format that he had practically abandoned since 1520 and refocused the composition (compared to the large 1543 Ecce Homo) on the figure of Christ, who is depicted alone or accompanied by a few figures. With his eyes lowered and his head slightly bowed, Titian's Christ seems calmly resigned to his fate. Powerless and submissive, he arouses deep pathos from the viewer. The tondo in the Louvre Museum shows Christ in a position very similar to that of our drawing, a position that will be found in most of Titian's Ecce Homo. To his right stands a helmeted soldier who seems to be baring his shoulder and to his left a servant of Pilate wearing a Phrygian cap. These two figures are reminiscent of the soldier in the lower right corner and the executioner in the left most part of our drawing. Various versions were executed by Titian and his workshop until the late 1560s, and the version that seems closest to the right-hand side of our drawing is the one in the Prado Museum. Although of uneven quality, it is interesting to note the gesture of Pilate's hand, holding out the palm of his left hand towards the viewer, as if to distance himself from the decision that the crowd will make. Recent X-rays of the painting have shown that the executioner on the right, depicted from behind, was originally depicted in profile (as in our drawing), and that the other two figures (Pilate on the left of Christ and a servant wearing a Phrygian cap on his right) were added later. The painting was then organised around the diagonal that crosses the canvas from left to right, emphasised by the light coming from the window, and centred on the exchange of glances between Christ and the executioner on his left. The profile of the old man in the foreground on the left could be inspired by that of the elderly Titian as it appears repeatedly in the painter's late artworks, such as the Madonna of Mercy in the Palatine Gallery. 4. A deeply original drawing, at the risk of confusion We saw in the last paragraph the various borrowings from Titian's depictions of the Ecce Homo that can be found in this drawing: the position of Christ, the presence of executioners wearing Phrygian caps and of helmeted soldiers, one of whom is looking at Christ in a position that evokes the repentance visible with X-ray in the Madrid painting...

Water has been the backdrop to the significant events in my life. The reconstruction of radiant moments that exist in memory define the images I choose to paint, of swimming in the ...

Los Angeles street artist Gary John exploded onto the international art scene during the Art Basel Miami art fair in 2013. John’s playfully bold work quickly gained attention and he ...

Original painting on canvas. Hand signed on front by Ferjo. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers wil...

Using pornography as a vehicle for understanding, Rick Sindt's work explores the discovery and development of queer attraction. Sindt transforms pornographi...

Mini Windbreak Beach by Lenny Cornforth [2022] original and hand signed by the artist Acrylic on canvas Image size: H:28 cm x W:28 cm Complete Size of...

Vivid and dynamic painting of two male figures preparing to go on stage by Marc Foster Grant (American, b. 1947). Titled "Dancers Waiting To Go On" lower left, and signed and dated "...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Paul Wadsworth is one of the UK’s leading exponents of Expressionist paintings. His pieces are heavily worked with layers of richly applied paint, the result is paintings that sing w...

