Oversized Figurative Paintings

M with Stocking by Efren Isaza Image printed onto a canvas, intervened with paint, ink, and intentionally scratched by the artist Measures: 66 in. H x 55 in. W Signed, titled, dated,...

Flowing Sound #10 is a unique painting by contemporary artist Maho Maeda. This painting is made with acrylic, coloured pencil and ink on cotton canvas and carved wood, dimensions are...

In this oil painting, I've blended abstract, figurative, and surreal elements to capture the fluid motion and raw emotion of an intimate dance. The intertwining forms, awash in shade...

David Shingler's (NC based) "Genesee Park, CO" is an oil painting that depicts a yellow-grassed meadow with the churning overcast sky overhead. Bio/a...

"Woman 02" by János Huszti is a captivating oil painting on wrapped canvas, measuring 80" x 63". This piece portrays a moody, neutral-toned portrait of a woman with a messy bun, exud...

*New Year Inventory Renewal Sale - 90 Days Until April 30th* *This Price Won't Be Repeated Again This Year* 'Money Talks' is the new series of artist Mauro Oliveira. Highly...

Jalal Gharbi, Tunisian/American (1920 - 2005) - Men Talking at a table, Year: circa 1970, Medium: Oil on Canvas, signed lower right, Size: 36 x 48 in. (91.44 x 121.92 cm), Descrip...

“Time” artworks series. This series, by Tanya Vasilenko, is devoted to the very difficult to understand and philosophically inexhaustible phenomenon of time. The artwork fuses together the artist’s interpretation of time and her paradoxical use of techniques. Art, being in many respects the philosophical discipline that comprehends a person and their place in the flow of history, deals with the phenomenon of time constantly. The basic periods in the history of human civilization - Ancient Egypt, the Renaissance, and the New Age - are taken as style reference points. Each of these periods has its own understanding of time and its values, and therefore formed a certain personality, a true hero of their time. Such a person leaves a unique trace in the history of time. This does not happen by accident. Since the time of St. Augustine, theologians have interpreted time as the carrier of the moral principle. This "rediscovery of time" as it is articulated in terms of moral responsibility represents a significant paradigm shift in the culture of the postmodern world. This combination of time and space has the figurative expression of the round dial of a watch...

Simone Theelen, a dynamic and exploratory artist born in 1963. embarks on a continuous journey of creativity and discovery in her studio, where chaos an...

Antique, decorative oil painting, 18th century. Christian scene. Canvas relined. With a beautiful wooden frame. Dimensions without frame.

Born in Venezuela and based in San Francisco since 2019, Alexis' paintings showcase an exploration of his innermost self through abstraction. Each canvas or work on paper is a rhythm...

Samuel Hallaj (1958-2024) Samuel Hallaj was a visionary Armenian artist whose work transcended borders, captivating audiences around the world with its p...

This charming 18th century French Old Master oil painting is attributed to circle of Joseph Frans Nollekens. Painted circa 1740 it is described as a fete champetre - a form of entertainment in the 18th century, taking the form of a garden party. They were often elegant affairs and became very popular in 18th French paintings. Antoine Watteau invented the genre, from around 1710 and they were also included as a category in the French Academy. In this painting, several well dressed figures are sat in the foreground by a fountain and statue, being entertained by a musician. Beyond, a wide avenue of trees leads towards a very grand country house with countryside beyond. There is superb detail in the figures and their colourful clothing. The brushwork in the trees and sky is also superb. This is a charming example of an 18th century fete champetre and of a French Old Master oil painting. Provenance. Gloucester estate. Condition. Oil on canvas. Image size 49 inches by 30 inches and in good condition. Frame. Housed in a fine gilt frame, 56 inches by 37 inches and in good condition. Josef Frans Nollekens or Joseph Frans Nollekens (1702–1748)[2] was a Flemish painter who was principally active in England where he is often referred to as "Old Nollekens" to distinguish him from his famous son, the sculptor Joseph Nollekens. He painted conversation pieces, galant companies and fêtes champêtres in the style of Watteau, genre scenes as well as portraits. He was also active as a picture restorer. A fête champêtre was a form of entertainment in the 18th century, taking the form of a garden party. This form of entertainment was particularly practised by the French court, where in the Gardens of Versailles and elsewhere areas of the park were landscaped with follies, pavilions, and temples to accommodate such festivities. The term is a French expression, very literally translating as "party in the fields", meaning a "pastoral festival" or "country feast" and in theory was a simple form of entertainment, perhaps little more than a picnic or informal open air dancing. In practice, especially in the 18th century, the simplicity of the event was often contrived. A fête champêtre was often a very elegant form of entertainment involving on occasions whole orchestras hidden in trees, with guests sometimes in fancy dress. Such events became a popular subject in French 18th-century painting, representing a glamourized aristocratic form of pastoral, with "scenes of well dressed dalliance in a park setting". Antoine Watteau invented the genre, from around 1710, and is its best exponent, imitated by others such as Nicolas Lancret and Jean-Baptiste Pater...

