Acrylic Portrait Paintings

Gamez de Francisco paints and photographs very passionately, making statements filled with symbolism. He frequently includes insects in his artwork. He says: Flying insects represent...

Gamez de Francisco paints and photographs very passionately, making statements filled with symbolism. He frequently includes insects in his artwork. He says: Flying insects represent...

Gamez de Francisco paints and photographs very passionately, making statements filled with symbolism. He frequently includes insects in his artwork. He says: Flying insects represent...

Gamez de Francisco paints and photographs very passionately, making statements filled with symbolism. He frequently includes insects in his artwork. He says: Flying insects represent...

A 9” x 14” x 1” Surrealism Acrylic Portrait Painting executed by artist Christopher Polentz. A certificate of authenticity will accompany the piece upon its purchase or delivery. “T...

A 8.5” x 10.5” x 1” Surrealist Acrylic Portrait Painting by artist Christopher Polentz. A certificate of authenticity will accompany the piece upon its purchase or delivery. The Bee...

A 10.5” x 16.5” x 2.5” Surrealist Acrylic Portrait Painting by artist Christopher Polentz. A certificate of authenticity will accompany the piece upon its purchase or delivery. The ...

A 10” x 12” x 1” Surrealist Acrylic Portrait Painting by artist Christopher Polentz. A certificate of authenticity will accompany the piece upon its purchase or delivery. Mothboy: W...

A 9” x 12” x 2” Surrealist Acrylic Portrait Painting by artist Christopher Polentz. A certificate of authenticity will accompany the piece upon its purchase or delivery. The Human C...

A 13” x 15” x 2” Surrealist Mixed Media Portrait Painting executed on Wood Panel by artist Christopher Polentz. A certificate of authenticity will accompany the piece upon its purcha...

A 12” x 14” x 1.5” Surrealist Acrylic Portrait Painting by artist Christopher Polentz. A certificate of authenticity will accompany the piece upon its purchase or delivery. “The Boy ...

A 14” x 16” x 1” Magical Realism Acrylic Portrait Painting by artist Christopher Polentz. A certificate of authenticity will accompany the piece upon its purchase or delivery. The L...

A 16” x 16” x 2” Surrealist Mixed Media Portrait Painting executed on Wood Panel with Acrylic and Graphite by artist Christopher Polentz. A certificate of authenticity will accompany...

A 7” x 10” x 1” Magical Realism Acrylic Portrait Painting executed on Vellum by artist Christopher Polentz. A certificate of authenticity will accompany the piece upon its purchase o...

A 12” x 19” x 5” Magical Realism Acrylic Portrait Painting executed on Vellum with Found Objects by artist Christopher Polentz. A certificate of authenticity will accompany the piece...

A 8.5” x 11.5” x 2” Surrealist Acrylic Portrait Painting by artist Christopher Polentz. A certificate of authenticity will accompany the piece upon its purchase or delivery. “Gopher...

A 8” x 11” x 2” Surrealism Acrylic Portrait Painting by artist Christopher Polentz. A certificate of authenticity will accompany the piece upon its purchase or delivery. Carnivale’s...

John Baker’s “Eating and Drinking I” is an acrylic painting on canvas with collage 24 x 30 inches in reds, greens and yellows against a neutral background. What at first glance appea...

John Baker’s “Eating at the Airline Diner” is an acrylic on canvas with collage 30 x 30 inches in reds, yellows and blues with green accents. The iconic diner, in Queens, New York, i...

John Baker’s “Eating and Drinking II” is an acrylic painting on canvas with collage 24 x 30 inches in yellows, reds and greens on a neutral background. In one sense an illustration o...

John Baker’s “Man Adjusting his Tie” is an acrylic painting on canvas 24 x 18 inches in greens and reds with blue and yellow color accents. The disheveled appearance of the man impli...

John Baker’s “The Lonely Crowd” is a multi-colored acrylic painting on canvas with collage 40 x 60 inches. Blues, yellows and greens predominate while reds provide color accents. The...

"Diver" - Surrealist portrait painting of a female emerging from the water with a pearl on her tongue by Paul Green. Acrylic on panel. Signed on back by art...

