Metal Paintings

Landscape mixed media on canvas 50x50 cm 2018 Ready to Hang Marilina Marchica, born in 1984, was born in Agrigento, where she lives and works. She graduated in Painting at the Aca...

Sébastien Ardouin Dumazet (b. 1972) – "Anemones" Oil on oxidized gilded leaf on canvas, 2025, 31½ × 31½ in. (80 × 80 cm) "Anemones" is a contemporary floral composition by French ar...

Abstract minimalist artist Jason DeMeo presents a collection of artworks designed to engage viewers in a meditative experience, drawing them closer to the enduring ideals of truth, b...

Schubring, Richard (1853-1902) Rough sea with coastline on the horizon Oil on canvas. Signed and dated lower right. “1895” Richard SCHUBRING is an artist born in 1853 and deceased...

Henri-Camille Danger was a French Impressionist and Modern painter born in 1857. The artist died in 1937. His work has been featured in an exhibition at the Museo Nacional de Arte, ...

"Recycling Post" (FRAMED) Abstract Painting 72 x 48 in by Yoram Katz Medium: Used items, Enamel and Spray paint on Canvas Size framed: 73.5 x 49.5 in ABOUT THE ARTIST: Born in Is...

Gestural abstract painting on paper with gold metallic powders and peach, blue, green and yellow colored enamel paint "Beyond Mind and Matter", made in 2022 by Hudson Valley painter,...

Magnificence III is a unique painting by contemporary artist Lumi Mizutani. The painting is made with India ink, Japanese pigments and gold leaves on Japanese cardboard, dimensions a...

Mixed-media wall sculpture in modeling clay and acrylic on wood, a textural seascape in intense blue tones where layered bas-relief waves open a perceptual passage across a circular ...

Abstract minimalist artist Jason DeMeo presents a collection of artworks designed to engage viewers in a meditative experience, drawing them closer to the enduring ideals of truth, b...

Abstract oil painting in blue and violet gold with metallic pigments including gold and metal leaf on Belgian linen. The large scale vibrant painting shimmers and changes with the ti...

Additional information: Title: Coastal scene - Nightfall on the North Sea Medium: oil on canvas Signature: signed lower right Provenance: Private collection Brussels Canvas dimensio...

"Bolonia IV" by Conrado López is a striking original 2024 painting depicting a female nude figure executed in acrylic, gold leaf, and oil on canvas. Measuring 39.37 x 25.59 x 1.18 in...

This exquisite early 17th-century oil on copper depicts The Baptism of Christ. Its composition is derived from an engraving by Adriaen Collaert (c.1560-1618) after Maerten de Vos (15...

Michaela Jean is an accomplished painter, devoted gardener, and mother from Southern California (USA). Her lifelong passion for art and nature began in childhood, inspired by her gra...

Timothy Rees was fascinated with drawing throughout his youth and after high school pursued a degree in animation. The pull to painting portraits and figures was strong, however, le...

Antique American modernist mixed media sculpture painting by Duayne Hatchett (1925 - 2015) . Mixed media metal sculpture . Signed on verso.

GALAXY ART is a mixed media wall sculpture by Vera Vizzi that fuses astronomy-inspired painting with tactile lunar relief. Created with foam clay, acrylic and enamel on a circular 30...

This exquisite painting, resembling a precious jewel, serves as an exceptional illustration of the devotional cabinet paintings created by Giuseppe Maria Crespi, a highly original Bolognese artist during the late 17th and early 18th centuries. Crespi's distinctiveness extended beyond his unique style and technique to the subjects he chose to portray. While his portraits and genre paintings often displayed a light-hearted and even irreverent tone, his treatment of religious themes resonated with deep emotion, even in its most inventive forms. This recently uncovered work by Crespi is a typical representation, invoking the tender connection between mother and child, and the Child's destiny, all within a compact and intimate format. Executed on a small scale, the painting showcases Crespi's remarkable sensitivity and mastery of paint, especially evident in the expressive brushwork of the drapery. The restrained and focused composition of the Holy Family allows for contemplation of the figures. Mary cradles the Christ child gently, seemingly presenting him to the viewer, her gaze knowing as the infant holds a diminutive cross, symbolizing his future crucifixion. Joseph appears in the background, emerging from the left side of the frame, gazing upward with folded hands in prayer. Individual motifs from this painting reappear in other works by Crespi, suggesting a synthesis of familiar elements into a vibrant composition. The artist's revisitation of designs throughout his career is evident, and this painting on copper likely belongs to a later period, reflecting stylistic ties to other works and Crespi's increased production of smaller devotional pieces. Distinguished by its cool palette, bold coloration, and the expressive force of the artist's hand, this Holy Family painting...

