Panel Interior Paintings

An oil painting of figures inside The American Hotel, in Sag Harbor, on a busy Friday Night. Kelly Carmody stood outside on the front porch of the Hotel, and painted the indoor scene...

In this series of trompe-l'œil oil and acrylic paintings, Myron Stephens realistically recreates images of mundane objects taped to what appears to be chalkboards covered with free s...

"Poinsettia" is an oil painting of the signature red plant blossomed against a light backdrop, in a minimalist pot, a cement cube. Painting dimensions: 16 x 12 inches Framed dimensions: 18.5 x 14.5 inches Matthew Weigle...

Vase of flowers on window sill

Nan Hass Feldman's “The Village Lamps" is a 20 x 20 x 2 inch oil painting on panel that is from The Interiors series inspired by visits to the homes of va...

Nude figure in bright red interior

oil on panel My current body of work is an investigation of the relationship between the tangible and intangible moments in the context of everyday life experience; where the tangi...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village. In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...

"Poinsettia 2" is an oil painting of the signature red plant blossomed against a light backdrop, in a minimalist pot, a cement cube. A refined pop of red for the Holidays. Painting dimensions: 14 x 11 inches Framed dimensions: 16.5 x 13.5 inches Matthew Weigle...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

A late 19th-century cabinet-sized oil on chamfered mahogany panel showing an elegant interior with a maid-servant contemplating a copy of the Venus de Milo. Signed lower left, "E. ...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

Johnny Defeo’s work belongs to the concept of souvenir, attempting to capture the experiences he has in the natural world, where he feels free and most at home. His paintings and rug...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

Oil on panel Panel size: 26.5 x 19.5 inches Framed size: 35 x 28 inches Signed and dated 1878 lower left

Oil on panel Panel size: 10 x 8 inches each Framed size: 13 x 10.5 inches each A signed lower left B signed lower right

Oil painting of a houseplant, situated in a living area beside a window. Light from the outdoor sun casts inside, a bright reflection onto the ground . P...

Oil on panel Panel size: 18 x 15 inches Framed size: 22 x 19 inches Signed lower right

Jill Pottle’s interior titled “Lanni’s Rental” is part of a new series titled “Interiors.” Jill started interiors four years ago and often times engages th...

"Purple Flowers and Eggs" is a small, vertical, oil painting, painted directly from life, using classical techniques. A mixingg of purple and yellow flowers arranged in a narrow, glass vase, centrally placed. Behind, a small carton of brown eggs lays open. All against a dark background. Light reflects and shadows cast through the translucent vase...

This interior by Amy Florence was painted at Ben Fenske’s home in Tavernelle, Italy. This room is the setting of lots of Ben Fenske’s nude-figure paintings. You might even recognize in the upper right, a finished Ben Fenske canvas. Florence invites us into Fenske's bedroom with no pretensions. An un-made bed, an open wardrobe...

Oil on panel Panel size: 19.25 x 12.5 inches Framed size: 31.25 x 25.5 inches Signed lower left

In this series of trompe-l'œil oil and acrylic paintings, Myron Stephens realistically recreates images of mundane objects taped to what appears to be chalkboards covered with free s...

Johnny Defeo’s work belongs to the concept of souvenir, attempting to capture the experiences he has in the natural world, where he feels free and most at home. His paintings and rug...

Medium: Oil on Panel Signature: Signed "H. Pyle" Lower Right and Inscribed Indistinctly On the Reverse "At the same time he extended toward King Louis the ...

WILD HORSES, 2016, subway train, curve, graffiti, street art, figurative, panel. Acrylic on wood panel.

Represented by George Billis Gallery, NYC & LA -- Represented by George Billis Gallery, NYC & LA -- Kenny Harris's latest body of work was informed by two recent residencies in Tuscany, at Borgo Finocchieto and Monteverdi. Inspired by the heavy Tuscan light...

Kenny Harris is represented by George Billis Gallery NYC. The artist has traveled around the world, painting on location. He is fascinated with subtle light effects and expressive p...

In this painting, Robert Richter presents the viewer with something of a still life. Not unlike the early cubist paintings of Picasso and Braque, which often focused on the vibrant c...

Kenny Harris is represented by George Billis Gallery NYC. The artist has traveled around the world, painting on location. He is fascinated with subtle light effects and expressive p...

This is an oil painting, in the style of "Trompe l-oeil" of an antique hand drill, on a grey background. Painted by American contemporary painter, ...

