Panel Paintings

Oil on canvas. 12 canvases, each 18” x 24”, framed in natural maple.

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

Andrew Davis is a contemporary painter living and working in the Uk. Inspired by his home and surrounding area Andrew paints with a fresh energetic style, which gives his paintings a...

ANJA VAN HERLE "What The Duck" Acrylic & Swarovski Crystal on Panel 48 x 72 inches. “Listen to the ground There is a movement all around There is something goin' down And I can feel it” -Night Fever, Bee Gees, 1977 The soundtrack of the 1970s was disco- the culturally dominating force that conjures images of clubs filled with the psychedelic haze of flashing strobe lights, grooving bodies on the dance floor, and white leisure suits...

"Mountain Fog" is an encaustic with oil paint and beeswax over watercolor, on a cradled panel measuring 36" high by 24" wide. The painting arrives in a custom walnut floater frame by American Frame Company. From Regina Quinn...

A majestic palm stands tall amidst a tangle of tropical plants in this landscape by Peter Hoffer. The Canadian artist is known for creating romantic pain...

Oil paint on hardboard panel

Medium: Oil on Paper Laid on Panel Signature: Signed Lower Right Initialed lower right: M.P. Signed on the reverse: Maxfield Parish Initialed and numbered by the artist's son on the reverse: M.P. Jr. / No. 68. When Maxfield Parrish painted the comical A Dark Futurist in 1923 for Life magazine, he had already established himself as America's leading book and magazine illustrator. His early artwork for children's classics like L. Frank Baum's Mother Goose in Prose (1897), Kenneth Grahame's Dream Days (1900), and Eugene Field's Poems of Childhood (1904) popularized his signature atmospheric settings, cobalt blue-and-gold palette, and dreamy figures inhabiting magical worlds. Likewise, his covers for Century, Collier's, Harper's Bazaar, Ladies' Home Journal, Life, and Scribner's Magazine were highly desirous and instantly recognizable, often more stylized than his book imagery; no other journal illustrator could match Parrish's winning combination of precise draftsmanship, strong graphic design, and amusing characters. According to David Apatoff, Art Critic, The Saturday Evening Post, "Parrish abandoned his customary heavy details and rainbow colors to present a bolder, more high-contrast design silhouetted against a stark white background - a treatment more suitable for a modern magazine cover vying for attention on a crowded newsstand. A Dark Futurist is silhouetted against a white field with no background or details to prop it up. The composition is carefully centered with only differences in the hands and the artist's necktie to break the symmetry. These are crucial to the success of the design. Just as important as Parrish's clean, high-contrast style in these pictures is the refreshing humor and sophistication in content, which is usually absent from Parrish's fairytale paintings. A Dark Futurist shows us a different kind of modernism. Parrish steps out of his timeless fairy tales to tweak one of the most incendiary artistic movements of his day. Futurism, with its militant manifesto and its outspoken artists, was all the rage in Europe. Parrish pokes them, showing a "dark" and anxious futurist with pursed lips and thick glasses, poised to paint but not exactly sure of, or optimistic about, what the 'future' will hold. This suggests that Parrish was alert to, and had opinions about, current events of the day - something one might never guess from his usual subject matter." In his early Collier's illustrations, Parrish also developed memorable themes that he would return to in his 1920s magazine work. One of his most popular characters was the "seer," or man with keen visual powers, most often depicted as an artist, but also appearing as a tourist, scientist, and philosopher. Parrish's seer was recognizable by particular physical attributes: round glasses, indicating his visual and analytical acuity, and an overcoat and/or hat signifying his role as observer of the outside world. A Man of Letters, sold last year at Heritage Auctions, was one of the first Life covers Parrish rolled out for Gibson, and he repeated the character of the artist-seer, emphasizing the comic spin, for two later editions: A Dark Futurist (Life, March 1, 1923) captures a Parrish-like artist in foggy round glasses and a long green coat...

Acrylic on panel

“THE UPWARD PATH” is one of the pieces that best represents the ideas and visualizations that are part of the EQUATIONS series. The outer elements both frame (contain) and balance the energy and design of the central square. Mandala designs in traditional Tibetan Buddhist...

Abstract mixed media painting with light green, red and blue. Jylian Gustlin is a native Californian and grew up in the San Francisco bay area. S...

This is an original oil painting on panel by Lauren Rinaldi measuring 12in x 6in. Lauren Rinaldi's work inhabits the space where objectification, female power and sexual empowermen...

"Sirens 1" Figurative in Light Yellow, Pinks, Bright Colors, Drips and Lines Jylian Gustlin is a native Californian and grew up in the San Francisco bay area. She has been shaped by...

‘Camelot’ is a large abstract narrative oil on panel painting created by American artist Doug Frohman in 2016. Featuring a palette made of grey, beige, yellow, blue, red and black, t...

Inspired by her close connection to nature, and by what she calls “the spirit of investigation and observation of the natural world,” Suzi Davidoff creates mixed-media drawings and p...

Squeak Carnwath’s distinctive style of painting and rich beautiful surfaces have been an inspiration to many artists in the San Francisco Bay Area. Soon after graduating with an MFA...

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a chance...

Oil on panel by Richard Whitten