Wes Hempel

Farewell #4

Represented by George Billis Gallery, NYC & LA -- "When asked what kind of paintings I make, I usually call my work "Urban Landscapes" to distinguish them as paintings about areas o...

Karen Woods paints a traveler’s view through the window of a moving vehicle rendered in subtly nuanced gestures in oil on canvas or panel. These views from...

Karen Woods paints a traveler’s view through the window of a moving vehicle rendered in subtly nuanced gestures in oil on canvas or panel. These views from...

Represented by George Billis Gallery, NYC & LA --Every painting begins with a place to stand. Sometimes I find one in seconds; sometimes the hunt goes on for many seasons. A canvas can easily frame the everyday. But my task is to trap the exceptional. Whether I am outside on site, or in the studio working from memory, painting is a personal, idiosyncratic process founded in obsession, and wonder. "My subjects are genuine locations. They all have names, and many have familiar and private associations. But my attraction to a particular street or building often comes, in part, from a suspicion that it is also, in a sense, nameless. I nurture enduring relationships with a terrain. But for me, a particular motif resonates when it seems eligible for a larger catalog of spatial forms. My paintings are less portraits of Brooklyn than pages in an expansive, borderless inventory of space and light. Their index-like titles and typically symmetrical or balanced compositions intend to hint at something of the monumental, appropriate to a classifying program. It is neither the landscape's planning nor its architecture which conjures the shapes I paint. Rather, it is its observation; it is how a place appears that forms a distinct typology. At street level, tight, box-like canyons of space offer motifs best captured in a square format, while aerial, panoramic views from a rooftop invite me to explode them in a wider canvas. When looking around to frame a wider view, the optical distortions of curvilinear perspective weave parallel lines into trajectories mirroring the dome of the sky. And on a clear day, the path of the sun traces analogous curves across it. Only turning achieves a panoramic view, and sky and street are themselves revealed as events. At times, glare, fog, rain and snow are also deliberately organizing factors in my choice of standpoint. I wait for and design with all of them. Land maps posit an objective viewpoint. But star maps...

Provenance Acquired by the gallery directly from the artist Painted en plein air in the San Gabriel Mountains near the artist's home in the early summer of 2013. Description As part...

Frank Corso was born in Syracuse, New York. Taking a keen interest in art at a very early age, he was inspired to draw and paint the landscape of the Finger Lakes region of Upstate New York. He had the opportunity to have very fine art teachers in high school who also happened to be fine painters, artists George Benedict and Nick Todisco, and through their influence he began to polish his painting style from an early age. After attending Onondaga Community College for architecture, and then realizing that the rigid structure of Architecture was not for him, he began elective courses in Fine Arts at Syracuse University, and here, for the first time he began to study abstract painting and design with professors Frank Goodnow...

Til Paradise II is a stunning and sublime oil on canvas painting featuring falling or floating flowers from established California artist Stephanie Peek, who is celebrated for her contemporary romantic, poetic, and mysterious oil paintings, where light and drama often mingle to play central roles. The painting speaks metaphorically of the fragile beauty and ephemeral nature of the world. Peek's lush works are focused on exotic and wildflowers that reveal their beauty while suspended in silence. The main colors are periwinkle blue, grey, rose, and green. 'Til Paradise II' takes its inspiration from French Antoine Watteau. whose brief career at the turn of the 18th century, spurred the revival of interest in color and movement. Suffused with a theatrical air. The painting is created with the highest quality oil pigments on canvas. 72 x 72 inches...

'Altarpiece: Good Omen' - oil on canvas is 30 x 60 in, meticulously painted by American Realist Brooks Anderson. Canvas edges are painted dark in artist's signature style. Lovely to ...