Tempera Paintings

Conditions : Very good original Conditions including a beautiful frame. Framed under glass, this rare composition for sale is an exceptionnel piece for Art collectors. Signed and d...

Red Optical Composition is an original artwork realized by the Italian contemporary master, Carlo Montesi in 1966. In good conditions. Tempera, oil pai...

The Evangelist Mathew after a Russian Icon. School of Moscow, 15th century. Egg tempera, gold leaf, and gesso, over a wooden board. Dimensions: (H) 52 x (W) 36 x (D) 3 cm. Saint Matthew, the Evangelist, is represented at his own desk, a true artisan laboratory. THE THECHNIQUE This is how the artist sums up the technique used by him to create the icon: “The aim of these steps is to create a durable painting. The icon is eternal. The first step is to choose a support, traditionally made of wood, from the center of the trunk to avoid warping it. For this purpose, two hardwood bolts were often used on the back to give the picture panel additional stability. Often a frame is milled out. Then the image carrier is sanded smooth and now 12 or 14 thin layers of gesso are applied and sanded smooth as well. Then the preliminary drawing is applied and the drawing board is prepared with a special preparation called bolus. This bolus can be polished to a high gloss. Afterwards, the gold leaf is "shot" with special brushes. It dries up within a few hours and can now be polished with an agate. Gold leaf is real 24 carat gold . Now does the actual process of painting begin. Egg tempera is made fresh from egg yolk, water and a little vinegar. This is used to prepare the color pigments. Tempera painting is done in numerous layers from dark to light. When the icon is finished, it is left to dry for a few months and varnished with a special varnish called Olifa made from boiled linseed oil and other ingredients”. ABOUT THE ARTIST Oliver Samsinger...

Music and Strawberries Egg Tempera Realism American Artist Reflection Framed by realist painter Mark Thompson is 7 x 11 inches. Notice the reflections in the marbles and other o...

Interior of a Dacha is an original painting in tempera on paper realized by Leonid and Rimma Brailowsky. Hand-signed on the lower right. The state of preservation of the artwork i...

Composition is a beautiful original painting in tempera applied on cream-colored paper, realized at the beginning of XX century by the Greek-French artist Mathéos Alkis, Signed on lo...

Vladimir Glushenkov (1948-2009) (May 21, 1948, Riga - December 26, 2009, Riga) - painter, graphic artist, poet, translator. Vladimir Glushkenkov was born in family with Russian-Poli...

Paese in estate is an original Contemporary artwork realized in 1988 by the italian Contemporary artist Leo Guida (1992 - 2017). Original drawing in beautiful colored tempera on...

Madame in the blossom garden is an original painting realized by Lucie Navier in the 1931. Original tempera on paper. Very good conditions. Colorful composition representing a f...

