Slate Paintings

Painting on stone (slate), 17th century: Salome and the Beheading of Saint John the Baptist Italian school Technique: Oil on slate Period: 17t...

This painted work-on-paper is an abstract geometric design that references colors, shapes, and aesthetics that artist Nancy Agati encountered in Italy. The...

This painted work-on-paper is an abstract geometric design that references colors, shapes, and aesthetics that artist Nancy Agati encountered in Italy. The...

This painted work-on-paper is an abstract geometric design that references colors, shapes, and aesthetics that artist Nancy Agati encountered in Italy. The...

This painted work-on-paper is an abstract geometric design that references colors, shapes, and aesthetics that artist Nancy Agati encountered in Italy. The...

This dramatic work-on-paper is an abstract geometric painting that references colors, shapes, and aesthetics that artist Nancy Agati encountered in Italy. The rich, dark background i...

Through drawing and mark-making, Nancy Agati investigates geometry, explores elements of growth, and seeks to reveal a sense of order or elegance. She is interested in the organic na...

Through drawing and mark-making, Nancy Agati investigates geometry, explores elements of growth, and seeks to reveal a sense of order or elegance. She is interested in the organic na...

Through drawing and mark-making, Nancy Agati investigates geometry, explores elements of growth, and seeks to reveal a sense of order or elegance. She is interested in the organic na...

Mary Magdalene Roman classicism of the 17th century Circle of Gian Domenico Cerrini (Perugia, 1609 - Rome, 1681) Oil on slate 54.5 x 47.5 cm. Framed 74 x 68 cm. A female character who has always been a favorite in art for her often contrasting faces, Mary Magdalene is beautifully portrayed here according to the canons of ideal beauty imposed by the classicism of the early 17th century With his hands he holds the ampoule of ointment (Maddalena mirrofora), its typical iconographic element, which the sinner used to perfume the feet of Jesus, who also refers to the episode of the discovery of the resurrection, when Mary went to the sepulcher for sprinkle the body of the Messiah with perfumed balm. Our Maddalene fully reflects the canons of classicism, whose aesthetic ideals tended to idealize the subjects portrayed: the Saint is in fact rendered with a classic pose, almost like an ancient statue, her hair neatly lifted by the wind and an ethereal expression, as well as the his white face. In particular, the work recalls, for style and compositional taste, the compositions of the Perugian Giovanni Domenico Cerrini, one of the most distinguished exponents of Roman classicism, and among the main collaborators of Guido Reni in his workshop in Rome. According to various sources, he would have also worked for Domenichino, until he himself acquired an independent artistic personality in Rome. Enjoying soon the favors of the Roman patrician families Spada and Rospigliosi, in particular thanks to the cardinals Bernardino Spada and Giulio Rospigliosi, Cerrini soon achieved great success, receiving many positions of the Roman curia and aristocracy. The painting is made in oil on a slate support, according to a widely used technique starting from the first half of the sixteenth century. On a collector level, painting on marble...

SCOTT KILGOUR (b. 1960): ELECTRIC LIGHT BULB Etched slate, 1992, signed ''Scott Kilgour'', titled and dated on the reverse. Provenance: Camilla and Earl McGrath Collection. Scott Kilgour is a British Postwar & Contemporary painter who was born in 1960. Their work was featured in several exhibitions at key galleries and museums, including the Elga Wimmer PCC and the Howl! Happening. Encouraged by the first curator of 20th Century Art at the Metropolitan Museum, Henry Geldzahler, to move to New York City in the early 80's, Kilgour experienced first hand the frenetic contemporary American art scene. By the end of the decade, after absorbing the eclectic New York sensibility, Scott's lines and curves had evolved due to contact with Pop Art, Minimalism, New Wave, Graffiti and modern dance. His work was further influenced by Edmund Carpenter, a prestigious anthropologist, who galvanized his interest in continuous line drawing and knotwork designs. Gallery exhibits in the ‘80s included 56 Bleecker Street Gallery, DIA Foundation and Holly Solomon Gallery. In the 90's, Kilgour would further expand his body of knot-work designs, embarking on a decade-long study exploring the spatial relationship of continuous line drawing in Scottish Celtic Interlace. Kilgour's linear style is grounded in Charles Rennie Mackintosh's Art Nouveau aesthetic. This exploratory culminated in a 1999 exhibition at the Mackintosh Museum, Glasgow School of Art, as part of the Glasgow UK City for Architecture & Design celebration. Currently, Scott is working on a botanical body of work inspired while drinking a glass of rose in Provence, surrounded by a blossoming white French rose garden. Flowers are an ideal subject for Scott’s linear execution, as no two images are the same based on rosette whorl and luminous petals radiating from a single node. Kilgour attended the Glasgow School of Art and has been featured in media outlets including Interview Magazine, New York Magazine and Elle Décor. Select Group Exhibitions 2019 MM Gallery, New York, Regarding Tom & Henry - Tom Slaughter, Stephen Hannock, Robert Harms, Scott Kilgour, Ray Charles White. 2018 Elga Wimmer Gallery, New York, Bloom / Wilt / Bloom - Donald Baechler, Crash, Alex Katz, Donald Sultan, Scott Kilgour, Andy Warhol. 2017 Howl Arts, Arturo Vega...

Simone Geraci was born in 1985 in Palermo, where he lives and works. In 2012, he graduated at Accademia di Belle Arti of Palermo with a major in art graphics. Painter, illustrator an...