Panel Interior Paintings

Pierre Bergian expresses his fascination for architecture through his paintings by exploring space and structure, making use of the presence of architectural components. His current ...

Pierre Bergian expresses his fascination for architecture through his paintings by exploring space and structure, making use of the presence of architectural components. His current ...

Pierre Bergian expresses his fascination for architecture through his paintings by exploring space and structure, making use of the presence of architectural components. His current ...

Time to Come Home by Mary Scott [2022] original Oil and Cold Wax on Cradled Panel Image size: H:36 cm x W:36 cm Complete Size of Unframed Work: H:36 cm x W:36 cm x D:2cm Frame Size: H:43 cm x W:43 cm x D:3cm Sold Framed Please note that insitu images are purely an indication of how a piece may look Time to Come Home is an original work by Mary Scott. This painting is an expressive abstract inspired by the dark sea in winter and the place we call home, wherever it is. Painted dominantly in ‘Prussian blue’, it was created with many layers of oil and cold wax with much scraping back and mark making into previous layers to develop depth of texture and an ancient feel about parts of the surface. The work will be framed in a dark blue tray...

Represented by George Billis Gallery, NYC & LA --From the artist statement, "My artwork centers on mid-century American architecture and design, once revered for its groundbreaking i...

Belgium based artist, Pierre Bergian, expresses his fascination with architecture through his paintings by exploring space and structure. Old abandoned houses and their air of myster...

Artist Commentary: This mixed media painting includes the back of the Ranchos de Taos church that Georgia O'Keefe made famous in her painting. My painting ...

"Diamond in the Rough" is a vibrant and multi-layered abstract painting on canvas using bold acrylics. The artwork measures 57 inches in height and 48 inches in width, providing a co...

The artist has traveled around the world, painting on location. He is fascinated with subtle light effects and expressive painterly surfaces, focusing on interiors or cityscapes. His...

Found It, Original Signed Contemporary Satirical Surrealist Painting, 2014 18" x 11" x 1.625" Gouache on Wood Panel Hand-signed by the artist. When socks go missing, this disarticulated human arm can find them! In this dream-like surrealistic painting by artist Megan Frazer a laundry basket full of blue, red, and yellow clothing...

Represented by George Billis Gallery, NYC & LA --From the artist statement, "My artwork centers on mid-century American architecture and design, once revered for its groundbreaking 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...

Nancy Newman Rice was born in New York City and was educated at Cornell University and at Washington University, where she earned a BFA with honors and an MFA. She has received award...

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...

Based on Georgia Hinaris' love of the Horror Film genre, all that appears may be so much more in her work. The artist takes inspiration from these types of films with their stark ci...

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing an...

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...

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing an...

Carol Stewart Coneflower, Rudbeckia oil on paper on panel 11h x 18w in 27.94h x 45.72w cm CST008 Through her ethereal and often dreamlike paintings Caro...

"Patterns and Pansy" by Carol Stewart is a small abstracted still life painting with vibrantly patterned fabrics. In front sits a small glass dome and a ...

Represented by George Billis Gallery, NYC & LA --Kenny Harris's latest body of work was informed by two recent residencies in Tuscany, at Borgo Finocchiet...

Oil on panel Panel size: 11.75 x 18 inches Signed lower right

Represented by George Billis Gallery, NYC & LA --Mooers writes of his work, “My paintings begin with a serious sense of play, both in the staging and the creating of the compositions...

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...

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 ...

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...

Oil on panel Panel size: 7 x 5 inches Signed and date '1859' lower left

Oil on panel Panel size: 8.75 x 7 inches Framed size: 13.75 x 11.75 inches Signed upper left

Born in New York City in 1959, Max Ferguson started as a filmmaker, making award-winning animated films as a teenager. But it was while he was a visiting student at an art school in ...

Oil on panel Panel size: 4.75 x 6 inches each Framed size: 9.25 x 11 inches each Monogrammed and dates '66

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

This John Stephens original acrylic on panel painting measures 24x30 in and is available for $27,500. "Our Lady of the Foam" features a woman inside a greek mythology dome covered in...

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...

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

Hand signed by artist "Glass and dried flowers". Figurative, Realism, still life, oil on panel

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

Pierre Bergian expresses his fascination for architecture through his paintings by exploring space and structure, making use of the presence of architectural components. His current ...

Pierre Bergian expresses his fascination for architecture through his paintings by exploring space and structure, making use of the presence of architectural components. His current ...

Watching, Original Contemporary Surrealist Painting, 2014 11.25" x 18" x 1.625" (HxWxD) Gouache on Wood Panel This surreal gouache painting features a woman laying on top of her bed...

Pierre Bergian expresses his fascination for architecture through his paintings by exploring space and structure, making use of the presence of architectural components. His current ...

"Summer of '99" Painting 43" x 26" inch by Tasneem El-Meshad Medium: acrylic on wood Academy of Fine Arts Cairo graduate Tasneem El Meshad describes her art, as “a reflection of th...

"Hide & Seek" Painting 53" x 39" inch by Tasneem El-Meshad Medium: acrylic on wood Academy of Fine Arts Cairo graduate Tasneem El Meshad describes her art, as “a reflection of the ...

Oil on panel Panel size: 6 x 8 inches Framed size: 10.25 x 12.25 inches Signed and date '1860' lower right

Oil on panel Panel size: 9.5 x 12.5 inches Framed size: 14.75 x 17.75 inches Signed and dated 1870 lower right

Bio Aaron M. Brown was born in Wichita, KS. He received a BFA from the University of Kansas, MFA from Syracuse University. Awards include grants from the Pollock-Krasner Foundation...

"Still Room" (2023) by Keith Garcia Acrylic on wood panel 16 x 20 x 1.5" square Figurative painting depicting an imagined room with windows on each wall that look out onto purple skies and green hills in the distance, overlooking a waterscape. The interior painting features a restful room with a hardwood floor, covered almost entirely by an area rug in a green and gray geometric pattern. Two chairs remain empty but on a nearby side table sits a teapot and cup...

"Evening Living Room" (2018) by Aaron Hauck Oil on wood panel 12" H x 12" W x 1" D Figurative interiors painting, expansive living room scene with windows...

"Entry Bikes" (2018) by Aaron Hauck Oil on wood panel 20" H x 16" W x 1.75" D Figurative interiors painting, entryway scene with bicycles and shoe rack, checkered tile...

In the hands of Yeji Moon, ordinary materials are transformed into beautiful and complex collages that powerfully recall childhood nostalgia and the rapidly changing world. Inspired by her upbringing in a small neighborhood in Korea and her experiences with Habitat for Humanity, she seeks to immortalize disappearing places by creating works of art that connect and preserve memories. Her three-dimensional compositions are created using newspaper...

A black and white painting by ink ad Acrylic on wood panel Known for his erratic and expressive abstract works, Daniel Diaz-Tai uses various mixed media including sumi ink and oil ...

A painting on wood panel, 96x72". Known for his erratic and expressive abstract works, Daniel Diaz-Tai uses various mixed media including sumi ink and...

Roger de la Fresnaye (1885-1925) Nature morte à l’oeuf 1910 oil on board mounted on panel 66.2 x 50.9 cm signed and dated ‘R de la Fresnaye.10’ (upper right) Price: $157,500 USD (in...

Clyde Frederick Kelley (1886-1965) lived and worked in New York as an illustrator before settling in San Diego in 1924. Throughout his career he specialized in figurative, genre subjects that depicted American life in the 1930s-1950??™s; his paintings mirrored the paintings of the American...