Sir William Blake Richmond KCB, RA, PPRBSA 1842 - 1921 The Shepherd Egg tempera on wooden panel, signed with initials bottom left Image size: 8 ¼ x 5 ½ inches Period gilt oak frame A newly discovered work by the artist. Sir William Blake Richmond KCB, RA, PPRBSA was an English portrait painter, sculptor and a designer of stained glass and mosaic. He is best known for his portrait work and decorative mosaics in St Paul's Cathedral in London. He was the son of the portraitist George Richmond RA and studied at the Royal Academy Schools in the early 1860s. Influenced by his father and by Sir John Everett Millais, he is best known for his mosaic decorations below the dome and in the apse of St Paul's Cathedral in London. His father, George Richmond, was one of 'the Ancients' who were a group of artists who formed around the visionary artist and poet William Blake. Samuel Palmer was an other of the ancients and a close friend of the family. Our painting could have been inspired by George Richmond’s engraving 'The Shepherd', 1827, but in our panel the shepherd is turned round facing away, and is playing a flute instead of resting on a staff. But the sheep and other elements are there. It is also suggestive of Welby Sherman's engraving after Samuel Palmer of the same name and date, but here the shepherd is sitting but like ours turned away. William Blake's is an altogether happier image given the figure is playing to his sheep. Our painting is playing with some of the same ideas and feels like the same sort of period, and the ‘fresco’ like chalk ground is interesting, as is the pen and ink finishing on the tempera. All three are strongly influenced by Blake's illustrations to Thornton's 'Virgil'. The shepherd and his flock are clearly based on Thenot and his sheep in the Frontispiece to Thornton. Blake Richmond wrote:"If there be the least value in my pictures, it is due to such lovely early impressions derived from the sweet poetic work of many of my father's contemporaries, Calvert, Blake and others, whose shadows are substance still to me" [Sir William Blake Richmond, letter to his father, 50 years after the death of William Blake, from Stirling op. cit p. 28]. Richmond was given private art lessons by John Ruskin before attending the Royal Academy for three years. After that he spent a number of years in Italy, where an encounter with a shepherd called Beppino, 'a splendid speciman of a Sabine Shepherd', could also have gave him the inspiration for the painting we show here. Richmond recalls how he met Beppino on the hillside, and was invited to share the shade of the shepherd's capanna, a wooden hut. 'What a place! In an instant of time I was back into the age of kings, and I knew Romulus had lived and am sure that he lived in a hut exactly like this one'. That night Richmond dined at Beppino's hut 'on roast kid, hard bread dipped in Roman wine, goat's cream and white ricotta'. The shepherd had such an impression on Richmond that he sought him out on a return visit to Italy some years later, but was saddened to hear that Beppino 'had joined his fore-fathers in the shades'. He was moved to write the following, which perfectly expresses the mood of this painting and his tribute to a fleeting companion: 'Little events of this kind unite past times with present, create and emphasis continuity of human instincts, which seem to defy time and make travel so intensely interesting and invigorating to a citizen of this world. One need not go to the palace, far otherwise, or to cities and towns to discover the kernal of enduring civilisations. One finds it, if one wills to do so, in the backbone of the world, an ancient peasantry who have watched and still watch the progress of the stars'. Richmond was influential in the early stages of the Arts and Crafts Movement in his selection of bold colours and materials for the mosaics in St. Paul's Cathedral and in his collaboration with James Powell and Sons...

Fred Wessel's "Jack-In-The-Pulpit" is a stunning egg tempera painting on gold leaf. Created in 2023, this piece features two stems of Aresaema Triphyllum, resting in an ornate gold l...

"Mandarin" (2022) by Susanne Zuehlke (b. 1962) is a warm and inviting painting that evokes the richness and vitality of its namesake fruit. The canvas is dominated by a vibrant orang...

Surreal abstract expressionist painting of a group of clowns in the style of Belgian painter James Ensor. Combining the macabre with the playful, the work features distorted clowns a...

Reindeer In Forest Tempera on silk, gold leaf frame under glass, by Chinese artist Ma Hai Feng born 1958.

Fred Wessel's "The Constellation Sagittarius" is a stunning egg tempera painting on gold leaf. Created in 2018, this piece depicts a young woman, holding an arrow and looking in the ...

Aditya Basak - Untitled - 36 x 30 inches (unframed size) Acrylic & Tempera on Canvas ** This work will be shipped in a roll form. "Through the medium of the fantasy, Basak probes...

Lalu Prasad Shaw Ganesha Tempera on Board 26 x 20 Inches 2016 Style : Known widely for his highly stylized portraits of Bengali women and couples, Lalu Prasad Shaw’s works lay the...

Fred Wessel's "Modesty" is a stunning egg tempera painting on gold leaf. Created in 2016, this piece depicts a young woman in a simple patterned gown, looking down and embracing hers...

Abstract Cubist Construction Collage Mid 20th Century American Modernism Cubism Vaclav Vytacil (1892 - 1984) Abstract Construction #2 Caesin on board collage 11 x 13 1/2 th inches S...

Virgin of the Sign (Orans), with the Christ Child Emmanuel and Cherubim Artist: Oliver Samsinger Technique: Egg tempera on gesso and wood, with 24-karat gold leaf application. Dimens...

"Giant At Sea" is an Asian Inspired Painting with a colorful Samurai and sailing boats in the ocean, with lots of white waves. The piece is created using ink, egg-tempera, and a gold...

