Aircraft Landscape Paintings

This beautiful painting by Jeroen Allart is part of his minimalist landscape and animal painting he did in his home country the Netherlands. 'A farm stands before you on the horizon....

Airacuda Fighter Planes Art Deco Machine Age 20th Century American Modernism Arthur Rosenman Ross (1913 - 1981) Bell YFM-1 Airacuda Fighter Planes 17 1/2 x 26 1/2 inches Gouache, Airbrush and Ink on Illustration Board, 1938 Signed A. Ross lower right Provenance: Estate of the artist. BIO Arthur Rosenman Ross was a key figure in automotive design at General Motors during America's "Golden Age" of auto design, the 1930's through the 1950s. He attended the Art Institute of Chicago from age 17, exhibiting a special interest for automotive renderings and the female figure. In 1934, he changed his name from Rosenman to Ross, fearing his Jewish ancestry could prejudice his career prospects. At age 20, he turned down job offers from MGM Studios in Hollywood and Duesenberg to work at General Motors alongside the Legendary Harley Earl in 1935. He was hand picked by Mr. Earl and assigned to GM's War and Camouflage Division in 1937 through WW2. It was during this pivotal period in which he executed some extraordinary military aircraft artworks, likely used between GM and America's military aeronautics companies in design preparation for WW2. General Motors played an important role in helping America's aircraft manufacturers preceding and during the war. Just after the war in 1945, Mr. Ross was rewarded by GM, being made Chief Designer of Cadillac, then two years later becoming Chief at Oldsmobile until his retirement in 1959. He was in large part responsible for some of GM's classic Cadillac designs such as the Cadillac Sixty Special, Fleetwood, LaSalle and GM's first concept car, the extraordinary Buick Y-Job. Mr. Ross was an exceptionally charismatic and vivacious man who quite by chance, befriended His idol, Salvador Dali at GM in 1955. They talked about art, cars and girls late into the evening, according to his son, Carter Ross. He had a gift in rendering the erotic arts...

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The painting "Zeppelin" by William R. Davis, an oil on board measuring 4 1/2" x 6 1/4", captures the haunting elegance of a dirigible silhouetted against the subdued glow of a settin...

FLIGHT American Futurism Modernism Scene WPA Mid-Century Oil Painting Realism Daniel Celentano (1902-1980) "Flight," 26 x 26 inches. Oil on canvas, c. 1940s. Signed lower right. Ori...

5107 Word War II Biplanes

Artist: Varvarov Anatoly Viktorovich Title: To a Meeting, Sise: 47.5x61 inches, (120x155 cm) Medium: Oil on Canvas Hand painted, original, one of a kind. Looking at this oil paintin...

“I do think the big problem in a way…is how you deal with ordinary life—that is not extraordinary, that does not involve heroism, that does not involve crises, really. But the way in...

Hand Painted Oil on canvas - graffiti plane - 1/1 original

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Lu Ann Barrow (1934 - present) Austin Artist Image Size: 30 x 36 Frame Size: 32 x 38 Medium: Oil Mid Century "Penguins"

Kathleen Keifer is a California-based internationally collected artist. She is a leading force of the New California Realism. Kathleen brings a fresh, clean perspective to her colorf...

Title: The Fighter Medium: Oil on canvas Size: 19 x 23 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This paintin...

Title: The Helicopter Medium: Oil on canvas Size: 19 x 23 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This pain...

Holy War John Hardy, American (1923–2014) Oil on Canvas Image Size: 30 x 40 inches Size: 35 x 45 in. (88.9 x 114.3 cm)

Rendering traditionally cheerful images and concepts into frightening, yet humorous, tableaus, Michael Mararian often focuses on children as the last bastion of innocence to explore ...

Shay Kun, balloon air, oil on canvas, Figurative, symbolist style, landscape, Israeli-american artist, Israeli art, 2012

Shay Kun, balloon air, oil on canvas, Figurative, symbolist style, landscape, Israeli-american artist, Israeli art, 2012

Painted en plein air at the local airport in East Hampton, New York. Framed dimensions: 40 x 48 inches Victor Butko was born into a long line of artists, and has been mentored in painting since the age of 8. He is currently the youngest artist exhibiting at Thomas Kearns McCarthey Gallery, one of the foremost dealers in the United States for Russian Impressionist art...

Artwork framed: 75 x 65 x 5,5 cm The panda is regarded as the national treasure of China. There are only about 1,000 in the world. All live in China. They are very well protected. W...

Artist Commentary: My father was a B17 crew member during the war in 1944 and 1945. This bomber is a tribute to his contribution to my freedom. Keywords: B17, Bomber, WW II Plane A...