Portrait of a Gentleman wearing a Ruff Collar Dutch/ French artist, 18th century oil painting on copper, unframed copper board : 6.75 x 5 inches provenance: private collection, UK co...

With strokes of Gold, Oil, Gesso and Acrylic, Shizico orchestrates a abstract expression in this on-going series [Landscape Memories]; it's a part of her [Sunlit Series] where she de...

Title: Blue - Peaceful Pursuit Painting Equestrian Horse Modern Gold Contemporary Striking Invest Energy Calm Blue This painting forms part of an artwork series called BLUE. I borr...

Surrounded by artistic inspiration from a very early age, Kate Salenfriend learned most of her technical skills from her great-grandfather, Stewart Robertson, the registered Californ...

Elegant abstract oil painting in warm yellow and gold with metallic pigments including gold and metal leaf on Belgian linen. The large scale vibrant painting shimmers and changes wit...

"Oil On Canvas Self Portrait After Sir Anthony Van Dyck" Follower of Sir Anthony van Dyck (Flemish painter, 1599-1641), Self portrait Oil on canvas (doubled), Probably end 18th centu...

US buyers pay no import tariffs on this item. This exquisite and exceedingly rare early 18th-century Russian Staurotek icon depicts The Crucifixion of Christ with an assemblage of s...

An exceptional dated 1955 Mexican ex-voto retablo depicting a heartfelt expression of gratitude to Saint Francis of Assisi for the restoration of a family home. Hand-painted on tin b...

Contemporary Art, Gold and Black Painting, Abstract Paintings-Abundance 904 A B O U T T H I S P I E C E : “Abundance 904” is a piece of letter art inspired by graffiti by Addison Jo...

A very interesting set of five mid-20th-century Italian oils on copper. All five are classical landscape subjects and are signed Roger, though we don't know which artist with the n...

Title: Blue - Trail of Tranquility Painting Equestrian Horse Modern Gold Contemporary Striking Invest Energy Calm Blue Nature Flora One-of-a-kind Unique This painting forms part of...

Very Rare Portrait of 6 Dogs on Enameled Ceramic Maison Pichenot-Loebnitz Enamels, ceramic France, ca. 1875. 25 x 8 (31 x 13 framed) inches This rectangular panel made of enameled c...

In her 'Prayers,' series, Shizico incorporates Dahlias, which bloom in the late summer, bringing vibrancy to the garden into the winter's chilly months. The innocence of a cat serves...

The book of life, where everything is written and sealed. Your happiness and your suffering. You are here to witness your own choices. Inspired by a silhouette of the Nile River an...

This piece, titled "Tuscany Sunset", is an original oil painting on copper by Dina Brodsky, painted by the artist in Italy. The miniature painting itself measures 2.5" in diameter un...

This Set of 3, gold leaf and oil, named Garden Story are a part of Le Bleu Series by award winning British artist Shizico Yi. She created the series plein air in the early summer ev...

This beautiful painting is by Japanese artist, Takefumi Hori. He was born in Tokyo, Japan. He paints beautiful gold leaf paintings. This piece is acrylic, gold leaf and metal leaf ...

Coronation of Venus, 2021 Oil on Panel with 24k Gold Water-Gilded Frame, 114 x 78 inches “Coronation of Venus,” an ornamentally enriching piece from the studio of Justas and Vilius...