The School of Stoics brings the viewer into an airy evening discussion at an agora overlooking the Aegean Sea. Amidst the silent water and grained marble, a group of stoics debate logic, reason, and nature. Agreement and disagreement prevail in the noble gestures of their bodies. Soon you see an individual's gaze directed towards you, raising their hand, calling you to join the conversation. Technical: 53” x 39”. Tempera on panel with 24k gold water-gilded frame. Painting and frame produced by artists Justas and Vilius Varpucanskis. This piece utilizes the "rules of craftsmanship" as outlined in Cenino Cennini's Il Libro dell'Arte. 21st century contemporary artwork that employs techniques, philosophy, and visual language of the Italian High Renaissance...

Beautiful painting in gouache technique depicting a distinguished young lady. The noblewoman presents a pose of rare elegance, with one hand resting on a planter and the other holdin...

The present illuminated folio page contains a fine miniature depicting three figures hunting while on horseback, an image meant to accompany a historic epic. During the medieval period, hunting was an important pastime of male nobility throughout the Islamic world. The Quran itself explicitly endorses hunting and the use of animals to aid in capturing prey: "Lawful to you are foodstuffs that are good to eat and any game that, at your wish, is captured by beasts of prey which train as you do dogs, according to the method that Allah has taught you, after you have spoken the name of Allah over it." (Q 6:4) Muslim princes and nobles enjoyed the chase of the prey via horseback, using bow and arrow, crossbows, and blowpipes to capture their prey Horseback riding itself trained young men in the necessary skills for armed combat and warfare, developing their speed and strength. 12 x 8.25 inches, artwork 19.75 x 15.88 inches, frame accompanied on the back with an image of the verso framed to conservation standards with a 100% rag silk-lined mat in a gold gilded frame A Persian miniature is a small Persian painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant genre in Persian art in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature...

GIACOMO BALLA 1871-1958 Torino 1871 - 1958 Rome (Italian) Title: Forms Sound Forme rumore, 1925/30 Technique: Signed Tempera on Card Size: 19 x 22.7 cm. / 7.5 x 8.9 in. Addition...

Provenance: Achillito Chiesa, Milan Luigi Albrighi, Florence, by 1 July 1955 with Marcello and Carlo Sestieri, Rome, 1969 Private Collection, Connecticut Exhibited: Mount Holyoke College Art Museum, South Hadley, Massachusetts (on loan, 2012) Literature: Carlo Volpe, “Alcune restituzioni al Maestro dei Santi Quirico e Giulitta,” in Quaderni di Emblema 2: Miscellanea di Bonsanti, Fahy, Francisci, Gardner, Mortari, Sestieri, Volpe, Zeri, Bergamo, 1973, pp. 19-20, fig. 18, as by the Master of Saints Quiricus and Julitta (now identified as Borghese di Piero). This fine predella panel depicting the Baptism...

Hand Signed. Passepartout included.

An original tempera on paper painting by emerging contemporary artist Anthony Leone, currently featured in the artist's solo exhibition Grape Farm.

Signed and dated "Vytlacil 38" lower left, and signed and dated verso. Provenance: Estate of the artist #1602; Martin Diamond Fine Art About this artist: Born in 1892 to Czechoslov...

Christ Pantocrator after a Russian icon of the 15th Century. Tempera and gold leaf on gesso over a wooden board. Measurements in centimeters: 38 x 29.5 x 3 cm. / In inches: 14.96 x 11.8 x 1.18 " This is how the artist sums up the technique used by him to create the icon: “The aim of these steps is to create a durable painting. The icon is eternal. The first step is to choose a support, traditionally made of wood, from the center of the trunk to avoid warping it. For this purpose, two hardwood bolts were often used on the back to give the picture panel additional stability. Often a frame is milled out. Then the image carrier is sanded smooth and now 12 or 14 thin layers of gesso are applied and sanded smooth as well. Then the preliminary drawing is applied and the drawing board is prepared with a special preparation called bolus. This bolus can be polished to a high gloss. Afterwards, the gold leaf is "shot" with special brushes. It dries up within a few hours and can now be polished with agate. Gold leaf is real 24-carat gold. Now does the actual process of painting begins. Egg tempera is made fresh from egg yolk, water, and a little vinegar. This is used to prepare the color pigments. Tempera painting is done in numerous layers from dark to light. When the icon is finished, it is left to dry for a few months and varnished with a special varnish called Olifa made from boiled linseed oil and other ingredients”. ABOUT THE ARTIST Oliver Samsinger (Vienna, 1968) began to take an interest in icons in 1990. He undertakes several trips to Bulgaria, Greece, and Cyprus to see in situ the original works treasured in these three countries. This experience will be crucial in his life since the studies carried out in Sofia, the Bulgarian capital, and his stay on Mount Athos...

