21st Century and Contemporary Figurative Paintings

Useful Object Light, 2009 Oil on canvas, wooden box, mirror, gas lamp 47.63 H x 27.55 W x 11.81 D in 121 H x 70 W x 30 D cm Signed on reverse In the "Useful Objects" series, th...

Original painting. Hand signed by the artist. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers will be considered.

Woman doing yoga, stretching, leaf, torn paper color composition featured in this delightful still life oil on canvas painting. In this series of trompe-l'œil oil paintings, Willard...

Adorator, 2004 Acrylic on canvas 78.74 H x 35.43 W in. 200 H × 90 W cm Signed The painting "Adorator" is part of a larger series of works entitled " Minotaur" and inspired by the m...

Original painting. Hand signed on verso by the artist. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers will be considered.

“Good artists borrow. Great artists steal.” A quote oft attributed to various sources that was never actually uttered by any of them. Though Mark Twain elaborated on the sentiment: “Ninety-nine parts of all things that proceed from the intellect are plagiarisms.” In the Framed Series, I use my 1% contribution to combine issues of consumption with my autobiography. I paint copies of copies of paintings within paintings to reference the appropriation, commodification, and altered continuum of art. My paintings of paintings are based on photographs of originals to perpetuate the continual distillation of form, given the ease with which images are presently exchanged and modified. Further, by reducing historically significant paintings to framed objects hanging on walls, I augment art as a commodity and reconcile the conflict between the artificially assigned monetary value of artworks with the reality that they are simply swirls of paint. In this way, I am also acknowledging the literality of my own work. I have also altered each copied painting to personalize the context of the pieces and address specific autobiographical ideas. These ideas relate to a range of both recent and distant experiences, both funny and sad. Although my initial renderings are digital image composites, my medium of choice is oil paint, applied in transparent layers, using the image on the computer screen as a reference. In addition to its lush visual properties, I enjoy the flexibility of oil paint in making acute renderings as well as the evolution of the imagery from paint to digital and back to paint in further protracting both the distillation and evolution of form. statement on piece "The character Jame Gumb, from the 1991 film and 1988 book, The Silence of the Lambs...

This pastel, ink, oil and gouache on paper, depicts a female figure looking back at us wearing a yellow lime green mask and cape. She's wearing a pink and black flower in her green ...

An original acrylic painting by American Primitive Artist Robert Sellers.

Signed, titled and dated on the verso. Acquired directly from the artist. Painted on the sides. No frame needed. Free shipment worldwide. Working on a variety of perceptual levels, ...

Oil painting of a woman in white swimsuit in a blue pool. "I throw myself into the water almost every day- it grounds me, the body floats and the mind ...

Leopard Print Woman, Pop Art, The Art Tart By Rose Popay, British artist under the pseudonym 'The Art Tart', 21st Century Signed by the artist on the lower right hand corner spray pa...

Robert Petrick Blue Mask East Village Abstraction

Born in Hereford, England, Fiona Morley’s artwork is a combination of illustration and sculptural relief that is achieved with wire, as the line can be taken off the page and into sp...

An original acrylic on board by Israeli American outsider artist Robert Sellers.

Valley House Gallery presented our first exhibition for Houston artist Otis Huband in the summer of 2014. After a hiatus of over 20 years from regular exhibitions, his work was re-in...

Acrylic on canvas.

A painting by Peter Gerakaris. "Daphne II (Slap That Bass)" is an oil on canvas painting, executed in a vibrant palette primarily of deep blues, yellow, oran...

Fine detail contemporary close up detail of a tropical leaf. Acrylic on canvas

A contemporary oil painting on linen by American artist A.J. Fries. Artist’s Statement: These works are an extension of a small series of realistic paintings that I did of graves...

Contemporary Figurative Abstract, Woman in Red Bikini Modernist painting of a brunette in a red bikini in an urban setting by San Francisco artist Michael...

Exotic Sunshine is a painting made by Evelyne Ballestra, a French contemporary artist. This piece is a part of a flower series, defined by their distinct bright colors, satiny, silky...

Kathy Grayson explores how day-to-day transitions from analog to digital media affect traditional painting. Fascinated by the transformations of meaning that occur when pictorial tec...

"The Resort" 2019 Oil on canvas 36 in x 36 in 1.5 in deep Welcome to the "Resort"... In the spirit of HBO's the "White Lotus" this seaside painting makes me think about a story. W...

Artist: James, Clarence Title: Logos, Ethos Date: 2023 Medium: Acrylic, Aerosol, Oil Stick on Canvas Unframed Dimensions: 40" x 30" x 1.5" Signature: Signed Edition: Unique Pr...

Artist: James, Clarence Title: Here i am Date: 2023 Medium: Acrylic, Aerosol, Oil Stick on Canvas Unframed Dimensions: 60" x 48" Signature: Signed by Artist on Verso Edition: ...

Emilie Arnoux hails from Normandy, France. From a young age, she became fascinated by the ocean and the laid back lifestyle surf-culture engenders. Her work captures the divine energ...

Paula Cahill's linear abstract compositions are often comprised of a single, luminous line that meanders, changes color, and seamlessly connects back to itself. This piece combines C...

A vision of Paradise which was frozen and even a snake is leaving it. Although the moment is numb, there is a beauty in it.