Title: Home Run Genre: Realism, sports, baseball Subject: People Medium: Oil (this might be acrylic, it feels like oil) on canvas Country: United States Dimensions: framed 23 X 25 sight 17.5 X 19.5 Provenance: Sande Webster Gallery in Philadelphia (bears label verso) Faintly signed lower right (see photos) Andrew Turner was born in 1944 in Chester, Pennsylvania. He was a graduate of Temple University Tyler School of Art. Andrew’s work has been widely acclaimed, with many solo exhibitions and participation in group exhibitions. He has taught art in grades K-12 in the Chester, Pennsylvania Public Schools and in correctional centers. His appointments include Artist-in-Residence and Curator, Deshong Museum, Chester, PA; Lecturer, Widener University; Lecturer, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA; and, he toured and lectured in The People’s Republic of China. Andrew’s paintings are included in the collections of Woody Allen, Dr. Maya Angelou, ARCO Chemical Company, Bell Telephone Company, Dr. Constance Clayton, Mr. and Mrs. Bill Cosby, Edie Huggins, the artist previously known as Prince, Maya Angelou, Eric Lindros, Mr. and Mrs Louis Madonni, Moses Malone, Penn State University, Prince, Mr. and Mrs. Harold Sorgenti, Swarthmore College, Mrs. Marilyn Wheaton, and Widener University Deshong Museum, just to name a few. He has been featured in numerous solo exhibitions and group exhibitions in the United States and abroad. In an interview prior to his death in 2001, Turner noted, "My paintings combine the drama inherent in seventeenth century Dutch painting with the brush work and the economy of the Impressionists. However, I look to the jazz idiom more so than to other contemporary visual artists for guidance and inspiration. I tend to measure the success of my pieces by how they stand up technically, emotionally and innovatively to a John Coltrane solo or whether I've captured the spirit of the occasion, a la Duke Ellington. The subject matter, sometimes nostalgic recollections of my days as a young tough, covers a myriad of common folk activities. This one is reminiscent of Purvis Young. "The setting, usually my native Chester, is a beehive of creative stimulation or a deteriorating ghetto depending on my state of mind. At the very least, hopefully, these vignettes of experience will help to provide insight into some African American lifestyles and serve as an inspiration to my students and others to continue the legacy of African American participation in the arts." Folk Artist, Outsider artist, Folk Art. His work is from the true original street artist such as Purvis Young and the early Brooklyn street art Jean Michel Basquiat. “My paintings combine the drama inherent in seventeenth century Dutch painting with the brush work and the economy of the Impressionists. However, The setting usually my native Chester, is a beehive of creative stimulation or a deteriorating ghetto depending on my state of mind. At the very least, hopefully, these vignettes of experience will help to provide insight into some African American lifestyles and serve as an inspiration to my students and others to continue the legacy of African American participation in the arts.” He was included in the seminal show PHILADELPHIA (PA). Woodmere Art Museum. In Search of Missing Masters: The Lewis Tanner Moore Collection of African American Art. September 28, 2008-February 22, 2009. Artists: Henry Ossawa Tanner, Romare Bearden, Elizabeth Catlett, Barbara Chase-Riboud, Joseph Delaney, Sam Gilliam, Leroy Johnson, Lois Mailou Jones...

„The Way 2”, mixed media (soil, pearl glue, oil, powder pigment, rosin) on jute, 140 x 150, 2012 Series “The Way” by Marta Pokojowczyk contains mixed media paintings on jute created...

This piece was inspired by outings to the artist's local beach in August, when the sand is filled with people enjoying the Cornish sunshine! The turquoise ocean reflects the calm of rippling waves against the joyful colours of the windbreaks. Lenny Cornforth original art paintings for sale with Wychwood Art online and through their gallery in Oxfordshire. Endlessly enthralled by the Atlantic ocean, Lenny Cornforth takes inspiration from the northern coast of Cornwall, using layers of translucent colour and texture to construct vibrant and emotional paintings...

Figures at work or Play Abstraction Watercolor and Acrylic on Paper My favorite of the Collection. A bold figurative painting by California-based artist, Ricardo de Silva (Brazilian...

Mike Carson is a Minneapolis painter, and graduate of the Minneapolis College of Art and Design, whose artwork can be found in private and corporate collections throughout the Unite...

Acrylic on canvas painting by Joe Shannon (b.1933). Titled "That Day in Pompeii". Signed and dated in lower left. Gallery label on reverse. New York Time...

Françoise Juvin - Landscape in Italy Reference number FJ178 Framed with a natural oak floated frame. 25,5 x 31 cm frame included (21 x 26 cm without fr...

Boats at Sausalito Harbor - Watercolor on Paper Harbor scene by Bay Area artist Ralsten (American, 20th Century). Many boats are docked in the harbor. One of them is being cleaned b...

Abstract and figurative interpretation of a classic theme. Originally inspired by the Odalisque.