John Baker’s “Self-Chaperone” is an acrylic painting on canvas with collage 28 x 22 inches in flesh tones, yellows and greys. The portrait depicts the inner conflict between uninhibi...

"Conversation With Myself" delves into the realms of self-discovery and introspection. The young man's introspective pose invites viewers to reflect on their inner dialogue and explo...

Iqi Qoror's surreal figurative paintings are arresting in their earthy palettes offset by pops of fluorescent textile embroidery. His artworks revolve around questions of trust, inte...

John Baker’s “The Two Dummies” is an acrylic painting on canvas with collage 32 x 24 x 1.5 inches wide in browns, tans and greys with red and yellow accents. The wooden neck lever of the ventriloquist suggests that he is in reality the dummy of the young boy; and yet, impossibly, both seem to be the dummies of one another! Regardless, the brightness of the props on the prop table...

John Baker’s “A Family of Means” is an acrylic painting on canvas with collage 38 x 50 inches in blues, reds, and pinks. Depicted in their commodious library, the wealthy family exudes a sense of arrogant privilege and shameless materialism. The matriarch displays her rings to the spectator as though their monetary value was proof of her worth as a person, while her son, in his prep school blazer...

Bulb of Africa was not just a hairstyle; it was a celebration of African heritage and a testament to the resilience of its people. Passed down through generations, it represented strength, beauty, and the rich tapestry of African traditions. The Bulb showcased the natural texture and volume of African hair, transforming it into an intricate masterpiece of braids, twists, and coils. The Bulb of Africa became a symbol of empowerment, reminding people of their strength, resilience, and the beauty of their shared heritage. It served as a reminder that hair was more than a physical attribute; it was a connection to something greater—a connection to their ancestors, their community, and celebrating the beauty within themselves. Beyond their physical beauty, African women possess an immeasurable inner strength that resonates through "Bulb of Africa." Odunayo masterfully captures this strength, highlighting the resilience and determination that have defined African women throughout history. The women depicted in the artwork emanate confidence, wisdom, and a sense of purpose. Their gaze speaks volumes, embodying the stories of countless African women who have overcome adversity, shattered barriers, and carved out their own paths to success. In "Bulb of Africa," Iyiola Odunayo...

Bulb of Africa was not just a hairstyle; it was a celebration of African heritage and a testament to the resilience of its people. Passed down through generations, it represented strength, beauty, and the rich tapestry of African traditions. The Bulb showcased the natural texture and volume of African hair, transforming it into an intricate masterpiece of braids, twists, and coils. The Bulb of Africa became a symbol of empowerment, reminding people of their strength, resilience, and the beauty of their shared heritage. It served as a reminder that hair was more than a physical attribute; it was a connection to something greater—a connection to their ancestors, their community, and celebrating the beauty within themselves. Beyond their physical beauty, African women possess an immeasurable inner strength that resonates through "Bulb of Africa." Odunayo masterfully captures this strength, highlighting the resilience and determination that have defined African women throughout history. The women depicted in the artwork emanate confidence, wisdom, and a sense of purpose. Their gaze speaks volumes, embodying the stories of countless African women who have overcome adversity, shattered barriers, and carved out their own paths to success. In "Bulb of Africa," Iyiola Odunayo...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

I don't know why I keep believing That one day they'll bring us together When they've shown, in more ways than one That all they care about is the money You belong to the one politic...

Bulb of Africa was not just a hairstyle; it was a celebration of African heritage and a testament to the resilience of its people. Passed down through generations, it represented strength, beauty, and the rich tapestry of African traditions. The Bulb showcased the natural texture and volume of African hair, transforming it into an intricate masterpiece of braids, twists, and coils. The Bulb of Africa became a symbol of empowerment, reminding people of their strength, resilience, and the beauty of their shared heritage. It served as a reminder that hair was more than a physical attribute; it was a connection to something greater—a connection to their ancestors, their community, and celebrating the beauty within themselves. Beyond their physical beauty, African women possess an immeasurable inner strength that resonates through "Bulb of Africa." Odunayo masterfully captures this strength, highlighting the resilience and determination that have defined African women throughout history. The women depicted in the artwork emanate confidence, wisdom, and a sense of purpose. Their gaze speaks volumes, embodying the stories of countless African women who have overcome adversity, shattered barriers, and carved out their own paths to success. In "Bulb of Africa," Iyiola Odunayo...

