Pop Art Figurative Paintings

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Hand painted - acrylic on canvas - 1/1 In 1999 BustArt began his artistic career with classic Graffiti. Until 2005, he became familiar with the whole spectrum of Graffiti and reache...

ARTIST Joanna Woyda (b. 1981) Studied painting at the Academy of Fine Arts in Warsaw (2000-2005). She received her honorary degree in 2005. She was also a scholarship holder of the...

Italian artist Fabio Coruzzi merges painting and photography into one imaginative image that offers a new outlook on an otherwise ordinary urban scene. His artworks represent an auth...

“Outlaw” is a bright and powerful painting with a fashionista female figure wearing a cowboy hat, and a bright colorful blue background. It is sure to be a feature piece in any space. Known for her richly evocative color palette and striking portraits, Ramona Nordal...

John Randall Nelson’s paintings are layered with his own personal language consisting of patterns, symbols, and archetypes that may not make any literal sense but play on subconsciou...

One of the originators of the Western pop art movement, Billy Schenck incorporates techniques from photorealism with a pop art sensibility to both exalt and poke fun at images of the West. Schenck is known for utilizing cinematic imagery reproduced in a flattened, reductivist style, where colors are displayed side-by-side rather than blended or shadowed. In the August 2014 issue of SouthwestArt magazine, his work was described as “a stance … a pendulum between the romantic and the irreverent.” Schenck’s artwork is now in 48 museum collections, including Smithsonian Institution, Denver Art Museum, The Autry Museum of Western Heritage, Booth Western Art Museum, Tucson Museum of Art, Phoenix Art Museum, the Mesa Southwest Museum, Museum of the Southwest, Midland TX...

John Randall Nelson’s paintings are layered with his own personal language consisting of patterns, symbols, and archetypes that may not make any literal sense but play on subconsciou...

I accidentally found this gas station while walking in the forest. This construction interested me because the colors in which it is painted create not only aesthetics but also have ...

A real picture of the present, the motives of which are quite clear. Three years ago, no one would have thought that an accessory not worn by a person could be the cause of a fight. But in the situation that has developed in the world in 2020, the mask has become a vital necessity not only for doctors, but also for ordinary citizens. There are things that should not be ignored. There are issues of health and safety rules, the neglect of which sometimes leads to not at all funny consequences: illness, fights, conflicts, and, in the best case...

John Randall Nelson’s paintings are layered with his own personal language consisting of patterns, symbols, and archetypes that may not make any literal sense but play on subconsciou...

“Hustler FK” is an amazing pop figurative painting inspired by the life and genius of artist Frida Kahlo. Bright and lively 60's design elements, stripes and a peaceful and penetrating gaze stand out on a rich blue background. Artist Ramona Nordal...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

John Randall Nelson’s paintings are layered with his own personal language consisting of patterns, symbols, and archetypes that may not make any literal sense but play on subconsciou...

Synthetic polymer drawing on paper. Unsigned. Warhol Foundation stamp on verso. Sheet size 31.5 x 23.5 inches. Custom framed as pictured. Artwork is in excellent condition. Cert...

This colorful painting by Chicago-based artist Patrick Fitzgerald belongs to a body of work he calls his “Neighborhood of Infinity.” Fitzgerald use...

John Randall Nelson’s paintings are layered with his own personal language consisting of patterns, symbols, and archetypes that may not make any literal sense but play on subconsciou...

This colorful painting by Chicago-based artist Patrick Fitzgerald belongs to a body of work he calls his “Neighborhood of Infinity.” Fitzgerald use...

This unique artwork by Richard Proctor is part of a series of 3 (see last pictures and other listings). It is a self-portrait repeated 3 times in diffe...

Keith Young Lucky Cat and Pink Dolphin Collage on Canvas; Rubber, Glue, Wood, Cotton Canvas Year: 2022 Size: 11.25x9.25x3in Signed by hand COA provided Ready...