Gabryela Wasowicz is a Polish painter born in 1947. She studied at the Academy of Fine Arts of Warsaw and then at the Gerrit Rietveld Akademie in Amste...

This artwork titled "Viking Norse Oseberg" c.1960 is an oil painting on canvas by impressionist American artist Charles Beauvais, 1917-1976. It is signed at the lower left corner and titled on the back by the artist. The canvas size is 35.5 x 24 inches. It is in excellent condition About the artist: Charles J. Beauvais was born in Washington on October 28...

Cattle By Pond At Dusk, Mid-19th Century Tonalist Landscape by William Keith Gorgeous mid-19th century landscape painting by William Keith (American, 1838-1911), circa 1860. This impressive Tonalist landscape, titled "In the Woods", depicts cattle beside a pond in the forest at dusk. Keith uses loose, blended brush strokes and a muted earthy palette to create an atmospheric mood that Tonalism is known for. Signed "W. Keith" lower left. Museum label on verso from Santa Barbara Museum of Art. Presented in an antique giltwood frame. Image size: 9"H x 13"W. With frame measures: 16"H x 20"W x 3"D. Provenance: Mrs. Eugene Patterson; Santa Barbara Museum of Art. Authenticity guaranteed and certificate include. Condition: Very good. Cleaning and restoration required signature to be re-touched, original images pre-restoration available. About the Artist: Brought to New York City in 1850, William Keith was apprenticed to a wood engraver in 1856 working for "Harper's" magazine. In 1858 (or 1859) he visited California for "Harper's" and then after a trip to Great Britain, settled in California as an engraver in 1862. He began exhibiting paintings in 1864 in San Francisco where he opened his studio, after having been taught painting by his wife. The Northern Pacific Railroad...

Vancouver artist Pat Service has always found inspiration in nature for her beautiful paintings. This series of florals documents a variety of single blossoms. A Grouping of four fl...

WILLIAM SHACKLETON, NEAC (1872-1933) Study for “The Song of the Evening” Signed l.r.: Wm Shackleton; signed and inscribed with title and the artist’s address on the reverse Oil on ...

Vintage mountain landscape painting, oil on canvas of horses pulling a Stage Coach along the Front Range of Colorado by Alfred Wands (1904-1998). Autumn trees, golden grass, river and snowy mountains. Presented in a vintage frame, outer dimensions measure 29 ½ x 35 ½ x 1 inches. Image size is 24 x 30 inches. Painting is in very good condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Born in Cleveland, Ohio, Alfred Wands graduated from the Cleveland School of Art with honors. Following that, he spent six months in Paris studying at the Academie Julian. In the late 1920's, Wands returned to Ohio to teach painting at the Cleveland School of Art and the Cleveland Museum of Art. In 1930, Wands moved to Denver to direct the art program at Colorado Women's College. He remained at the Women's College for the next 17 years. During his time in Denver, Wands frequently traveled to Taos, New Mexico. He and his family spent eleven summers there between 1930 and 1940. By 1943, he had become the Camp Artist at the YMCA of the Rockies, where he taught summer art classes. He later became the Chairman of their Religious Programs and Adult Advisory Committees. By 1947, he quit his teaching position at the Colorado Woman's College to devote full time to his painting. By 1955, Wands opened his own studio and gallery in Estes Park, Colorado. Known as the "Dean of Colorado Landscape Painters", he served three times as the President of the Denver Artists Guild. He was the Chairman of the Denver Art Commission for 16 years. Wands was a long-time member of the Denver Artists Guild and the Denver Art Commission. He was also a member of the Cleveland Society of Artists, Ohio Watercolor Society, and Chicago Galleries Association. ©David Cook Galleries...

Mixed media on paper Shipped well protected, rolled in a tube, unframed I can do commissioned work of any technique, style and size, contact us without obligation

Figurative painting of a sailor from the Black Sea Fleet by Ukrainian painter, Elena Vilchukova. Vilchukova is a graduate of the Kharkiv Art Academy i...