Contemporary figurative oil on canvas painting by Polish artist Waldemar Marszalek. Artwork shows woman in nude holding an apple in each hand while man in a long coat and white colla...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) "Serenity" is an enchanting artwork that immediately captures the viewer's attention. The focal point is a woman, portrayed with grace and elegance. Oladapo's attention to detail brings the subject to life, with each brushstroke conveying a sense of peace and serenity. The woman's calm expression exudes tranquility as if she has discovered a profound inner stillness. Her eyes reflect a sense of contentment and acceptance, inviting viewers to join her in a world of peace and joy. The artist's careful use of color and light further enhances the soothing atmosphere, creating a sense of harmony and balance within the artwork. "Serenity" embodies the idea that every moment of our lives can be filled with peace, joy, and serenity, regardless of external circumstances. The artwork encourages viewers to embrace the present moment, finding solace and happiness in the simple pleasures of life. The woman depicted in the artwork serves as a symbol of inner strength and resilience. Her serene expression represents an inner journey, a state of mind that can be achieved through mindfulness and self-reflection. She invites viewers to let go of worries, anxieties, and the constant pursuit of external validation, and instead find tranquility within themselves. The emphasis on "every breath we take, every step we make" underscores the notion that serenity is not confined to a specific time or place. It is a mindset that can be cultivated in each moment, whether we are walking in nature, engaging in daily tasks, or simply pausing to take a deep breath. The artwork encourages viewers to approach life with mindfulness and to find joy in the present moment. Agboola Oladapo...

Artist: Ara Harutyunyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2024 Style: Contemporary Art, Titl...

Naturalistic sporting landscape painting by Texas artist Al Barnes. The work features a central male figure on an airboat with his dog set against a quiet co...

Large oil painting by C. Delort entitled ‘The Wedding, Fontainebleau’ French, Late 19th Century Canvas: Height 90cm, width 130cm Frame: Height 109cm, width 148cm, depth 7cm This s...

An artwork inspired by a love of dance and nature. The beautiful ballet dancer is in a dream of nature with her wings hinted in the shadow of her dance below. The butterflies both gu...

"Detrás", Behind, it is a work that invites reflection and contemplation. Its square format and careful composition divide the space into two vertical strips, each with its own sym...

Everyone holds his fortune in his own hands, like a sculptor the raw material he will fashion into a figure. But it’s the same with that type of artistic activity as with all others:...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Rizaldy Celi Jr. (American, Filipino-Vietnamese, born 1983) "Children of Pride" 2024 Oil paint, Varnish, Canvas, Stretcher Bars The artist signed the back of the painting. "Children...

Richard Judson Zolan (1931-2001) "Be Calm" A sailor girl (or sailor boy) with a toy boat in a pond. Oil painting on canvas, hand signed upper left, Dimensions 40 x 30”, framed to...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

Ifeoluwa Alade ( Nigeria based) "Untitled" is an original, handmade acrylic painting that depicts a female model with colorful butterflies and a dark background. Artist bio: Ifeol...

"Triple Elvis" (Denied) Silkscreen Painting by Charles Lutz Silkscreen and silver enamel paint on canvas with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82 x 72" inches 2010 This important example was shown alongside works by Warhol in a two-person show "Warhol Revisited (Charles Lutz / Andy Warhol)" at UAB Abroms-Engel Institute for the Visual Arts in 2024. Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis...