Medium: Tempera Painting Signature: Signed Lower Left Cover of The Saturday Evening Post Magazine, December 5, 1953

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. John Barnicoat MA ARCA (1924 - 2013) Harbour (1975) Tempera on card 26 x 26 cm Initialled B and dated '75. John Barnicoat was a painter of oils and works on paper using tempera, conté, acrylic, pen, and ink. He was brought up in Cornwall and educated at King’s College, Taunton. He joined the Royal Naval Volunteer Reserves and took part in D-Day, aged 29. He went on to read history at Lincoln College, Oxford, and also studied at the Ruskin School of Drawing. He attended the Royal College of Art in the early 1950s, eventually becoming the Senior Tutor at the RCA Painting School between 1976 and 1980. He was the head of Falmouth School of Art 1972 - 1976 and Head of the Chelsea School of Art 1980 - 1989. He wrote 'Posters: a Concise History' in 1972, and organised and curated exhibitions in the UK and Russia on the art of poster design. From 1989 onwards he produced numerous drawings and oils of the bridges of London, women’s heads, acrylic and conté works on paper, and pen and wash drawings of women dressing...

Awards 2013 Loring W. Coleman Award for Watercolor/ Allied Artists of America, 100th Annual Exhibition at the National Arts Club 2011 Mary Bryan Memorial Medal / Allied Artis...

Thai Illuminated Manuscript Leaves, 19th century, ink and tempera on paper, five folded leaves together in a giltwood frame. Image: 51.5" H x 16.25" W; frame: 67.5" H x 36.5" W. Prov...

Fred Wessel's "The Constellation Delphinus" is an egg tempera painting with gold and silver leaf created in 2019 depicting a female with a gold leaf background. About the artist: ...

Scandinavian Family Portrait Artist 18th century 18th Century Scandinavian School Signature: Not signed Medium: Miniature Dimensions: Image size ...

Jacqueline Pavlowsky was born in 1921 in Vincennes to Russian and Polish Jewish parents who had immigrated to France. After the war, she started her studies of chemistry, while at th...

Geometric Female Nude in Pink and Mauve – circa 1970 Medium: Tempera on cardboard Dimensions: H 65 cm x W 33 cm approx. Description: The female body is reimagined through a composit...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

The present illuminated folio page contains a fine miniature depicting four figures playing polo. Polo, also called 'chagun,' was the sport of kings and princes of central Asia and Iran, and the sport probably originated there in the 6th century BCE. Polo matches appear in a large number of early Persian texts, including in the writings of the 10th century epic writer Abu l-Qasim al-Firdawsi: He describes numerous polo matches in his famous 'Shahnameh' (The Persian Book of Kings). This particular illumination also is closely related to an example held at the Smithsonian Museum of Asian Art: a folio from 'Guy u Chawgan' (The ball and the polo-mallet) which shows a polo game with the dervish and the shah. 12 x 8.25 inches, artwork 19.75 x 15.88 inches, frame accompanied on the back with an image of the verso framed to conservation standards with a 100% rag silk-lined mat in a gold gilded frame A Persian miniature is a small Persian painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant genre in Persian art in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature...

Framed (Abstract painting) Casein on Arches paper. Unframed. Anne Russinof often does paintings on paper to loosen up for the larger canvas works. The point is to free her hand. ...

Woman With Baskets is an original painting artwork in mixed media -ink, tempera and watercolor- realized by Sergio Barletta in 1995. Hand-signed and...