Adam Bartlett Petit Portrait Mixed Media on Glass 20.1cm x 25.2cm Sold unframed Free shipping Please note that in situ images are purely an indication of...

Isabel Bishop portrays two people riding on a crowded subway using bright color in her painting “Study for Subway Reading.”

Pierre Coquet - Still life with a yellow tablecloth Reference number F380 The painting is not framed but it could be with a natural oak floated or black ...

Gabryela Wasowicz is a Polish painter born in 1947. She studied at the Academy of Fine Arts of Warsaw and then at the Gerrit Rietveld Akademie in Amste...

Pierre Coquet - Still life with cherries Reference number F373 The painting is not framed but it could be with a painted black oak floater fra...

Françoise Juvin - Autumn Landscape Reference number FJ16 Framed with an black color wooden floated frame. 23,5 x 34 cm frame included (18 x 26 cm without frame) This work is painted with oil on a paper that is mounted on a board and placed in a made to measure wood strectcher. It is signed in the bottom right. Françoise Juvin (1927-2010) is a French artist born in Nancy. She entered the Ecole des Beaux-Arts in Lyon in 1941 where she met several artists such as Jacques Truphémus...

MALCAH ZELDIS Circus, Trapeze Artists, Horse rider and Acrobats gouache on paper Hand signed and dated bottom right. titled in pencil on paper verso. Fr...

Gouache on newsprint Carribean Folk Art.

Ron Hick on Thirsty: "Thirsty" slips into the identity side of how I see things. This is taking my experiences and emotions as a victim of racial profiling and putting them in a box...

"Abstract Desert" Painting 37" x 37" inch by Ahmed Gaafary To begin this description, let me start with this question: Is it the internal side of things that is more important or i...

MIKOŁAJ MALESZA (born in 1954) a painter and a stage designer. He studied at the Academy of Fine Arts in Warsaw, at the Department of Interior Design, ...

Malaga Shadows is an Original Painting by Eleanor Woolley. Started Plein Air and finished in the Artist's studio this painting is of Malaga's Old City. It is Very early spring, the s...

Exhibited: Salon, Société des Artistes Français, Paris, 1879 (no. 647)

Oil on canvas

Gregory Block's (US based) "Orange Cream" is an original, handmade oil painting that depicts a donut glazed with yellow and orange stripes. Gregory was...

By Gustav Likan 13" x 16" Pastel on Paper

Julius Cesar is an original China ink drawing on paper applied realized by Albert Decaris in the 1970s. Good conditions. Hand-signed. The artwork is depicted through soft stokes i...