This unique artwork by Richard Proctor is part of a series of 3 (see last pictures and 2 other listings) It has been created through interweaving strip...

John Randall Nelson’s paintings are layered with his own personal language consisting of patterns, symbols, and archetypes that may not make any literal sense but play on subconsciou...

John Randall Nelson’s paintings are layered with his own personal language consisting of patterns, symbols, and archetypes that may not make any literal sense but play on subconsciou...

We are please to announce that we are now representing the Pop Art cowboy and cowgirl paintings of artist Matt Straub. We at the gallery have been fo...

Ceravolo, is one of The Hampton's most popular and sort after urban Pop artists whose work is collected by Elton John, Rod Stewart, and Alice Cooper among others. He has been call th...

Walking in Reeds by Peter Max, German/American (1937) Date: 1999 Mixed Media with Acrylic Painting on Lithograph, signed upper left Size: 14 x 17 in. ...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

This colorful painting by Chicago-based artist Patrick Fitzgerald belongs to a body of work he calls his “Neighborhood of Infinity.” Fitzgerald use...

One of The Hampton's most popular urban Pop artists whose paintings can be found in many influential corporate and private collections, including: ELTON JOHN, ROD STEWART, HUGH M. HEFNER, DAVID BRENNER, MONIQUE VAN VOOREN, WARNER BROS., RCA RECORDS AND SCHENLEY INDUSTRIES to name a few. He has been call the "Rock and Roll Painter" and "Painter of the Stars of Rock" by the media. Ceravolo's Large scale paintings have received international acclaim for more than four decades with sold out exhibitions throughout the United States. Ceravolo's art came to popular attention when he was commissioned to create five large scale paintings for the lobby of The Palladium Theatre in New York City of Jackson Browne, Linda Ronstadt, Frank Zappa, Neil Young and Hall and Oates. This Acrylic and Oil painting with spray paint archival ink and metal grid...

Italian artist Fabio Coruzzi merges painting and photography into one imaginative image that offers a new outlook on an otherwise ordinary urban scene. His artworks represent an auth...

Exorcisor V6 by BARC the dog (2022), pop art comic book style, acrylic on canvas, illustration, cartoon inspired character art, laboratory scene, science, mach...

Teary Eyed by BARC the dog, acrylic on canvas pop art comic book animal character, illustration cartoon style painting Welcome to the world BARC the...

"TOO MUCH TOM (FRAMED)" Painting 27" x 46" inch by Shawn Kolodny Creating art to reflect the times we live in, Kolodny creates art for our short attention spans, a distracted socie...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

Death Ray by BARC the dog (2022), pop art comic book style, acrylic on canvas, illustration, cartoon inspired character art, laboratory scene, science, m...

Sherry's paintings unite figuration and abstraction, with a series of blocked colors and abstract forms combining to produce an image of people in groups. Czekus’ work examines the e...

Profile with Doves by Peter Max, German/American (1937) Portfolio: Woodstock Series Date: 2006 Mixed Media with Acrylic on Lithograph, signed Size: 10 x 8 in. (25.4 x 20.32 cm) Frame...

Sherry's paintings combine figuration and abstraction, with a series of colors and abstract forms combining to produce an image of people in groups. Czekus’ work examines the everyda...