This beautiful blue painting is by Japanese artist, Takefumi Hori. He was born in Tokyo, Japan. He paints beautiful gold leaf paintings. This piece is acrylic, gold leaf and metal leaf on canvas. The artist studied calligraphy in Japan. In 2004 he moved to New York where he began painting abstract works of acrylic on canvas. Since 2009, Takefumi has been making gold and colored abstract works. He currently lives and works in Brooklyn where he is surrounded by the hustle and bustle of everyday urban life. The energy of New York City is an inspiration. His use of gold as a main material came about after long and intensive experiments. His compositional forms such as circles, squares and rectangles are ideal forms for gold to work with other colors in his work. The compositions of these elements are based on his experience with Japanese calligraphy. He merges the traditions of Eastern and Western art. His works are in numerous collections including Tiffany and Co., Claridges Hotel...

An extraordinary dated 1878 Mexican ex-voto retablo commemorating a miraculous recovery from life-threatening fevers, hand-painted in oil on tin by an anonymous folk artist. Rich in ...

“The Luminous Moment #1 Blue and Orange” is an original oil on canvas from a new series that explores the connection between human and animal forms through the interplay of two compl...

'L'Obscurité' by Richard Whitten, 2009. Trompe L'oeil, Newport Art Museum, Frye Museum, Yale ----- Initialed lower left, 'RCW' for Richard Whitten (American, born 1958) and dated, l...

"Skies Are Not Blue Anymore" Abstract Painting 48 x 96" inch by Yoram Katz Medium: Acrylic and Enamel on Canvas Comes in frame Size framed: 49 x 97 in ABOUT THE ARTIST: Born in Is...

Full title: "Farsighted: Rosalba's Mexican Spark" This painting is made applying acrylic over branch-beaten-gel-canvas with brass, bronze, copper and stainless steel metallic tarnis...

PaperLandscape is a series of artworks inspired by landscape and nature, nature and the passage change over time, we change nature and nature changes man the connection between man ...

Alexander Eulert's original mixed media paintings on wood panels are abstract propositions of worlds where divergent forces coalesce into harmonious geometric interactions. He draws ...

Old oil painting on canvas Portrait of An orange and white American Brittany hunting dog This oil on canvas is from the 19th century, painted by Léon Viardot (dijon, 1805 – Paris, 18...

Sébastien Ardouin Dumazet (b. 1972) – "Cyclamens" Oil on oxidized gilded leaf on canvas, 2025, 19⅝ × 19⅝ in. (50 × 50 cm) "Cyclamens" is a floral still life by French artist Sébasti...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

Marie Cameron is a realist painter and mixed media assemblage artist whose work explores hope, awe, and loss in the age of the Anthropocene. Her paintings often consider the fragile ...

This beautiful painting is by Japanese artist, Takefumi Hori. He was born in Tokyo, Japan. He paints beautiful gold leaf paintings. This piece is acrylic, gold leaf and metal leaf ...

Green Iron Jungles N5 is a unique round acrylic on aluminum and gloss varnish painting by Spanish contemporary artist Calo Carratalá, diameter is 120 cm (47.2 in). The artwork is sig...

This work is a unique piece. It is a gilded oil painting on linen canvas with 22 carat gold leaf. CS Art comprises of two artists, one French, the other Norwegian. They have been pa...