Rutger Hiemstra Attempted Art Oil on wood panel 53 x 125 cm Dutch artist Rutger Hiemstra (1975) understands the art of painting from observation. Still lifes, landscapes, portraits...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. Even as she allo...

The Artist's Apartment Mid-Century Fauvist Interior Scene Original Oil on Canvas Vibrant interior scene by Santa Cruz California artist Frances Rinaldo (American, b. 1943). A bright...

"Association Day" by Morakinyo Femi captures the essence of everyday life with remarkable finesse. In this captivating artwork, we see a woman with her hand on a sewing machine, poised in a moment of industrious determination. The title, "Association Day," hints at the power of community and the shared labour that often defines our existence. Through this piece, Morakinyo Femi not only celebrates the strength and resilience of women but also invites us to contemplate the intricate web of relationships and associations that shape our lives. The sewing machine, a symbol of creativity and hard work, serves as a powerful metaphor for how individuals contribute to the fabric of society. Femi's artistry transcends mere visual representation; it weaves stories and emotions into every stroke of the brush. "Association Day" is a testament to his ability to evoke profound contemplation through the seemingly ordinary moments of life, reminding us of the beauty that lies in the details. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Morakinyo Femi is a visual artist born in Akure, Ondo State Nigeria in 1984. At an early age, Femi was intrigued by the stamps collected by his banker father which have now become a significant source of inspiration for his art style. Femi lived briefly with his grandmother, a connoisseur of old textiles...

A beautiful oval landscape painting with two young girls reading near Niagara Falls by German American artist Louis Lang (1814-1893). Lang was born in Waldsee, Wurtemberg, Germany, and came from an artistic family, his father being a history painter. Combining this heritage with his own native talents, he was producing successful pastels at age sixteen. Lang studied in Stuttgart, Germany and Paris, France, before coming to the United States in 1838. He first settled in Philadelphia, then lived in Italy from 1841-1845, before returning to America (1847) and living the majority of his life in New York City, with frequent visits to Europe. During the Civil War, Lang was working in the well-known artistic landmark, the Tenth Street Studio Building, in New York City. John F. Kensett and Emanuel Leutze...

Benasque 1 is a unique oil on canvas painting by Spanish contemporary artist Calo Carratalá, dimensions are 156 × 214 cm (61.4 × 84.3 in). The artwork is signed, sold unframed and c...

"Visitation" combines digital print making with oil painting to create a dizzying display. This particular work is from the 2022 series "Romantic Overgrowth." Characteristic of the s...

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

Born in Venezuela and based in San Francisco since 2019, Alexis' paintings showcase an exploration of his innermost self through abstraction. Each canvas or work on paper is a rhythm...

IN THIS TIME, THIS DISPENSATION. SOMETHING NEW AND FRESH KEEPS SPRINGING UP WHAT ELSE CAN IT BE? BUT LOVE AS REFRESHING AS COLD WATER IS, SO DOES THOUGHT OF YOU TO ME. I’LL GIVE MY F...

This work is offered by CLAMP in New York City.

Michael Magrin's ( US based) "Centennial Skies" is an original, handmade oil painting of a brilliant blue sky contrasted with a vast expanse of clouds. ...