Aiden Kringen's (US based) "Opulence 12" is an original handmade oil painting that is unframed, but ready to hang. About the Artist: A kaleidoscopic fantasia—crystalline planes floating in space, nestling together like immaculate puzzle pieces—abstract nebulae, human figures and faces enveloped in swirling fields or particles of energy—these number among the images evoked by the hauntingly enigmatic paintings of artist Aiden Kringen. Within this worldview a mysterious network of interlocking planes becomes visible to the beholder: mystical fields of unknown substance revealed as the building blocks of our bodies and semblances, surrounding, cocooning, perhaps even protecting us. It is a vision verging on the mystical, which Kringen portrays through a distinctive style: a fractured, cubistic mode of conscious- ness in which multiple dimensions or perspectives assimilate into an ecstatic whole. The artist deploys this style in opulent and seductive portraits as well as abstract tableaux whose optical signature is magnified by compositional dynamism and deeply layered surfaces. Born in Los Angeles in 1992, Kringen lived variously in the American West and Mexico—Sebastopol, Jalisco, Portland, Flagstaff—before settling in the hill- and vineyard-dotted environs of Sonoma, County, where he is now based. In these very different environments, each of which possesses a uniquely picturesque natural beauty, the artist began from an early age to develop his aesthetic approach. He has always had a keen eye for detail, grounded in a gift for looking closely at the human experience. “I’ve always been interested in observing people,” he recalls, “and in the details of how we interact with one another.” He put this natural ability to task when he began working on illustration and graphic-design projects while in high school. From his mother, an artist and graphic designer, he learned the fundamentals of composition and typography, the nuances of positive and negative space and the relationships between them. Using sheets of Letracet—a system for transfer- ring typeface—proved particularly instrumental in developing a methodology for layering and collage, which continue to inform his works on canvas and paper. He learned old-school tech- niques, hands-on and mechanical, in keeping with a Bauhaus-like appreciation for perfectionism, integrity, and hard work. Kringen began painting at 14. Then as now, drawing was central to his approach. He studied vintage anatomy atlases and drew meticulously in his journals, working through myriad permutations of bones and skin, angle and pose, muscles in motion. Honing his natural talent for figuration through long and exhaustive study, he arrived at an understanding of the figure that is both intuitive and virtuosic. On acrylic and mixed media on canvas, Kringen lays down linework with a Micron pen in ever-more-complex compositions, often with the addition of gloss mediums to bring out the layers’ reflectivity and prismatic character. In some pieces he incorporates gold and silver leaf to heighten drama and luxuriance, recalling the mosaic-like work of Gustav Klimt—who, along with fellow Austri- an Expressionist Egon Schiele, stands among Kringen’s most prominent influences. It was in 2011 that he began painting in the style with which he is now most associated: a technique fusing drawing and painting, line and brushstroke, with fragmented shapes undergirding the imag- ery. Notably, this is not simply a stylistic conceit, but more a way of perceiving reality. “Ever since I was young,” Kringen notes, “I’ve spent most of my time observing people: trying to break people down, in a visual sense, into small categorizations of their features, their mannerisms, the way they twitch their nose...” His hypersensitivity to likeness and gesture is key, for this is what distinguishes his portraits from those by artists who strive to depict idealized beauty as an end in itself. Yes, there is an undeniable beauty to Kringen’s subjects, but it does not follow strictly conventional paradigms. There is an individuality, a capturing of idiosyncracies and eccentricities, of optimism and fatalism, light and dark, in his work. He is not painting archetypes, but rather illuminating the essential charac- ters of real people in a highly refined genre of psychological portraiture. The fragmented linework, the grids of planes he uses as lenses to focus these characteristics, is sui generis but never gimmicky; above all it is a tool for defining and refining the features of the face, adding depth and definition. In his abstract work he uses similar techniques, paring the fabric of perception itself down to bare essentials of form, color, and texture. The abstract pieces are simultaneously elegant and complex, combining the sweeping gesturalism of Abstract Expressionism with the rigorous structure of geomet- ric painting. Across the breadth of his output Kringen balances technical and thematic polarities into bracing integrations of sensuality and grittiness, inviting contemplation into the nature of opticality and the infinite possibilities of the seen and unseen. —Richard Speer is a contributor to ARTnews, Artpulse, Visual Art Source, and Surface Design. His essays and reviews have appeared in The Los Angeles Times, The Chicago Tribune, The New York Post, The Oregonian, Salon, Newsweek, and Opera News. He is the author of “Matt Lamb...

