Canvas Portrait Paintings

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 “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...

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...

"I Am Not Alone" by Joshua Salami is a captivating artwork that delves into the profound bond between a woman and her cherished pet, transcending the conventional role of a companion...

"I Am Not Alone" by Joshua Salami is a captivating artwork that delves into the profound bond between a woman and her cherished pet, transcending the conventional role of a companion...

The work is unsigned. Provenance: Given directly by the artist to the present owner who was a friend of the model. Condition: Good condition apart from some scratches and pressure ...

"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...

In continuing with representing fine artists that are connected to the music industry we are please to announce that we are the only gallery in the United States representing the wor...

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...

Mental closeness connects two dissimilar beings, despite great differences. keywords; surrealism, portrait, oil painting, earth tones, figurative painting, strangeness, contemporary...

In continuing with representing fine artists that are connected to the music industry we are please to announce that we are the only gallery in the United States representing the wor...

Antique American school modernist landscape with male figures. Really well painted and a very interesting composition. Impressive giltwood frame as well! Signed and dated lower ri...

Beneath my sturdiness is a puddle surrounded by the moistness of fresh mud- soft and mushy- and it’s how I learned to nurture and love flowers. I’ve been told my best trait has to b...

Frame is 12 X 10. Canvas is 9.5 X 7.5 Calogero was born August 20, 1922 in Catania, Sicily. Self-taught Surreal Artist First exhibitions in 1945 in Sicily and Rome were very successful. He arrived in Paris in 1947 and studied at the Ecole des Beaux Arts. He is best known for his Surrealism and genre works. His paintings are dreamlike and visionary. They travel to an infinite space created by the artist through his memories, the sky and the sea so dear to him. In his paintings there are a few common themes: the masks with their dual dimensions that hide or shows only what you want, the profiles of the women, and the horsemen, drawn as the Sicilian tradition requires. He exhibited at the Gallery Hervé in 1951 and the following year he went to New York to present his show, then in 1953 he was invited to Los Angeles, where he returned two years later, and from where he regularly exhibited his works, and San Francisco. In 1954, Maximilien Gauthier devoted a book to him published by "The Gemini." The first exhibition in Japan was in 1965. He was awarded the Grand Silver Medal by the City of Paris in 1957. Calogero had countless exhibitions in Paris, in the fifties, plus the American exhibitions in New York (Associated American Artists, 1952), Los Angeles (James Vigevano Galleries, 1953) and then later in Japan and in major galleries in Italy. He lived and worked for many years in Paris and Italy. He died in 2001. Galerie Hervè, Parigi 1950. Associated American Artists - New York 1952. James Vigevano Galleries, Los Angeles 1953. Galerie Madsen, Parigi 1954/1960. Antologica, Tokyo 1965. Galleria La Robinia, Palermo 1969. Florida Gallery, Chicago 1970. Galleria Il Cavalletto, Catania 1971. Galleria De Rosa, Milano 1972. Galleria Pinacoteca, Roma; L'Incontro, Taranto 1973. Galleria Idea-Bellini, Firenze; David Galleries, Bari; Palazzo Melloni, L'incontro, Bologna; Galleria Schettini, Milano; Galleria Pinacoteca, Roma; Galleria La Meridiana, Verona; Pier della Francesca, Arezzo 1974. Galleria L'isolotto, Napoli; Pinacoteca, Roma; Galleria del Corso, Latina 1975. Galleria Michelangelo, Firenze; Pinacoteca, Roma 1977. Galleria Robert...

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...

Miquel Torner de Semir (1938) - Surrealist figure - Oil on canvas Oil measures 46x38 cm. Frameless. Miquel Torner de Semir (1938) Catalan painter attracted by the Middle Ages and I...

This Piece was inspired by the story of the Bride of a King. She was so loved by the King because of her great beauty, but the people of the Land loved her so much, not just for her ...

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...

The canvas comes alive with "African Princess," a painting that serves as a tribute to the elegance and allure of the African woman. The portrayal of ...

The inspiration behind "Beauty of the Bride" stems from the age-old practice of African kings selecting brides of great beauty to grace their courts. This tradition, often intertwine...

Vintage modernist artist studio. Oil on canvas. Framed. Image size, 24H x 20L.

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...

Art is and has always been at the very center of my life. In creating I find communication and connection with others that surpasses any barrier or boundary. Through imagery, I can c...

Ramón Llovet (1917-1987) - Woman and rose window - Oil on canvas Canvas measures 61x50 cm. Frameless. Ramon Llovet Miserol (Barcelona, ​​August 7, 1917 - Barcelona, ​​August 2, 1987...

"Elizabeth's Hat" by Oleg Turchin is a Figurative Surrealism original oil on canvas painting measuring 58x63 in. This painting is of the Late Queen Elizabeth's life. The queen is bea...

Tristan Fabris 1970's French surrealist artist signed oil on canvas, framed framed: 19 x 16 inches canvas: 18 x 15 inches private collection, France The painting is in overall sound ...

This is a possible self portrait by the famed female surrealist artist. It is also strikingly similar in style with it's exaggerated eyes to her portrait of Jean Genet, ( Leonor F...

Richard Joseph Ericson (American, 1922-2010) Untitled, 1950 Oil on canvas 36 x 25 in. Signed lower right: RJE '50 Richard Joseph Ericson (b. October 22, 1922-d. November 21, 2010), ...

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...

Nude study by Andy Smith (American, 20th Century). A woman is seated, slightly leaning to the left of the composition. The background fades from a rusty red to a dark blue, changing ...