View of the Bergsee is an original modern artwork realized by the Austrian artist and painter Josef Brunner in the middle of the XIX Century. Original Oil painting on Canvas cm. 72 x 3 x 102 (canvas). A beautiful original XIX Century decorated frame is included (total dimensions: 100 x 5 x 130). Both the work and the canvas are in very good conditions. Beautiful and intense oil painting depicting the Austrian mountain lake Bergsee. The painting is characterized by a particular play between lights and shadows: the light indeed is distributed in an extremely suffused but homogeneous way on the view but it is also able to create that sense of magic that characterized the whole landscape. The color of the lake therefore assumes a transparency and an iridescent blue that tends to the green and reflects the color of the surrounding mountains. The sky appears full of rainy clouds but they still allow the rays of the last sun to shine on. The general vision conveys calm and tranquility thanks also to the refined use of color and the play of lights and shadows, the turquoise and the pale opaque blue of the lake is perfectly emphasized by the various green tones of the trees. The white, gray and light brown rocky mountains embrace the lake and the cloudy sky in shades of blue increases the feeling of tranquility. The landscape is desolate; the only signs of life are the three fishermen on the shore: they are three small figures painted in different poses and illuminated by the light too. The surface of the water reflects in a spectacular way the surrounding landscape, it is similar to the surface of a mirror. The style, fantastic and almost dreamy, is into the full Germanic Romanticism. Mindful of Caspar David Friedrich's memoirs (Greifswald, 1774 - Dresda, 1840), the author certainly took his cue from the style of the German and the Austrian Romanticism; tangible signs of Romantic painting are the choice of the subject, an uncontaminated Nordic landscape, and the almost fairytale atmosphere that we find in the composition. This wonderful Romantic painting was created by the Austrian artist Josef Brunner (Wien, 1826 - Wien, 1893). Joseph Brunner was the son of Joseph...

Bucolic Scene is a majestic oil painting on canvas attributed to the painter Michelangelo Ricciolini. Includes a frame: 142 x 173 cm. Good conditions, except for little loss of color on the canvas. The beautiful painting represents a bucolic scene where shepherds, women, and children are conversing in a resting moment. The scene is set in an open space, probably a wood. Michelangelo Ricciolini (1654 – 1715) was an Italian painter of the Baroque period. He first studied in Rome under Angelo Canini; he then joined the large studio of Carlo Maratta. He painted various works in Rome, including the dome of Santa Rita...

Valley House Gallery presented our first exhibition for Houston artist Otis Huband in the summer of 2014. Born in 1933 and reared in Virginia, Huband began his formal art education a...

Contemporary figurative painting with lots of details and movement. Beautiful statement piece for any art collection. Combining a lot of different colors in any interiors and settin...

WPA Mural Study American Scene Social Realism Mid 20th Century Modern Workers Seymour Fogel (1911-1984) Mural Study, untitled 11 x 49 1/4 inches (sight) Tempera on board Provenance:...

Large scale and dramatic, ""Langostina, an abstract painting by Harold Black (American, 1913–1993). Signed lower right and on verso. Presented in giltwood frame. Image, 40”H x 22”W. ...

Do Dolls Have Emotions? (#3) is a unique oil on canvas painting by Croatian contemporary artist Zoran Šimunović, dimensions are 180 x 150 cm (70.9 × 59.1 in). The artwork is signed,...

Oil on canvas Canvas size: 32 x 45 inches Framed size: 35.5 x 50 inches Signed lower right

Everything that exists is a result of what we believe to be real. This reality serves as evidence of immortality. The soul and spirit are immortal, temporarily separating from the bo...

In Marguerite the white peonies are a symbol of riches and honor used in Chinese art that profoundly influenced Pushman. This painting is in an originally chosen "Pushman" frame acquired from Barcelona, Spain. There is incredible color in this work and exciting brushwork. It is a true example of Impressionist technique, perhaps some of the finest technically of all American painters at this time. At this time Pushman painted all ethnicities and here we see the unusual subject of a younger sitter. Thus Pushman has emphasized purity and innocence. Panel inside frame measures 32 x 23 and it is signed lower left. As well as it bears the Pushman cataloguing number #47 on verso which attests to its early date in his career. Against these stark white symbols, Pushman paints in sharp contrast a dark backdrop reminiscent of an Oriental tapestry...

Beautiful figurative painting of a female nude figure standing with a vibrantly colored and patterned quilt by Rebecca Hall (American, 20th Century). Signed "Rebecca Hall 1984" on ve...

Portrait of Girl with Plaited Hair European School, late 19th century oil on canvas, framed framed: 41.5 x 35.5 inches canvas: 36 x 30 inches provenance: private collection, UK condi...

This artwork "Landscape with Farm, California" c.1950 is an oil painting on canvas by noted California artist Clifford Holmes 1876-1963. It is signed a...