Aiden Kringen's (US based) "Onyx" is an original handmade oil painting that is unframed, but ready to hang. About the Artist: A kaleidoscopic fantasia—crystalline planes floating in space, nestling together like immaculate puzzle pieces—abstract nebulae, human figures and faces enveloped in swirling fields or particles of energy—these number among the images evoked by the hauntingly enigmatic paintings of artist Aiden Kringen. Within this worldview a mysterious network of interlocking planes becomes visible to the beholder: mystical fields of unknown substance revealed as the building blocks of our bodies and semblances, surrounding, cocooning, perhaps even protecting us. It is a vision verging on the mystical, which Kringen portrays through a distinctive style: a fractured, cubistic mode of conscious- ness in which multiple dimensions or perspectives assimilate into an ecstatic whole. The artist deploys this style in opulent and seductive portraits as well as abstract tableaux whose optical signature is magnified by compositional dynamism and deeply layered surfaces. Born in Los Angeles in 1992, Kringen lived variously in the American West and Mexico—Sebastopol, Jalisco, Portland, Flagstaff—before settling in the hill- and vineyard-dotted environs of Sonoma, County, where he is now based. In these very different environments, each of which possesses a uniquely picturesque natural beauty, the artist began from an early age to develop his aesthetic approach. He has always had a keen eye for detail, grounded in a gift for looking closely at the human experience. “I’ve always been interested in observing people,” he recalls, “and in the details of how we interact with one another.” He put this natural ability to task when he began working on illustration and graphic-design projects while in high school. From his mother, an artist and graphic designer, he learned the fundamentals of composition and typography, the nuances of positive and negative space and the relationships between them. Using sheets of Letracet—a system for transfer- ring typeface—proved particularly instrumental in developing a methodology for layering and collage, which continue to inform his works on canvas and paper. He learned old-school tech- niques, hands-on and mechanical, in keeping with a Bauhaus-like appreciation for perfectionism, integrity, and hard work. Kringen began painting at 14. Then as now, drawing was central to his approach. He studied vintage anatomy atlases and drew meticulously in his journals, working through myriad permutations of bones and skin, angle and pose, muscles in motion. Honing his natural talent for figuration through long and exhaustive study, he arrived at an understanding of the figure that is both intuitive and virtuosic. On acrylic and mixed media on canvas, Kringen lays down linework with a Micron pen in ever-more-complex compositions, often with the addition of gloss mediums to bring out the layers’ reflectivity and prismatic character. In some pieces he incorporates gold and silver leaf to heighten drama and luxuriance, recalling the mosaic-like work of Gustav Klimt—who, along with fellow Austri- an Expressionist Egon Schiele, stands among Kringen’s most prominent influences. It was in 2011 that he began painting in the style with which he is now most associated: a technique fusing drawing and painting, line and brushstroke, with fragmented shapes undergirding the imag- ery. Notably, this is not simply a stylistic conceit, but more a way of perceiving reality. “Ever since I was young,” Kringen notes, “I’ve spent most of my time observing people: trying to break people down, in a visual sense, into small categorizations of their features, their mannerisms, the way they twitch their nose...” His hypersensitivity to likeness and gesture is key, for this is what distinguishes his portraits from those by artists who strive to depict idealized beauty as an end in itself. Yes, there is an undeniable beauty to Kringen’s subjects, but it does not follow strictly conventional paradigms. There is an individuality, a capturing of idiosyncracies and eccentricities, of optimism and fatalism, light and dark, in his work. He is not painting archetypes, but rather illuminating the essential charac- ters of real people in a highly refined genre of psychological portraiture. The fragmented linework, the grids of planes he uses as lenses to focus these characteristics, is sui generis but never gimmicky; above all it is a tool for defining and refining the features of the face, adding depth and definition. In his abstract work he uses similar techniques, paring the fabric of perception itself down to bare essentials of form, color, and texture. The abstract pieces are simultaneously elegant and complex, combining the sweeping gesturalism of Abstract Expressionism with the rigorous structure of geomet- ric painting. Across the breadth of his output Kringen balances technical and thematic polarities into bracing integrations of sensuality and grittiness, inviting contemplation into the nature of opticality and the infinite possibilities of the seen and unseen. —Richard Speer is a contributor to ARTnews, Artpulse, Visual Art Source, and Surface Design. His essays and reviews have appeared in The Los Angeles Times, The Chicago Tribune, The New York Post, The Oregonian, Salon, Newsweek, and Opera News. He is the author of “Matt Lamb...