Silvio Porzionato Matrix Oil on canvas 78.7 x 55.1 inches (200 x 140 cm)

Inner Portrait is a series conceived of more than 30 paintings that came to life in 2018 and 2019. This project revolves around the idea of self-exploration and will implement a mixt...

A Tropical Monster is from the Indian Ocean, surrounded by fish and partly fish itself, eating people like popcorn. All my underwater monsters are fears of hidden danger, but what ca...

Carmelo Niño Amantes con escena, 2019 Acrylic on canvas 200 x 400 cm 78.7 x 157.4 in. The work is accompanied by a certificate of authenticity signed b...

Original oil painting by Eric Zener. Eric Zener’s photorealistic paintings and resins are focused on four motifs: landscapes, figures in bed or on tightropes, and bodies in water. ...

Oil on canvas

"Fallen Goddess" Oil Painting 59" x 47" inch by Dmitriy Krestniy ATTENTION: Painting ships rolled in a tube. A look through Dmitriy’s designs reveals a glamorous, feminine, provoc...

Leigh Wen’s works reflect her personal and cultural histories. Having grown up on the island of Taiwan, she has a deep affinity for the elemental power of water and the forces of nat...

Running Men by Krzysztof Kokoryn, Polish (1964) Date: 2002 Oil on Canvas, signed and dated lower margin Size: 31 x 40 in. (78.74 x 101.6 cm) Frame Size: 37 x 45 inches

With these pieces Mattia is painting a self-portrait in a unique and creative way without the typical technique of using paint with brush strokes. Mattia starts by creating molds then ice sculptures with color...

TOTÉM DE GRITOS, an oil painting on canvas by Anna Ortiz, measures 48" high x 40" wide. Totém de Gritos is recent work and characteristic of the artist's practice – the palette is re...

"Blue I" is an original oil painting on canvas by the artist Clovis Pareiko. Beauty and aesthetic have always been a major concern for me. I focus my energy on it because I believe ...

Blue Harleking - a beautiful piece from Berlins' Harleking series. This mesmerising painting is cooler and more sculptural in its construct. The sculptural quality & cooler palette d...

Acrylic on canvas. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

"Sally" is a collage painting on canvas by LA-based street artist Amy Smith. She is best known for her empowering images of women and motivational text pieces. You can see her murals...

"Make it Happen" is a collage painting on canvas by LA-based street artist Amy Smith. She is best known for her empowering images of women and motivational text pieces. You can see h...

"Girl with a rooster" is an oil painting by the impressionist Maestro Volodymyr Nosan. About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Contemporary Edition : Unique, signed Weight: Approximately 3 kg. The painting has no frame. His paintings bring emotion of happiness, love, pure energy, peace and beauty represented by the vast creative power of his talent.” Dear art lovers, if you like the art of maestro Volodymyr Nosan, please click the link to follow this artist and art gallery Snow Pearl to discover all our artists and beautiful artworks. Thank you so much! we appreciate your interest to our work. Maestro NOSAN VOLODYMYR...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

Signed, Dated, Titled Verso BIO: Daniel Jefferson AKA "Bipolar Holiday" is a self-taught street artist. A native of St. Louis, he grew up in North St. Louis County in the cities of Normandy and Hazelwood. By the age of 3, he was drawing and painting alongside his father and together they shared studios and collaborations into his mid-20s. His father grew up in Tupelo, Mississippi and his mother in St. Louis. Expounding on his family history, Holiday speaks of his Quaker and Native American ancestry - along with his father, who is black, and his mother who is white - as forming his multiracial identity and upbringing. He expresses “not always fitting in,” - being neither “this nor that” - and residing on the margins between the social constructs of race. This emotional state is reflected in his artistic output. He cautions us to see that, while the subject matter of his work is not always a direct depiction of his experience of race, his existence as a person of color propels him and bears directly on his artistic focus and choice of materials, along with the application and gesture in each work. Anger and sadness are part of it – also love, joy, pride and humility. The artist often signs his work with a mark inspired by the ancient Egyptian Eye of Horas – a symbol of power, protection, and health. Throughout his career, Bipolar Holiday has been both a solo practitioner and a collaborator. Tagging as King Dee and later Melo, he worked variously in the St. Louis area from the mid- 1990s to early 2000s. In the 1990s, he painted with the then St. Louis-based graffiti artist Nick Miller and his crew. Choice spots ranged from free standing concrete walls on abandoned property to temporary fencing along construction sites. The artist's compositions contained expressive line and figural elements – human faces, eyes – and the ethereal and allegorical – angel, devil motifs, etc. Later, he moved his artistic focus to a more studio-based form starting in the early 2000s. Holiday had his first show alongside his father’s work at Urbis-Orbis Gallery in downtown St. Louis in 2003. Coming full circle, he occasionally works in a few items of collage or spontaneous marks made by his daughter during her early childhood. Bipolar Holiday has exhibited his work both locally and globally including St. Louis, New York, Grand Rapids and Antwerp. In 2019, he was featured in a four-page spread of JMG Lifestyle Magazine and a large-scale work whet to the Isabis Art Expo in 2019. St. Louis Magazine listed “Bipolar Holiday: Kyoto Girls” when the Walker-Cunningham Fine Art pop-up exhibit was named to the A-List in July 2020. Holiday's work can be found in numerous private and public collections. He lives in St. Louis City...