Bold and dynamic abstract composition titled "The Playful Journey" by Stephen Schulz (American, b. 1948). Schulz has used various types of acrylic paint, mixed with silicon to create a variety of textures. Signed and dated "Schulz 97" on verso, with an inscription that reads "For Leo and his Beautiful Family". Wood support frame on verso. Stephen Schulz (American, b. 1948) is an artist who has lived and worked in Fresno and Santa Cruz, California, and Cedar Grove, New Jersey. He has studied privately with Julie Connell, Jan Daniels, Michele Faia, Elle Fielder, Sal Pecoraro, Susan Stover, and Chris Volpe. Artist’s Statement: “My painting and artistic expression opens the doorway into an unconscious and creative world, where an uninhibited expression can take place, as one becomes immersed without the perception of time. Painting and design started it. From the beginning the process of transforming materials into art has struck me as a magical alchemy and, over the years, that mysterious process has had its hold on me, leading me from hobby to art. The creative process fills me with a sense of wonder and has proven a most amenable vehicle for transforming inner vision to outer reality. I paint from the inside out. Though I work quite deliberately, consciously employing both traditional and innovative techniques, my unconscious is the region of the most fertile of creative soil. I love working with a full complement of colors but often find my design direction working within the narrow spectrum of black and white, shadow and light. Some of my early inspiration comes from the New York School and artists such as Franz Kline and Jackson Pollock. Their ideas and techniques have helped to free my mind to explore areas of the unconscious that aren’t restricted by the world of right and wrong, good and bad. The journey continues and I feel blessed to have the opportunity to explore this exquisite world of the creative process.” Education: University of Oklahoma: 1966-1967 Canada College, AA Degree: 1972-1974 University of California: 1974-1975 Exhibitions: 2014 - Studio show Fresno, CA 2010 - Dubai (UAI) Animal rights show; Gallery 10, Washington, DC 2008, 2009 - Jia Salon & Gallery, Fresno, CA 2007 - Studio Exhibition 2006 - Cabrillo College 2004 - Studio Exhibition 2000, 2001, 2002 - Rollf's Gallery, Fresno, CA 2000 - Studio show; Bridgeport Gallery, CT 1999 - Tercera Gallery, Los Gatos, CA; Matt Miller Design, SF, CA 1998 - Robin Hutchins Gallery, NJ; Teroera Gallery Los Gatos, CA; Verve Gallery Los Angeles, CA; Open Studio Aptos, CA; Brigitte Bohlem, Hamburg, Germany 1997 - Robin Hutchins Gallery, NJ; Teroera Gallery, Los Gatos, CA; Verve Gallery, Los Angeles, CA; The Pope Gallery, Santa Cruz, CA; Hanson Art Source, Tennessee 1996 - Robin Hutchins Gallery, NJ; Teroera Gallery Los Gatos, CA; Verve Gallery, Los Angeles, CA; The Pope Gallery Santa Cruz, CA; Hanson Art Source, Tennessee; Barlett Fine Arts, Pleasant, CA; Birchstone, Gallery, Wisconsin 1995 - Abrahamsen Design; Teroera Gallery Los Gatos, CA; Verve Gallery, Los Angeles, CA; The Pope Gallery Santa Cruz, CA; Hanson Art Source, Tennessee; Barlett Fine Arts, Pleasant, CA; Birchstone, Gallery, Wisconsin; l&I Gallery, NJ; Gillen Design, London Ontario Canada...

Seymour Chwast (American, b. 1931) Three Pilots Ready for Take Off Mixed Media Painted Sculpture Hand-painted metal, (galvanized steel or aluminum) large wall hanging Hand signed to ...

This Italian tempera painted on gilt wood gold ground panel is a Tuscan religious artwork in the style of late Renaissance - early Gothic period. The sc...

Maples is a unique painting by contemporary artist Lumi Mizutani. The painting is made with pigments, India ink, gold leaf on panel mounted on Japanese paper, diameter is 22.7 cm (8....

Sergey VINOGRADOV ( 1869 - 1938 ) Rough sea with steamer on the horizon Sergei Arsenievich Vinogradov ( Russian: 1869–1938 ) was a Russian-Soviet Impressionist painter; known for l...

This captivating oil portrait from the late 18th to early 19th century depicts a mysterious charming young woman, painted by an unknown but clearly professional master, presumably Fr...

Mixed polymers on hand tooled tin panel. Ready for hanging. Tribes exemplifies Nakamura’s distinctive ability to merge myth, symbolism, and meticulous craftsmanship into a single, m...

Golden Rain is a unique painting by contemporary artist Chen Yiching. The painting is made with mineral pigments, gold and silver leaf on Japanese paper mounted on wood, dimensions a...