Tempera,Ink on canvas Framed - 132 x 99 x 4 cm

Abstract Composition is a beautiful original painting in oil and mixed media on paper, realized at the beginning of the XX century by the Greek-French artist Mathéos Alkis. Hand-sign...

15th Century Maestro della Pala Sforzesca Title: Ecce Homo Medium: Tempera on Panel Dimensions: without frame 64.9 x 53.2 – with frame 82 x 70 x 5 cm Beautiful "cassetta" frame in e...

Egg tempera on canvas, Shadow joint frame Frank Suplie is a German artist born in 1950 lives and works in Berlin, Germany. He is a member of the Painters Association of the North Ge...

"Birth of Christ", after a Russian icon of the 15th century. Tempera and gold leaves on gesso, wooden board. Dimensions: (H) 68 x (W) 52 x (D) 4 cm. This icon sums up the events of the birth of Christ. At the top left the three wise men from the Orient approach on horses. ABOUT THE ARTIST Oliver...

Modernist painting by Vaclav Vytlacil of "City Scene with Faces". Signed and dated "Vytlacil 32" lower right. Provenance: Estate of the artist #1584; Martin Diamond Fine Art Exhibi...

Oil, casein & ink on panel Paul Lorenz is an American artist born in 1961 who lives & works in Buckeye, AZ, USA. With an education in Bauhaus architecture, fine art, and music compo...

Siamese Cat with Kittens by Orovida Pissarro (1893-1968) Egg tempera on linen 39 x 48 cm (15³/₈ x 18⁷/₈ inches) Signed lower right Orovida and dated lower left 1934 Provenance J Ankri, 8th October 1967 Literature K L Erickson, Orovida Pissarro: Painter and Print-Maker with A Catalogue Raisonné of Paintings, (doctoral thesis), Oxford, 1992, Appendices, no. 51, p. 56 (illustrated) Exhibition London, The Leicester Galleries, Paintings by Orovida, February 1935, no. 6 Women’s International Art Club, 20th February - 13th March 1937, no. 273 London, Redfern Gallery, Ten Years of Work by Orovida, 5th-28th May 1938, no. 7 London, The Royal Society of British Artists, Summer Exhibition, 1947, no. 281 (possibly the etching) London, O’Hana Gallery, Paintings, Drawings and Coloured Etchings: Orovida, 3rd-18th October 1957, no. 13 Artist biography Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...

GRAPES & PEARS Size: 28.5 x 34 cm (including frame) Tempera on board A brilliantly executed and charming surrealist still life composition, executed in tempera on board and dated 19...

The work, tempera on canvas in a great state of conservation, is part of a series of four big paintings of various authors documented in origin in the Villa La Zambra in Sesto Fioren...

MEDICINAL PLANTS, PAPAVER SOMNIFERUM L. (OPIUM), 2013 Tempera on paper 49,5 x 38,5 cm Born in 1967 in Trikala, she grew up in Athens, Greece, where s...

Suburbs is an original modern artwork realized by Renso Vespignani in 1970s. Mixed colored tempera on canvas. Stamp behind the artwork. Provenance: Vivaldi Collection.

Attributed to Jon Whitcomb (1906-1988) Illustration of Glamorous Young Woman, ca. 1950's. Tempera on illustration board, image measuring 9 x 13 inches. Board measuring 15 x 20 inc...

Renelio Marin is a visual artist with a diverse range of influences and styles. Born in Cuba, he received his graduate degree from the San Alejandro School of Fine Arts in Havana in ...

A milk truck is seen caressed in the golden light of early morning as a woman bends down to feed her cat. The artist depicts a precious moment as an older woman reaching down to pick...

About the artist: A two week trip that I took to Italy in 1984, had a profound and prolonged influence on my work. At that time I was involved in making a series of aquarium images...

Frank Suplie is a German artist born in 1950 lives and works in Berlin, Germany. He is a member of the Painters Association of the North German Realists s...

Much of Bennett Vadnais’ subject matter comes from his surroundings in Manhattan and Brooklyn. With a strong background in plein air landscape painting, Vadnais finds an interesting ...