ROGELIO DE EGUSQUIZA Y BARRENA LADY IN YELLOW signed "R. Egusquiza" (lower right) oil on panel 28-5/8 X 20-3/4 inches (72.5 X 52.7 cm.) framed: 32-5/8 X 24-3/4 inches (82.5 X 62.5 cm.) Rogelio de Egusquiza y Barrena (1845 – 10 February 1915) was a Spanish painter, known for his friendship with the German composer Richard Wagner, whose works he helped make familiar in Spain He was born in El Astillero, into a well-to-do family. He studied in Madrid and with Léon Bonnat at the École des Beaux-Arts in Paris. In 1868, after travelling and participating several times in the National Exhibition of Fine Arts, he returned to Paris and settled there. At first, he painted historical scenes, but later turned to genre scenes and portraits in the Academic style. Following the death of Marià Fortuny, he moved to Rome at the invitation of the Madrazos, Raimundo and Ricardo, taking Fortuny's place at their studio through 1875 and attending classes at the Spanish Academy in Rome. He heard Wagner's music for the first time in 1876, after returning to Paris. Three years later, he travelled to Munich to hear a performance of The Ring of the Nibelungen. His enthusiasm for what he heard led him to go to Bayreuth, where he introduced himself to Wagner and became his friend. In the following years, he and Wagner got together again several times; in Venice (1880), Berlín (1881) and Bayreuth (1882); where he was a guest at the premiere of Parsifal. After his first meeting with Wagner, he decided to devote his career to doing works on Wagnerian themes; mostly portraits of the characters rather than specific scenes. During his visits to Germany, he also created portraits of Arthur Schopenhauer (posthumous) and King Ludwig II...

Kenny Harris is represented by George Billis Gallery NYC. The artist has traveled around the world, painting on location. He is fascinated with subtle light effects and expressive p...

This interior by Amy Florence was painted at Ben Fenske’s home in Tavernelle, Italy. This room is the setting of lots of Ben Fenske’s still life paintings. You might even recognize i...

Kenny Harris is represented by George Billis Gallery NYC. The artist has traveled around the world, painting on location. He is fascinated with subtle light effects and expressive p...

In his painting entitled "Small Motion Capture Studio", Andrew Conklin uses a loose paint brush to capture the scene. Relaxing in a sparsely furnished room, except for the desk and ...

Love Seat oil painting features a pink chair for two that is painted with oil on mylar with gold leaf that has been mounted to wood. The painting is part...

Quaint mid-century painting of a cabin interior and view by Leslie Buck (American, 1907-1991), 1930. A realistic "slice of life" rendition of the cabin interior provides an image of the artist's life. Various cooking items sit on shelves below the right window, with the sink and water pump below the window on the left. Signed on verso. Description "Kitchen Corner" Davis's Rental Cottage, Porter Beach, Indiana 1930 written on verso. Presented in a wood frame. Image, 7.5"H x 8.5"L. Born in Chicago, she studied at the School of the Art Institute of Chicago and with Claude Buck after their marriage in 1934. With her husband, she moved to the Santa Cruz mountains...

Pair of French Neoclassical oil paintings by Dubost French, 1809/11 Frame: Height 70.5cm, width 86cm, depth 9cm Panel: Height 45cm, width 61c...

Lucas Bononi was educated at Academy of Art University, San Francisco (2012 - 16) and Grand Central Atelier, New York (2017 - 2018). His work explores the mystery of ontology through...

Every detail in Trujillo’s fast-paced, consumer-driven environments is the result of slow painting, of careful and keen observation, both analytic and synthetic. Trujillo depicts his...

Kenny Harris is represented by George Billis Gallery NYC. Kenny Harris’ new paintings evoke the light and mood of architectural spaces from his travels around the world. He is fascin...

Kenny Harris is represented by George Billis Gallery NYC. Kenny Harris’ new paintings evoke the light and mood of architectural spaces from his travels around the world. He is fascin...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

This artwork depicts a view of an airport luggage conveyor belt. This piece was created with a mixed technique of acrylic painting on photograms on pa...

The greenhouse became a favorite subject of Donald Vogel's in the 1980's. As Vogel reflected in the 1998 catalogue published for his traveling retrospective exhibition, "The greenhou...

Carl Smith explores the area between Pop Art and Surrealism and expresses it in one-of-a-kind original works on canvas, paper or wood. With the use of found images he tells slightly ...

Fly With Me is a trompe loeil painting with the appearance of chalk and masking tape, but is in truth a painting, painstakingly created with oil ...

Painted by Nelson H. White, in his studio. A single yellow rose stands as the focal point in a small 6 x 4 inch panel. Poking out of a glass bottle, against a dark background, shades...

The greenhouse became a favorite subject of Donald Vogel's in the 1980's. As Vogel reflected in the 1998 catalogue published for his traveling retrospective exhibition, "The greenhou...