Elise Remender captures the romantic glamour of a bygone era in her contemporary figurative paintings that blend classical fine art and contemporary pop realism. Fantasy, mid-century fashion, and the glamour of travel and coastal living inform soft brush strokes and abstracted beauty; reminiscent of vintage advertisements and dusted sunlight. This original 37-inch square acrylic on canvas painting evokes a sense of delight and playfully nods at summery vintage aesthetics. It is signed by Remender on the front bottom right corner of the artwork. The sides are painted as a continuation of the front and it does not require framing. Free delivery within the local Los Angeles area. Affordable Continental U.S. and international shipping available. This artwork includes a certificate of authenticity issued by the gallery. Remender grew up in Arizona and is based in Southern California, but she has traveled all over the world gaining inspiration for her work. Her most recent series, Bathing Beauties, which captures the human form and abstracts it through light and reflection, was inspired by the vintage elegance and history of Southeast Asia’s historic hotel pools and gardens. It evokes a bygone era when Ernest Hemingway and Jackie O. were among the clientele. “I’m a bit of an old soul and there is a sense of elegance and beauty that has been lost in modern-day society, and I seek to recapture this essence in my work. I’m creating a sort of fantasy world of luxury, leisure, and old Hollywood glamour.” Her work has appeared in galleries in the US and Asia and in GQ Magazine, Architectural Digest, Dwell, California Home, People, among many other publications. Her paintings hang in luxury properties including The Ritz Carlton San Francisco, The Hard Rock Hotel Las Vegas, and Hilton properties across the United States, as well as in the homes of celebrity collectors including Ryan Seacrest and Kylie Jenner. REPRESENTATION: Artplex Gallery, Los Angeles, CA EXHIBITIONS: 2023 Artplex Gallery, Los Angeles, CA 2021 “The Beauty Myth”, Artplex Gallery, Los Angeles, CA 2018 “All American Inspired,” Merritt Gallery/Renaissance Fine Arts, PA, MD “At the Shore,” Eisenhauer Gallery, Edgartown, MA “Color in Motion,” Eisenhauer Gallery, Edgartown, MA “Having a Ball,” Jules Place, Boston, MA Meritt Gallery, Renaissance Fine Arts, PA, MD Studio E. Gallery, Palm Beach, FL 2017 “Distant Memories,” 111 Minna Gallery, San Francisco, CA Merrit Gallery, Renaissance Fine Arts, PA, MD “Holiday Gift Guide...

Her paintings combine figuration and abstraction, with a series of colors and abstract forms combining to produce an image of people in groups. Czekus’ work examines the everyday exp...

Pop Art. Americana. Bullseye. Ephemera, Oil, Acrylic, Resin on Panel. About the Artist: John Joseph Hanright is a contemporary painter and assemblage artist who brings togethe...

Her paintings combine figuration and abstraction, with a series of colors and abstract forms combining to produce an image of people in groups. Czekus’ work examines the everyday exp...

Jerry Kearns is an American visual artist who was born in 1943. Several works by the artist have been sold at auction, including 'Seven works: Exit Art The First World portfolio' sold at Phillips New York, Chelsea 'Editions' in 2010. There have been Several articles about Jerry Kearns, including 'Art in Review; Jerry Kearns' written by Holland Cotter for New York Times in 1996. influences include Andy Warhol, Keith Haring and Roy Lichtenstein. JERRY KEARNS SELECTED GROUP EXHIBITIONS 2007 "Kentucky Derby Benefit Party and Art Benefit Auction" 2006 “Scope MIAMI” Jack The Pelican Presents Gallery, Miami FLA. “What a War” White Box Gallery, New York , NY. Curator Eleanor Heartney “Gallery Artists” Modernism Gallery, San Francisco, CA. “ WORD” Deborah Colton Gallery, Houston, TX. Curator Brandon Krall “Hedonistic Imperative”, Deborah Colton Gallery, Houston, TX “The Studio Visit”, EXIT ART, New York 2004 “The Print Show”, EXIT ART, New York “25 Anniversary...

"Leta and the Hill Myna" is a painting by American Pop artist Mel Ramos. The work is signed verso "Mel Ramos". Mel Ramos is a California based Pop artist best known for his paintings of superheroes and female nudes, including Marilyn Monroe and Scarlet Johansson, with pop culture imagery. Many of his subjects emerge from Chiquita bananas...

Born in 1982 in Manzanillo, Cuba, artist Darwin Estacio Martinez honed his artistic skills at the Professional Academy of Fine Arts "El Alba" i...