Artist Commentary: Another attempt at Art Deco.... Keywords: Glider, Clouds, Deco, Sky Artist Biography: Robert Crooker was born in Massachusetts in 1951. A life long Red Sox fan, he saw the likes of Frank Malzone, Yaz, George Scott, Rico, Jim Lonborg all play in years gone by. He has been married for over 27 years with 4 children, and 2 grandchildren. In the Mid-1970’s, Robert started collecting Vintage Disney Collectibles...

Represented by George Billis Gallery, NYC & LA -- Trevor Young is a quintessentially American painter. He makes no bones about his affection for the trappings of car culture, lif...

Represented by George Billis Gallery, NYC & LA --Trevor Young is a quintessentially American painter. He makes no bones about his affection for the trappings of car culture, life on the road, and 1960s West Coast art. His main subject is modernism’s footprint on the outposts of Americana—places typified by harsh artificial light and hard shadows on concrete. The show makes clear that for Young, despite the contemporary art world’s preferences for irony, disjunction, and tongue-in-cheek intellectual gamesmanship, painting is at its best when it attempts to offer an unpretentious accounting of where and how we live our day-to-day lives. The celebrations of urban sprawl offered by artists like Ed Ruscha—who famously took no-nonsense aerial photographs of thirty four LA parking lots in 1967, and created sleek, stripped down paintings of Standard Oil stations—are an obvious point of reference in Young’s work. But Young’s choices seem more personal than Ruscha’s, and his technique is certainly more painterly: His images of gas stations are uneasy amalgamations, cobbled together from his own memories of road trips, photographs, and pure invention, and rendered with a sense of atmosphere and drama seemingly at odds with his use of hard lines and simple geometric shapes. Painters today tend to lean on pastiche, on art-historical mashups and code-switching. This typically results in images with no unified style and no concern for pictorial space, illusionistic or otherwise. For many contemporary painters, the picture plane is simply a flat, delimited arena in which different types of visual syntax collide, floating freely. This is a non-strategy in which artists make an end run around some of the thornier problems of composition, perception, and cognition. Young bucks this trend. He activates every square inch of his canvases, blocking in large passages of negative space with skeins of scruffy countervailing strokes. He is not a fussy painter, nor is he out to prove his own mastery to an audience. Like Edward Hopper, Young tends to eschew a lot of paint’s seductive properties, preferring to create hard edges and large, gently undulating planes of subdued color. He draws the viewer into an unpopulated, uncluttered world with a clear horizon line—but one that is also filled with hiccups, discontinuities, and compromises. In Service in the Rear, for example, a shelter for gas pumps in the foreground—closest to the viewer and, therefore, logically a dominant compositional element—is rendered as a hazy silhouette that flagrantly disobeys the rules of linear perspective. This is intentional: The structure is only important to Young in the way that it draws the viewer’s eye below and past it, to the glowing, low-slung building dominating the lefthand side of the picture. Thus Young shows his talent for creating visual tension and drama—and for sidestepping the viewer’s expectations. Young understands that some might regard his brand of painting as obsolete. He also understands the troubled legacy of modernism, and what the triumph of universal technology has meant for cultures around the globe. Still, for Young, the cold comfort offered by outposts of convenience—gas stations, airports, cheap hotel rooms—is not so easily dismissed. Young shares the strange buoyant optimism of his hero, Jonathan Richman, who, in his early ‘70s proto-punk single, Roadrunner, exults in the simple act of driving past the Stop’n’Shop with the radio on...

Artwork sold framed: 76 x 76 x 5,5 cm. The Great Wall of China is well known in the world. Tens of millions of tourists from all over the world...

Medium: Oil on Canvas Dimensions: 24.50" x 36.00" Signature: Signed Lower Left

'le Aeroship' by Claude Venard is a beautiful chromatic, black, white, grey and blue painting of the Paris Skyline. Featuring the Sacre Coeur, Eiffel Tower, Montmartre, Notre Dame and of course the incredible powerful Biplane. If you are looking for a powerful demanding work then thes pice is most definitely that. Claude Venard is known for his vibrant, semi-abstract works that often-explored structure and colour, aviation was a fascination for Venard. Although, if we imagine ‘Le Aeroship’ within his creative world, it might symbolise freedom, innovation, and the power of human imagination. Venard’s bold use of geometry and texture in this piece could easily translate into a fantastical vision of air travel, with an aeroship designed not for practicality but as a work of art. Using his signature style and cubist influences, Venard used mechanics to create an aesthetic celebration of line, and form. Although he loved to use bright and bold colours, Venard also enjoyed painting with a very muted pallet, often using dark tones to capture a mood or moment in time. This is presented clearly in this monotone city scape. The whimsical biplane which was fascinating for Venard. He had a large collection of tin plate toys...

Isca Greenfield-Sanders Prop Plane, 2016 Mixed media oil on canvas 35 x 35 inches 88.9 x 88.9 cm Signed, titled and dated (verso) -- Greenfield-Sanders’ l...