The figurative surrealistic paintings of Carlos Gamez de Francisco are heavily influenced by his Cuban upbringing in a Russian governed academia setting. This presence exposed Franci...

The figurative surrealistic paintings of Carlos Gamez de Francisco are heavily influenced by his Cuban upbringing in a Russian governed academia setting. This presence exposed Franci...

The figurative surrealistic paintings of Carlos Gamez de Francisco are heavily influenced by his Cuban upbringing in a Russian governed academia setting. This presence exposed Franci...

Inspired by the St Sebastian religious paintings, this double portrait is a dreamlike superimposed view of an expressive and sensual figure. St Sebastian, acrylic on canvas, 20in, r...

This earlier work depicts an unexpected multicolored cone extending from the subject's eye. It represents a field of vision for a young Haitian female who gazes up. It reminds me of something Man Ray or the Dadaists did. Duval-Carrié's work is more than eye-opening. Signed lower right Work is framed - Framed Size - 18 x 22 Edouard Duval...

Inspired by the mythological Greco-Roman origins, these works of art are dreamlike superimposed views of expressive and sometimes sensual figures. Like the immortal mythological heroes, my subjects remind us of the human ability to remain beautiful and noble despite de passing of time and damage it brings. This double portrait is a combination of a deconstructed, sectioned ancient marble head...

Inspired by the mythological Greco-Roman origins, these works of art are dreamlike superimposed views of expressive and sometimes sensual figures. Like the immortal mythological heroes, my subjects remind us of the human ability to remain beautiful and noble despite de passing of time and damage it brings. Amazons, mysterious female warrior, were recognized as heroines and embodied features like independence, courage, strength. This double portrait of an amazon is a combination of a deconstructed, sectioned ancient marble head...

Ifeoluwa Alade ( Nigeria based) "Roses Are Not Only Red" is an original, handmade acrylic painting that depicts a female model with a rose and butterfly cast in a deep red glow. Ar...

Ifeoluwa Alade ( Nigeria based) "Untitled" is an original, handmade acrylic painting that depicts a female model with colorful butterflies and a dark background. Artist bio: Ifeol...

The figurative surrealistic paintings of Carlos Gamez de Francisco are heavily influenced by his Cuban upbringing in a Russian governed academia setting. This presence exposed Franci...

This is a one of a kind original surrealist portrait painting by San Diego artist, Christopher Polentz. It's dimensions are 9.25"x17.5"x1". It is m...