Every detail in Trujillo’s fast-paced, consumer-driven environments is the result of slow painting, of careful and keen observation, both analytic and synthetic. Trujillo depicts his...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Provenance Acquired by the gallery directly from the artist Artist's Statement: Sources of Light refers to spiritual beauty, which is portrayed here in the tranquil atmosphere of th...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Ben Duke b. 1977 Louisville, KY Education 2006 M.F.A., Maryland Institute College of Art, Baltimore, MD 2002 B.F.A., University of Utah, Salt Lake City, UT 2001 Summer School of Music and Art, Yale University, New Haven, CT Selected Exhibitions 2017 Distortion, Gallery Victor Armendariz, Chicago, IL Coming Attractions: Inaugural Exhibition, Gallery Victor Armendariz, Chicago, IL 2015 The Suburbs Eyes: Picturing the Sprawl, (invitational), Ernestine M Raclin Gallery, Indiana University, South Bend, IN 2014 21 and Counting, The Painting Center, New York City, NY A River Without Banks, Paul Collins Art Gallery, Grand Rapids, MI The Contemporary Figure, Ben Duke and Robert McCann, Moss-Thron Gallery of Art, Fort Hays, KS 2013 Benjamin Swallow Duke and Nathan Barnes, Emerson Center for the Arts and Culture, Bozeman, MT Benjamin Swallow Duke and Esther Randall, Rosewood Gallery, Kettering, OH Thresholds, Delaware Center for the Contemporary Arts, Wilmington, DE 2012 Sublime Rupture, Target Gallery, Catalog with Essay by Dominique Nahas, Alexandria, VA 2011 Identity In Itself, Lapham Gallery, Lower Adirondack Regional Arts Center, Glens Falls, NY Benjamin Duke, Tony Shumsky, Roy G. Biv Gallery, Columbus, OH Upheaval, [traveling solo exhibition] University Art Gallery, Saginaw Valley State University, Saginaw, MI 2010 Kuandu Museum Residency Show and Open Studio, Kuandu Museum of Fine Art, Taipei, Taiwan Biennial Faculty Exhibition, Kresge Art Museum, East Lansing, MI Art Chicago, Merchandise Mart, Ann Nathan Gallery, Chicago, IL Upheaval, [traveling solo exhibition] Cloyde Snook Gallery, Adams State College, Alamosa, CO Floating, Fitton Art Center, Hamilton, OH 2009 Disrupted Particulars, Macomb Center for the Performing Arts, Clinton Township, MI Art Chicago, Merchandise Mart, Ann Nathan Gallery, Chicago, IL Notwishstanding, Ann Nathan Gallery, Chicago, IL SOFA (Sculpture, Objects, Functional Art), 7th Regiment Armory, Ann Nathan Gallery, New York, NY Biennial 25, South Bend Museum of Art, South Bend, IN 2008 We Drew a Circle and Called it and Island, Garden City Art Space, Taipei, Taiwan Benjamin Duke and Teresa Dunn, University of Wisconsin-Parkside, Kenosha, WI Imaginary Cities, Moraine Valley Community College, Palos Hills, IL Awakening, Ann Nathan Gallery, Chicago, IL 2007 SOFA (Sculpture, Objects, Functional Art), 7th Regiment Armory, Ann Nathan Gallery, New York, NY Art Chicago, Merchandise Mart, Ann Nathan Gallery, Chicago, IL Palm Beach 3, Palm Beach County Convention Center, Ann Nathan Gallery, West Palm Beach, FL Above and Beyond, Ann Nathan Gallery, Chicago, IL Darkness: World and Culture, Caladan Gallery, Beverly, MA Baker Arts Center 10th National Juried Exhibition, Liberal, KS Nude International, Lexington Art League, Lexington, KY 2006 Launch: Graduate Thesis Show, Baltimore, MD (solo) Second Chance: Brewer’s Art, Baltimore, MD (solo) Biennial Faculty Exhibition, Kresge Art Museum, East Lansing, MI Academy 2006, Conner Contemporary, Washington, DC. Opening Exhibition, Touchet Gallery, Baltimore, MD Only Human, School 33, Baltimore, MD Go Figure, Maryland Federation of Art, Baltimore, MD 2005 Emerging Artists, Maryland Federation of Art, Baltimore, MD real vs. Real, City Café, Baltimore, MD Artscape Art Fair, Baltimore, MD Group Show, Hoffberger Gallery, Baltimore, MD 2004 Clamor, Rose Wagner Center for the Arts, Salt Lake City, UT (solo) Boxing, Fox Gallery...

Description Mount Zion in ancient Jerusalem is dominated by the Church of the Dormition. The church is identified in Christian tradition as the site of the...