John August Groth (American, 1908-1988) "Wrestling Match," Watercolor painting, hand signed upper right and inscribed upper left, "Las Palmas Canary Islands Lucha Canary Wrestling". Framed Size: 21'' x 29'', 53 x 74 cm (sight); 28.5'' x 36.25'', 72 x 92 cm (frame). Depiction of a wrestling match in a city square. John August Groth (1908 - 1988) was an illustrator and art teacher. He gained recognition as a war correspondent-illustrator. He studies at the Art Institute of Chicago and at Art Students League with Todros Geller, Robert Brackman, Arnold Blanch and George Grosz. He was a member: Society of American Etchers; American Newspaper Guild; Society of Illustrators; Associate Member of the National Academy of Design; American Water Color Society. Positions : Art Director at Esquire 1933 - 1937, Parade Publications 1941 - 1944; War Correspondent for Chicago Sun 1944; American Legion Magazine 1945; Artist-Correspondent in Vietnam 1967.Teacher at Art Students LeagueHe was the first art director of Esquire Magazine and taught at the Art Students League, the Pratt Institute, and the Parsons School of Design. In 1940, he was included in an exhibition at MOMA, titled, "PM Competition: The Artist as Reporter." The exhibition included Philip Guston, Reginald Marsh, John Tworkov, John Heliker, Adolf Dehn, and Chet La More. Groth began sketching intently during the Great Depression after studying at the Art Institute of Chicago. Following the advice of an editor, he penned 100 sketches a day for years. He learned to increase his speed by listening to sports on the radio and sketching the action as fast as he could. "I would listen to the games on the radio at night, and sketch the plays. It made me very quick." His break came when Arnold Gingrich, an editor for Esquire magazine, approached him at an art show in Chicago and offered him a position. "The way (Arnold Gingrich) told it," John Groth says, "he found this barefoot, bearded kid in the park, and the next day made him art director of the world's leading men's fashion magazine. But I swear I was wearing shoes." Groth went on to work as a correspondent and illustrator for the Chicago Sun, Collier's, Sports Illustrated, and The Saturday Evening Post. He developed a passion for war zones. He covered six different wars and was one of the first correspondents in Paris after its liberation. "It is only at war that I feel complete... There, you meet all sort of men -- farmers, mechanics, college professors. It rains on them and it rains on you. The shells burst in the air, and you are there, too." He would make a splash when he beat out friend and rival, Ernest Hemingway, into Paris in 1944. Hemingway was writing for the Chicago Tribune and Groth for the Chicago Sun. Groth was in the first jeep into Paris and got the scoop. His headline read, "Yanks are in Paris!" Hemingway would later write about Groth's technique. “None of us understood the sort of shorthand he sketched in. The men would look at the sketches and see just a lot of lines. It was a great pleasure to find what fine drawings they were when we got to see them. Groth went on to illustrate such classic books as: A Christmas Carol, All Quiet on the Western Front, The Grapes of Wrath, The War Prayer, and Gone with the Wind. Deborah Churchman described Groth's work in a 1980 Washington Post article: "Groth's pictures center on the day-to-day life of people caught in terrifying circumstances -- armies occupying cities, soldiers sweeping roads for land mines, bullfighters facing death." Bernie Schonfeld, a photographer for Life Magazine said of Groth, "John is one of the gentlest people in the world, and he always gets himself into the wildest hell hole." He joined the First Congress of American Artists Against War and Fascism in 1936, along with Stuart Davis, Peter Blume...

A unique oil painting, drawing heavily from the post-impressionist movement. A beautiful, yellow early morning scene, typical of Glanville's work. Oil on stretched canvas, ready to h...

This captivating beach scene in Zandvoort, a Dutch coastal town west of Amsterdam, Netherlands that is a remarkable display of Van der Plas's true passion for outdoor genre paintings...

A unique oil painting, drawing heavily from the post-impressionist movement. A gloomy night-time street scene, typical of Glanville's work, depicting two figures in earthy colours. O...

"Half Way 8", an Oil on Canvas painting of Sienna and very pale aqua-blue. Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculptors of our...

