Gold Leaf Portrait Paintings

Amidst the flurry of captivating images depicting the mesmerizing botanical garden, I, too, embarked on a virtual journey to Avatar. Within the realm of Avatar, where beauty thrives ...

"Charlotte Noble" (2022) by Danielle Scott Mixed media collage and assemblage with resin on canvas. The artist collages found objects and print material into an image, often with g...

"Hermosa" (2023) by Danielle Scott Mixed media collage and found object assemblage with resin on canvas. The artist collages found objects and print material into an image, often with gold leaf and other metal foils. Here a black and white photograph of a young woman in 1920s flapper style attire sits at the center of the composition, layered so that large blue butterfly wings emerge from behind her, with roots rising up beneath her feet and a gold halo of paper lace and gold beads above and around her head, surrounded by pink and yellow flowers...

"Two Sisters" (2023) by Danielle Scott Mixed media collage and found object assemblage with resin on wood panel. The artist collages found objects and print material into an image,...

"Black Queen" (2023) by Danielle Scott Mixed media collage and found object assemblage with resin on wood panel. The artist collages found objects and print material into an image,...

"Two Sisters" (2023) by Danielle Scott Mixed media collage and found object assemblage with resin on wood panel. The artist collages found objects and print material into an image,...

I want to return from a walk at sunset. A wonderful day is behind us, Ahead is tea and a delicious dinner in a comfortable chair... This artwork from the series "Life in the Avatar" ...

Lily Sol’s current work “Flower Goddess” is a symbol of blooming into her true self and honoring the divine femine energy within all of us. Through her paintings she is able to celeb...

Texas native and Brooklyn-based mixed media artist Demarcus McGaughey captures the beauty, strength and vibrancy of people of color with both insight and passion. In the early days o...

I am an artist from Ukraine. I stay in Kyiv and continue to paint the works that, I depict simple human dreams, how everything will be, when peace comes. I believe that with our drea...

I am an artist from Ukraine. I ask you to buy any of my art works. Now there is a war in my country, Russia invaded our territory. Russian rockets and bombs are hitting civilian home...

This is my personal vision of life, which could be the life that everyone has the right to, the life that Russian aggression deprived me of... This is my virtual life, because real l...

"The Warrior". This painting was inspired by ancient masks and statues and it's part of my Neo-Mythology series. Painted with acrylic, (+gesso and gold ...

The artwork is in perfect condition from the artist's studio. The artwork is done in mixed media. Italian fine-grained cotton tm Unico and Dutch acrylic paint Amsterdam were used in the work. Finish - satin varnish. The sides are painted in the background color. Additional framing is not required. This series of works is called "Life in Avatar". The painting is signed in front- and backside and is accompanied by a certificate of authenticity. If you have any questions, please contact us. Thanks for your attention to our artists. Publications of Natalya Bagatskaya: December 2020 - Hyperrealism Magazine #13; 2020 - Karrie Ross...