Aiden Kringen's (US based) "Opulence 6" is an original handmade oil painting that depicts a figure with her face in profile view surrounded with gold hued shapes and patterns About the Artist: A kaleidoscopic fantasia—crystalline planes floating in space, nestling together like immaculate puzzle pieces—abstract nebulae, human figures and faces enveloped in swirling fields or particles of energy—these number among the images evoked by the hauntingly enigmatic paintings of artist Aiden Kringen. Within this worldview a mysterious network of interlocking planes becomes visible to the beholder: mystical fields of unknown substance revealed as the building blocks of our bodies and semblances, surrounding, cocooning, perhaps even protecting us. It is a vision verging on the mystical, which Kringen portrays through a distinctive style: a fractured, cubistic mode of conscious- ness in which multiple dimensions or perspectives assimilate into an ecstatic whole. The artist deploys this style in opulent and seductive portraits as well as abstract tableaux whose optical signature is magnified by compositional dynamism and deeply layered surfaces. Born in Los Angeles in 1992, Kringen lived variously in the American West and Mexico—Sebastopol, Jalisco, Portland, Flagstaff—before settling in the hill- and vineyard-dotted environs of Sonoma, County, where he is now based. In these very different environments, each of which possesses a uniquely picturesque natural beauty, the artist began from an early age to develop his aesthetic approach. He has always had a keen eye for detail, grounded in a gift for looking closely at the human experience. “I’ve always been interested in observing people,” he recalls, “and in the details of how we interact with one another.” He put this natural ability to task when he began working on illustration and graphic-design projects while in high school. From his mother, an artist and graphic designer, he learned the fundamentals of composition and typography, the nuances of positive and negative space and the relationships between them. Using sheets of Letracet—a system for transfer- ring typeface—proved particularly instrumental in developing a methodology for layering and collage, which continue to inform his works on canvas and paper. He learned old-school tech- niques, hands-on and mechanical, in keeping with a Bauhaus-like appreciation for perfectionism, integrity, and hard work. Kringen began painting at 14. Then as now, drawing was central to his approach. He studied vintage anatomy...

Mary Carroll's (US based) "It's Only the Wind" is an original, handmade acrylic painting that depicts a lone house at night with a few lights illuminating its windows. Artist Biogr...

Peaceable Kingdom features more than 60 aminal portraits by famous illustrator Richard C. Hess. Impeccably rendered and designed. Signed lower center-left. R. Hess. His illustrati...

Ifeoluwa Alade ( Nigeria based) "Hinges" is an original, handmade acrylic painting that depicts a female model and a male model with colorful butterflies and flowers ebbing between t...

Ifeoluwa Alade ( Nigeria based) "Fragrance" is an original, handmade acrylic painting that depicts a female model and a male model with colorful butterflies and flowers ebbing betwee...

