Stellan Morner

The Lamp, Stellan Morner (1896-1979), Surrealist original Oil on Panel, c. 1935

c. 1935

Max Walter Svanberg (1912-1994) Untitled, 1961 Gouache on carboard paper 70 x 30 cm l 14 1/8 x 11 in. 85 x 45 cm l 22 1/2 x 19 1/3 in (Frame included) Signed and dated Exhibition h...

Lambert Werner (1900-1983) Untitled, 1937 Oil on canvas 21 7/10 × 19 7/10 in l 55 × 50 cm 23 2/3 x 21 2/3 l 60 x 55 cm (Frame included) Exhibition history: Nordic Surrealism 1930-19...

Lambert Werner (1900-1983) Untitled, 1948 Oil on canvas 29 1/8 × 26 1/3 in l 74 × 67 cm 30 3/4 x 28 in l 78 x 71 cm (Frame included) Exhibition history: Nordic Surrealism 1930-1960 ...

Artist: Robert Cabay (French, 1901-1990) Title: Notre Dame de Paris Medium: Oil on panel Dimensions: 41 x 31 cm l 16 1/8 x 12 1/4 in Frame: 52 x 42 cm l 20 1/2 x 16 1/2 in. Immerse...

"Before Grace" by Raymond Bonilla is a luminous oil on panel still life measuring 12 x 24 inches unframed and 15 x 27 inches framed. This richly colored composition captures an assor...

A study for a series of larger paintings based on motion capture studios, this painting combines classic technique with modern sensibility. Here the seated model leans against an antiquated iMac. Upon closer examination, the preparatory sketch lines are visible on the model's feet and her forearm. Unfinished works were first seen during the Renaissance with Masters such as Leonardo da Vinci, Michelangelo and Donatello. It became fashionable to leave works incomplete, so much so, that it became an aesthetic term 'non-finito'. Andrew S. Conklin Kelsey Seated, Arm with iMac oil on panel 12h x 17w in 30.48h x 43.18w cm ACK011 Motion Capture Paintings, Chicago My recent painting series describes the reality of motion capture environments by showing the interplay between female athletes and male technicians. These paintings are meant to explore conventions of female representation in Western figurative art and to contrast this past practice with the contemporary imagery of that subject via computer-based image technology. This project was instigated by a number of things: first, by my abiding interest in depicting the human form in paint, as I find its versatility in a design, its invitation to empathy, and its difficulty, to be something worth attempting to depict with success. In addition, my curiosity regarding the new ways to depict the form using electronic technology seem to challenge to the traditional methods I rely upon, and I wanted to comment on the similarities and differences between the studios of the painters and the technicians. In this way, I aim to continue my investigation into what I see as the contrasting quality of human nature, and symbolically represent opposites such as mind and body, analog and digital, realism and idealism, terrestrial and the transcendent. Andrew S. Conklin is a figurative painter. He holds an MFA from the Academy of Art University, and studied painting at the National Academy of Design in New York City with Harvey Dinnerstein...

Carol creates a range of subjects—landscapes, figures, portraits and still life. Whatever the subject, all are imbued with her strong sense of design; luscious brushwork; love for 19...

Carol creates a range of subjects—landscapes, figures, portraits and still life. Whatever the subject, all are imbued with her strong sense of design; luscious brushwork; love for 19...