Children, Acrylic on board, 91x26x1.2 cm If it is true that painting is the first means of producing images and vehicle of messages for the community, it is undeniable that the advent of digital media first, and then of social networks, has changed visual communication, increasing the rhythms of production. . This has resulted in a change in the user experience: today we are witnessing a visual inflation that causes, on the one hand, nausea due to an accumulation of information and, on the other, a linguistic impoverishment, which is followed by the degeneration of the world itself. . In the context of this corrupt view, the painter's role is questioned as his language becomes increasingly limited. For Piscopo, this translates into the subjection of the screens, therefore, to the use of pre-packaged images that flatten the genius, in the evidence of a low-definition painting and the elimination of portions of images. It is thus possible to see works in the exhibition in which torment and nauseating sensations are outlined, thanks to the alternation of paintings with a strongly emotional pointillist brushstroke, and highly polished works made with airbrush. The works range from famous subjects in the history of art to elements, iconic or not, that belong to digital everyday life. The human figures, shown on canvases in the 16: 9 format - allusions to the dimensions of an Instagram Story - are all represented with eyes and mouths of disproportionate dimensions. The artist therefore refers to a famous filter present on social networks, in order to emphasize the attention on the sight-taste senses of the user who devours the images, with the mouth and no longer with the eyes. The verticalism of the painting refers to the speed and evanescence of images that scroll vertically, like the scroll that is exercised on digital devices: each image cancels the previous one and none remains. Everything flows, as in a degenerate version of Heraclitus, so "you never get wet in the same river." Here, then, are depicted children addicted to their smartphone. Their feet are immersed in a river that overflows from the visual rectangle and whose brushstrokes break the verticality of the rest of the composition. The confusion between the two different flows, which children perceive, contributes to the disorientation of the vision. The Devices, the numerous eyes painted with airbrush, generate the sensation of feeling observed and suggest the separation between being and appearing. The eye becomes a device in its double meaning as a machine in charge of human vision and an imposing eye of society, an Orwellian reference, as in the case of the central Device, a painted sculpture within which the majolica flooring of the exhibition space is mirrored. Also in this case Piscopo does not depart from artistic references in the strict sense, painting eyes borrowed from the history of art, from characters from the world of entertainment, to figures from his private life. The short circuit, which is created in front of two painting techniques that referring almost to two different artists, underlines the distance between the image and the viewer: what is looked at turns out to be nauseating and psychedelic reality, while the viewer is lucid and real. Both the sighted and the seen, however, are injured: the bites that annihilate the dimensional limits of the "painting as a window to the world" point a light on the idea of ​​visual consumerism; of the consumer who eats the image without properly assimilating it and who devours himself, emptying himself. The artistic production of Nicola Vincenzo...

Happy High in Spring , Acrylic on canvas, 110x60x2 And Frame Wood If it is true that painting is the first means of producing images and vehicle of messages for the community, it i...

Device (autoritratto), Acrylic on board 20 x 46 x 1.4 cm. If it is true that painting is the first means of producing images and vehicle of messages for the community, it is undeniable that the advent of digital media first, and then of social networks, has changed visual communication, increasing the rhythms of production. . This has resulted in a change in the user experience: today we are witnessing a visual inflation that causes, on the one hand, nausea due to an accumulation of information and, on the other, a linguistic impoverishment, which is followed by the degeneration of the world itself. . In the context of this corrupt view, the painter's role is questioned as his language becomes increasingly limited. For Piscopo, this translates into the subjection of the screens, therefore, to the use of pre-packaged images that flatten the genius, in the evidence of a low-definition painting and the elimination of portions of images. It is thus possible to see works in the exhibition in which torment and nauseating sensations are outlined, thanks to the alternation of paintings with a strongly emotional pointillist brushstroke, and highly polished works made with airbrush. The works range from famous subjects in the history of art to elements, iconic or not, that belong to digital everyday life. The human figures, shown on canvases in the 16: 9 format - allusions to the dimensions of an Instagram Story - are all represented with eyes and mouths of disproportionate dimensions. The artist therefore refers to a famous filter present on social networks, in order to emphasize the attention on the sight-taste senses of the user who devours the images, with the mouth and no longer with the eyes. The verticalism of the painting refers to the speed and evanescence of images that scroll vertically, like the scroll that is exercised on digital devices: each image cancels the previous one and none remains. Everything flows, as in a degenerate version of Heraclitus, so "you never get wet in the same river." Here, then, are depicted children addicted to their smartphone. Their feet are immersed in a river that overflows from the visual rectangle and whose brushstrokes break the verticality of the rest of the composition. The confusion between the two different flows, which children perceive, contributes to the disorientation of the vision. The Devices, the numerous eyes painted with airbrush, generate the sensation of feeling observed and suggest the separation between being and appearing. The eye becomes a device in its double meaning as a machine in charge of human vision and an imposing eye of society, an Orwellian reference, as in the case of the central Device, a painted sculpture within which the majolica flooring of the exhibition space is mirrored. Also in this case Piscopo does not depart from artistic references in the strict sense, painting eyes borrowed from the history of art, from characters from the world of entertainment, to figures from his private life. The short circuit, which is created in front of two painting techniques that referring almost to two different artists, underlines the distance between the image and the viewer: what is looked at turns out to be nauseating and psychedelic reality, while the viewer is lucid and real. Both the sighted and the seen, however, are injured: the bites that annihilate the dimensional limits of the "painting as a window to the world" point a light on the idea of ​​visual consumerism; of the consumer who eats the image without properly assimilating it and who devours himself, emptying himself. The artistic production of Nicola Vincenzo...