Hand signed lower left canvas measures 24 X 18, framed it measures 34 X 28 Calogero was born August 20, 1922 in Catania, Sicily. Self-taught Surreal Artist First exhibitions in 1945 in Sicily and Rome were very successful. He arrived in Paris in 1947 and studied at the Ecole des Beaux Arts. He is best known for his Surrealism and genre works. His paintings are dreamlike and visionary. They travel to an infinite space created by the artist through his memories, the sky and the sea so dear to him. In his paintings there are a few common themes: the masks with their dual dimensions that hide or shows only what you want, the profiles of the women, and the horsemen, drawn as the Sicilian tradition requires. He exhibited at the Gallery Hervé in 1951 and the following year he went to New York to present his show, then in 1953 he was invited to Los Angeles, where he returned two years later, and from where he regularly exhibited his works, and San Francisco. In 1954, Maximilien Gauthier devoted a book to him published by "The Gemini." The first exhibition in Japan was in 1965. He was awarded the Grand Silver Medal by the City of Paris in 1957. Calogero had countless exhibitions in Paris, in the fifties, plus the American exhibitions in New York (Associated American Artists, 1952), Los Angeles (James Vigevano Galleries, 1953) and then later in Japan and in major galleries in Italy. He lived and worked for many years in Paris and Italy. He died in 2001. Galerie Hervè, Parigi 1950. Associated American Artists - New York 1952. James Vigevano Galleries, Los Angeles 1953. Galerie Madsen, Parigi 1954/1960. Antologica, Tokyo 1965. Galleria La Robinia, Palermo 1969. Florida Gallery, Chicago 1970. Galleria Il Cavalletto, Catania 1971. Galleria De Rosa, Milano 1972. Galleria Pinacoteca, Roma; L'Incontro, Taranto 1973. Galleria Idea-Bellini, Firenze; David Galleries, Bari; Palazzo Melloni, L'incontro, Bologna; Galleria Schettini, Milano; Galleria Pinacoteca, Roma; Galleria La Meridiana, Verona; Pier della Francesca, Arezzo 1974. Galleria L'isolotto, Napoli; Pinacoteca, Roma; Galleria del Corso, Latina 1975. Galleria Michelangelo, Firenze; Pinacoteca, Roma 1977. Galleria Robert Philip...

Psychic Fallout is an original painting by Elisha Nyong. Elisha created Psychic Fallout with Oil on a 42W by 45H inches primed canvas. Psychic Fallout ac...

Ramón Llovet (1917-1987) - Angel - Oil on canvas Canvas measures 92x73 cm. Frame measures 94x75 cm. Ramon Llovet Miserol (Barcelona, ​​August 7, 1917 - Barcelona, ​​August 2, 1987...

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...

Heroins & magical creatures, in an elegant ,romantic approach, and a perfect technique all the way to the last detail. The female form, the female face is the muse in most paintings, although we can also find a gender neutral approach, an androgyny as a protagonist with the same always features, such as youth, sensualism, innocence and optimism. Inside these dream-like images overfilled with euphoria, these fragile figures are kind souls with rich inner beauty. Figures that we can relate with if we dig deeper into our souls. Sofia Fotiadou...

’Ηeavenly Creatures’’ Heroins & magical creatures, in an elegant ,romantic approach, and a perfect technique all the way to the last detail. The female form, the female face is the muse in most paintings, although we can also find a gender neutral approach, an androgyny as a protagonist with the same always features, such as youth, sensualism, innocence and optimism. Inside these dream-like images overfilled with euphoria, these fragile figures are kind souls with rich inner beauty. Figures that we can relate with if we dig deeper into our souls. Sofia Fotiadou...

Antique American abstract cubist composition "Terra Firma Theme 10" by Augustus Goertz (Born 1948) . Oil on canvas, circa 1958. Housed in a period gilt...

Bask, Original Contemporary Surrealist Figurative Mixed Media Portrait Painting 42" x 33" x 1.5" (HxWxD) Oil and Print on Canvas This mixed media portrait by artist Sarah Jacobs...

Atlas Served, Original Contemporary Playful Surrealist Narrative Painting 49" x 28" x 1.5" (HxWxD) Oil and Print on Canvas A humorous work by artist Sarah Jacobs...

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...

Colorful surrealist painting done by contemporary artist Henry David Potwin. This work shows a man with pastel colored features opening his shirt to reveal his mechanical heart and robot parts set against a vivid, yellow background. Signed at bottom right corner. Titled and dated on reverse. Currently unframed, but options are available. Artist Biography: Born in Dallas, Texas David Potwin is the oldest of three children. He first started to paint at the age of 8 years old. As a young boy, Potwin's family would summer vacation in Taos, New Mexico. During the family vacations in 1965, he met artist Eric...

LOOK FOR FREE SHIPPING AT CHECKOUT What is Behind (Lo que esta atras) shows the hyperrealism of modern Cuban art that is now available to the world art market. What is Behind is one of many of the hyperrealism paintings by the artist. Brian Sanchez...

Dark surreal portrait of an humanoid cyborg performing surgery on itself by Andy Smith (American, 20th Century). The android is pulling on a wire emanatin...

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...

Ramón Llovet (1917-1987) - Couple - Oil on canvas Canvas measures 50x61 cm. Frameless. Ramon Llovet Miserol (Barcelona, ​​August 7, 1917 - Barcelona, ​​August 2, 1987) was a painter...

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...

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...

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 picture "Pension Fund" is included in the series of artworks "Pathos of the Bureaucracy". 100x100cm / oil on canvas/ 2019 The picture is ready t...

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...