Framed 28 X 28 sight 23 X 23 "Veterans", 1988, paint, inlay, with monogram signature on formica board Framed: 28 x 28 in. Sight: 22 1/2 x 22 1/2 in. This painting is after Surrealist master Rene Magritte. It depicts men with bowler hats Carlos Kis, 1932-2010 a well known Brazilian artist. Kis was born in Uruguay to a Romanian Jewish family and moved to Brazil where he was well known for his painting and sculpture. His formica paintings were an extremely laborious process and the media has not been used by other artists other than that of his daughter Anita, under Kis's supervision. Known as a painter, watercolorist and graphic artist Carlos Kis artworks show the surreal, modern and expressionist aspects of his inexhaustible talent and imagination. Inspired by Surrealism he developed Sinapsism. Kis studied at the Faculty of Architecture of the Universidad de la República (UdelaR) and at the Instituto de Profesores Artigas. For three years he ran the art gallery Opus in Brasília , then was director of a fashion magazine, worked as an interior designer and in the design department of an automotive company. Initially painting on canvas, he refrained from doing this during a five-year stay in New York in the 1970s and increasingly turned to works of art made from the artificial material Formica than baked into an enamel at high temperature. The Cyanamid company provided him with the necessary materials. In 1995, the Art of Living magazine devoted an extensive story to his works in Buenos Aires, Montevideo, Punta del Este, New York, Guarujá, Porto Alegre, Joinville, São Paulo and Mexico City among others. In 1960, he came to Brazil and lived in São Paulo for ten years. In this city, he released several albums of his own: Razão & Coração e Galos e Galos, 1966; IV Screenprints, 1968; and Woodcuts by Carlos Kis, 1969. After spending four years in New York (United States), he settled permanently in the city of Santos SP, in 1975. He is the creator of paintinlay, a technique of painting on pressed formica and submitted to high temperatures. Reviews "Carlos Kis exposes his painting, populated by madonnas, roosters and images, a threshold between the real and the fantastic, a mystical force that exerts a fascination on the public, the result of a cosmopolitan experience, from Yugoslav ancestry, to coming to Brazil and the departure for the United States. The five years he lived in New York put him in direct contact with the busy world of megalopolises, at the same time in search of explanations - like the primitive ones - in the fantastic. Magics, fetishes, myths , symbols, become strong in a new trend". Roberto Peres CARLOS Kis: oils and prints. Texts by Delmiro Gonçalves, Roberto Peres, Dottie Campbell and Thomaz S. Corrêa. Brasília: Itau Galeria, 1978. "He is a man of the world and a 'creature of the universe', as Dottie Campbell asserts in 'Reviews' in New York. This universalism gives him conditions to produce a 'sui generis' style in painting. Various phases have marked the career of the artist He still now paints on Formica, not in the traditional Formica found in stores, but in a pressing process he calls 'paintinlay.' For this exhibition, Carlos Kiss prepared figures (a series of Mona Lisa, the posture of the model), still life, which the artist calls silent, all in water-quenching-and-oil. The result is in good taste and reveals the 'deep self' of the sensitive artist". Paulo Augusto Bueno Wolf CARLOS Kis: painting. Presentation by Paulo Augusto Bueno Wolf and Jorge Amado. Santos: Brazil-United States Cultural Center, Art Gallery, 1987. Select collections Philathea College Museum Of Modern Art - London (England) Chase Manhattan Collection - New York (USA) Exxon Corporation Columbia University Long Island University New York University - New York (USA) Private Collection - USA Beverly Hills Private Collection - USA Private Collection by Greta Garbo - USA Private Collection by Jackie Onassis - New York (USA) Private Collection by Júlio Mesquita Filho - São Paulo SP Private Collection by Marques Della Stufa Oehschlaege Gallery Abril Editora Collection - São Paulo SP Cyanamid Química Collection Hotel Collection San Rafael Individual Exhibitions sd - São Paulo SP - Carlos Kis: Recent Paintings Made in Unique Technique in the World, at Paço das Artes 1945 - Mexico City (Mexico) - Individual - 1st prize with the work Descargando pedregulho 1963 - São Paulo SP - Individual, at the Gallery Artécnica 1964 - Campinas SP - Individual, at the Jockey Club Art Gallery in Campinas 1965 - São Paulo SP - Individual, at KLM Gallery 1968 - Buenos Aires (Argentina) - Individual, at Kraft Moreno Gallery 1968 - Punta del Este (Uruguay) - Individual, at the San Rafael Art Gallery 1968 - Montevideo (Uruguay) - Individual, at the Columbia Palace Hotel Art Gallery 1968 - Montevideo (Uruguay) - Individual, at the Rio de la Plata Gallery 1968 - Punta del Este (Uruguay) - Individual, at the Guendalina Gallery 1969 - Punta del Este (Uruguay) - Individual, at the San Rafael