This contemporary painting by Chin H Shin is part of his 'Urban Jungle' series which focuses on capturing the vibrant character of New York City. The dynamic spirit of the brushwork and gesture involved in this artwork romantisises on the magic of an area that is bathed in rich history and culture. Incorporated is a mystical and mysterious palette of fiery red hues, reflective of sunset colours. An innovative approach to creating an impression of colour and light suffuses a lyricism, creating a visual image that is poetically woven together in illuminating tones. A clear influence of Korean calligraphy combined with Expressionism is synergised in this piece, producing a unique impression of the metrapolis. An everyday cityscape is transformed as the artist demonstrates merging of abstraction and figuration to describe the bright artificial glow and architectural giants that are distinctive to the place. This original work of art is painted in oils on canvas, hand signed by the artist and ready to be displayed. Artist Biography In his native South Korea, Chin H. Shin began studying the fundamentals of fine art from a young age. He trained in the basic principles of oil painting and watercolour, but still desiring more, Shin immigrated to the United States in pursuit of further education in the fine arts. In New York, he studied the Western tradition, familiarizing himself with the works of masters such as Camille Corot and Edward Hopper -- both of whom would continue to serve as sources of inspiration for Shin to this day. After his studies, Shin earned his Masters of Fine Art from Long Island University. In most recent years, Shin has dedicated his focus on New York cityscapes. The expressiveness of New York City -- its brilliant culture, vast history, and even the very streets of the metropolis -- has continued to inform his work as he develops his artistic voice. Shin’s ultimate goal is to transform the scenes of daily life into a kind of visual poetry through his technical mastery of breaking down color and light. That visual poetry is the basis of a new kind of art form which Shin hopes to create and convey, influenced by Korean calligraphy and the bold brushstrokes of Expressionism.  Shin remains active in the art scene, showcasing his work at various art galleries including the Transform Gallery in New York City, Williams Gallery in New Jersey, Bucks County Gallery of Art in Pennsylvania, the Greenwich House Gallery in Ohio, Geary Gallery in Connecticut, and Saks Galleries in Denver, Colorado. He is also featured in the 2019 “Weather or Not: Art with Atmosphere” exhibition at the I.D.E.A. Museum in Arizona, and has participated in The Other Art Fair presented by Saatchi Art in Brooklyn, New York.  Chin H Shin has a Master of Art Degree from Long Island University. His past affiliations include Oil Painters of America, American Society of Marine Artist, and Portrait Society of America, and has also been Juror of Award for Bold Brush International Art Competition and also current winner of The Bold Brush Award.  Artist Statement “The Basic philosophy of my art is bringing the huge Power or energy from nature or daily life. My abstract does not come from the direct practice of Abstract on canvas, I explore my own abstract without giving up what I see in front of me.” – Chin H Shin Recent Past Exhibitions • 2020 Juror of Award at Boldbrush Art Competition • 2020 The Boldbrush Award at Faso International Competition • 2019 Autumn Art Show at Saks Gallery, Denver, CO • 2019 Weather or Not: IDEA Museum Art Show in Arizona • 2017 The Other Art Fair-Brooklyn, New York • 2016 Group Art Show at Transform Art Gallery, New York • 2014 Solo Art Show, Huntington, NY • 2014 A Judge for Boldbrush Art Competition • 2013 Solo Art Show, Locust Valley...

Garden Spirit No. 2 by Agnese Negriba [2022] Please note that insitu images are purely an indication of how a piece may look This painting on handmade p...

Francks Deceus’ Mumbo Jumbo #5 is part of the Mumbo Jumbo series the artist has been working on since 2019. The artist writes “As a Haitian immigrant while...

This work is typical of the topographical paintings by Trevor Waugh. Trevor and his wife travel the world painting locations and scenes that inspire them. Trevor has been painting all of his life after having studied at the Slade School of art. Since 1993 Trevor has made frequent visits to Venice for inspiration, resulting in several exhibitions here in the UK, as well as Florence and Rome. France has also featured in Trevor’s travelling schedule where he ran painting holidays in Provence and the Dordogne and spent some time in the Ardeche, Giverny and Brittany. A painting trip to Oman and a painting trip to Istanbul have also featured. Trevor Waugh was born in 1952 and grew up in London. Trevor studied at The Slade School of Fine Art from 1970 -1974 (BA) under the guidance of Sir William Coldstream, Professor of The Slade at the time, Patrick George, Philip Sutton...

Aster da Fonseca Nest Builder Acrylic on Tape on Paper Year: 2022 Size: 12x9in Signed by hand COA provided Ref.: 924802-1374 collage acrylic paint tape nature landscape bird tree be...

Lilac Nude is an original artwork realized by Maurice Rouzée in the 1940s. Tempera on paper. Hand-signed by the artist on the lower left margin. Good conditions, except for some smal...

By Gustav Likan 12.5" x 15.5" Pastel on Paper