POMERIGGIO is a unique acrylic on canvas painting by contemporary artist Ramon Enrich, dimensions are 96 × 120 cm (37.8 × 47.2 in). Dimensions of the framed artwork are 100 cm x 125 ...

Revealed Wounds - Black & White Atmospheric Landscape Painting by Contemporary British Artist Mark Thompson. Mark is a seasoned professional painter with international representatio...

Attack From Above, 2020, acrylic, oil, canvas, yarn and thread on canvas. Green, blue, pink, eagle, jet, spider-man, abstract.

This artworl "Landscape" c. 1935 is an oil painting on hardboard by renown California artist Frank Joseph Girardin, 1856-1945. It is signed at the lower right corner. The hardboard size is 20 x 30 inches, framed size is 30.5 x 40.5 inches. Framed in a wooden beige frame, with fabric liner. It is in excellent condition. About the artist: Born in Louisville, Kentucky in 1856, Frank joseph Girardin began his art instruction in 1870 under Frank Noble and later Frank Duveneck at the Cincinnati Art Academy. A semi-pro baseball player in Cincinnati, he was best known for his beautiful landscapes of both Indiana and California. An extremely active participant in the development of the Art Association of Richmond and original member of the local Sketch Club, he served on the Board of Directors of Art Association for several years. He was considered ranked next to the late John E. Bundy in talent and skill by the former Art Association Director, Mrs. Ella Bond Johnston. It was during his time in Indiana, that he received the most recognition for his work. In 1903, he won first prize for his painting, "Lingering Snow" at the Cincinnati Art Club Show. This would be one of numerous prizes and awards the he would receive during his time in Indiana, including the coveted Mary T...

"Duet #2" is an original painting on canvas measuring 48 x 36 inches by Erik Freyman. The artist is best known for his 80's style which draws heavily on Art Deco and Cubism. Frey...

Urszula Wilk – artist statment: I have always been interested in the idea of infiniteness of a painting and its opposite – that is the physical finiteness of the painting. This phys...

Victor Wang's subject is a female seemingly caught in a contemplative moment yet a war rages behind her. She dons a hat shaped as a boat and carries and oar as if to "Dream Away" these other thoughts. Wang uses a blend of luminous colors and buttery textures to evoke these enigmatic moments of meditation. Influence by the Renaissance Masters Titian and Rembrandt for their glazing and layering techniques respectively, the artist builds the surface using heavy paint, swirling and mixing the color on the canvas. The end result is a poetic and emotionally powerful representation of the human form. Victor Wang Dreaming Away, 2017 oil on canvas 42h x 56w in 106.68h x 142.24w cm VWG009 My path through life has been adventurous, exciting, and dream-like. My experience of settling into America in search of better opportunities has been both challenging and inspiring. I use the human face as a vehicle to paint human experiences - worry and wonder, sadness and pleasure - which reflect the emotional stage directly tied to my immigration experiences. I grew up amongst the sunflower fields in northern China. In my childhood years, I played under the bright, yellow sunflowers with my brothers everyday. China’s Cultural Revolution played an important part in my life. During that time, sunflowers were used as political allegories to depict how citizens of China should follow Mao who represented the sun, since sunflowers follow the sun’s movements. People eventually inferred the deception that this symbol masked. After graduating from high school, I was sent to a labor camp in the country for ‘reeducation’ during China’s Cultural Revolution. There, I was subject to grueling farm work. Often, I worked in corn and sunflower fields from sunrise to sunset. Thus, for me, sunflowers evoke both personal joy and sadness. Therefore, to deliver my complex feelings, I use sunflowers as a metaphor to connote my background and emotional stage. My incorporation of collages of figures from China’s Tang Dynasty represents my Chinese heritage and is a constant reminder of where I came from. The texture and earthiness on the canvas’s surface are inspired by the texture of the soil on the farm where I worked in China. Although I often gain great pleasure from the process of painting, it is most important to unfold expressively those feelings within myself. Wang belongs to a generation of immigrant painters from China, whose artistic background was defined by socialist realism but took advantage of their skills and broke away from that tradition to create new subjects in the U.S. “When I was a student during Cultural Revolution, Soviet realism art was among the dominant source of influence and it grabbed us like lightening rod...