Art Gallery 1969 - Porto Alegre RS - Individual, at the North American Brazilian Cultural Institute 1970 - Punta del Este ( Uruguay) - Individual, at the San Rafael Art Gallery 1970 - São Paulo SP - Individual, at the Actualidades da Hebraica Art Gallery 1971 - New York (United States) - Individual, at the Empire Savings Bank Art Gallery 1971 - New York (States United) - Solo, at Charles Mann Gallery 1972 - Long Island (United States) - Solo, at Long Island University 1972 - New York (United States) - Solo, at Saint Bartholomew's Art Gallery 1973 - Englewood (United States) - Solo, at the Jewel Spiegel Art Gallery 1973 - Newark (United States) - Solo, at The Art Gallery 1973 - New York (United States) - Solo, at the Park South At Carnegie Hall Art Gallery 1974 - New York (United States) - Solo, at the Empire Savings Bank Art Gallery 1974 - New York (United States) - Solo, at the New York University Art Gallery and The Catholic Center 1976 - Santos SP - Retrospective, at the Municipal Gallery 1977 - São Paulo SP - Individual, at UCBEU 1978 - Florianópolis SC - Individual, at Clube Doze de Agosto 1978 - Brasília DF - Carlos Kis: oils and prints, at Itaugaleria 1978 - São Paulo SP - Carlos Kis: oils and prints, at Itaugaleria 1978 - Itapetininga SP - Individual, at City Hall 1978 - Santos SP - Individual, at Cades Art Gallery 1978 - Santos SP - Individual, at Santos Art and Decoration Center 1982 - Santos SP - Individual, at CCBEU Gallery 1982 - Santos SP - Individual, at Centro Cultural Brasil-United States Gallery 1983 - São Carlos SP - Carlos Kis: oils and prints, at Itaugaleria 1983 - São Paulo SP - Individual, at Galeria de Arte Atualidades da Hebraica 1983 - Guarujá SP - Individual , at Delphin Hotel Gallery 1983 - Santos SP - Individual, at Banco do Brasil 1983 - São Paulo SP - Carlos Kis: oils & paintings in phenolic art, at Galeria Atualidades 1983 - São Paulo SP - Individual, at the First National City Bank Gallery 1983 - São Paulo SP - Kis-Pinturas Recentes, at the State Department of Culture 1984 - Santos SP - Individual, at the Santos Association Gallery 1984 - São Paulo SP - Retrospective, at Sesi Art Gallery 1985 - Sorocaba SP - Individual, at Sesc/Senac Art Gallery 1986 - Joinville SC - Individual, at Joinville Art Museum 1986 - Joinville SC - Individual, at Victor Kursancev Gallery 1987 - Santos SP - Individual, at the Brazil-United States Cultural Center Gallery 1987 - Santos SP - Carlos Kis: paintings, at the United States Brazil Cultural Center 1988 - Santos SP - Individual, at the Santos Doctors Association Gallery 1989 - Santos SP - Individual, at Aliança Francesa 1990 - Sebring (United States) - Individual, at Kissimmee Valley Gallery 1991 - Sarasota (United States) - Individual, at Frank Oeheschlaeger Gallery 1992 - Santos SP - Individual, at CCBEU Gallery 1997 - Santos SP - Individual, at the CCBEU Gallery Collective Exhibitions 1966 - São Paulo SP - Collective at Masp 1970 - Chicago (United States) - Collective at Gilman Galleries 1971 - New York (United States) - Collective at The Weyhe Gallery 1971 - New York (United States) - Brazilian Art, at Iramar Gallery 1972 - Mexico City (Mexico) - Collective, LifShitz Art Gallery 1972 - London (England) - Collective, at Philathea College Museum of Modern Art 1972 - New York (United States) - Collective, at Lexington Art Gallery 1972 - New York (United States) - Latin American Art at Columbia University 1972 - New York (United States) - Spring Arts Festival, at Educational & Cultural Fund. of EI 1972 - New York (United States) - Spring is Here at One World Trade Center New York 1972 - Paris (France) - Paintings & Sculptures, at Le Demeure 1973 - Long Island (United States) - Collective, at Crow's Best Gallery 1975 - São Paulo SP - The theme is the Woman, at Azulão Art Gallery 1976 - São Paulo SP - Collective, at Masp 1976 - Santos SP - Collective, at the Centro Cultural Brasil-United States Gallery 1976 - Santos SP - Collective, at the Santos Art and Decoration Gallery 1976 - Santos SP - Beneficent Exhibition, at the Alhambra Art...

"Blue III" is an an-acrylic-on-canvas painting by Cuban artist Carlos Gamez de Francisco from his series "Oh Dear." As in his other portrait series, the artis...

"Modern Times V" is an acrylic-on-canvas painting from a small series by Cuban artist Carlos Gamez de Francisco. Done at the beginning of the Covid-19 pan...

Peaceable Kingdom features more than 60 aminal portraits by famous illustrator Richard C. Hess. Impeccably rendered and designed. Signed lower center-left. R. Hess. His illustrations appeared on the covers of Time, TV Guide, New York, and Esquire magazines...

In my appropriation of Henri Rousseau's painting "The Dream," I replaced his nude reclining on the couch with my sister Leanna. I envisioned her magically transported into a lush ju...

"Sunset I" is an an-acrylic-on-canvas painting by Cuban artist Carlos Gamez de Francisco from his series "Oh Dear." As in his other portrait series, the artist continues to challenge...