Device (autoritratto), Acrylic on board 20 x 46 x 1.4 cm. If it is true that painting is the first means of producing images and vehicle of messages for the community, it is undeniable that the advent of digital media first, and then of social networks, has changed visual communication, increasing the rhythms of production. . This has resulted in a change in the user experience: today we are witnessing a visual inflation that causes, on the one hand, nausea due to an accumulation of information and, on the other, a linguistic impoverishment, which is followed by the degeneration of the world itself. . In the context of this corrupt view, the painter's role is questioned as his language becomes increasingly limited. For Piscopo, this translates into the subjection of the screens, therefore, to the use of pre-packaged images that flatten the genius, in the evidence of a low-definition painting and the elimination of portions of images. It is thus possible to see works in the exhibition in which torment and nauseating sensations are outlined, thanks to the alternation of paintings with a strongly emotional pointillist brushstroke, and highly polished works made with airbrush. The works range from famous subjects in the history of art to elements, iconic or not, that belong to digital everyday life. The human figures, shown on canvases in the 16: 9 format - allusions to the dimensions of an Instagram Story - are all represented with eyes and mouths of disproportionate dimensions. The artist therefore refers to a famous filter present on social networks, in order to emphasize the attention on the sight-taste senses of the user who devours the images, with the mouth and no longer with the eyes. The verticalism of the painting refers to the speed and evanescence of images that scroll vertically, like the scroll that is exercised on digital devices: each image cancels the previous one and none remains. Everything flows, as in a degenerate version of Heraclitus, so "you never get wet in the same river." Here, then, are depicted children addicted to their smartphone. Their feet are immersed in a river that overflows from the visual rectangle and whose brushstrokes break the verticality of the rest of the composition. The confusion between the two different flows, which children perceive, contributes to the disorientation of the vision. The Devices, the numerous eyes painted with airbrush, generate the sensation of feeling observed and suggest the separation between being and appearing. The eye becomes a device in its double meaning as a machine in charge of human vision and an imposing eye of society, an Orwellian reference, as in the case of the central Device, a painted sculpture within which the majolica flooring of the exhibition space is mirrored. Also in this case Piscopo does not depart from artistic references in the strict sense, painting eyes borrowed from the history of art, from characters from the world of entertainment, to figures from his private life. The short circuit, which is created in front of two painting techniques that referring almost to two different artists, underlines the distance between the image and the viewer: what is looked at turns out to be nauseating and psychedelic reality, while the viewer is lucid and real. Both the sighted and the seen, however, are injured: the bites that annihilate the dimensional limits of the "painting as a window to the world" point a light on the idea of ​​visual consumerism; of the consumer who eats the image without properly assimilating it and who devours himself, emptying himself. The artistic production of Nicola Vincenzo...

Cleopatra, Mistress of Julius Caesar and Mark Antony by Lélia Pissarro (b. 1963) Oil and gold leaf on canvas 100 x 100 cm (39 ³/₈ x 39 ³/₈ inches) Signed...

Mother and daughter by Lélia Pissarro (b. 1963) Oil and gold leaf on canvas 100 x 100 cm (39 ³/₈ x 39 ³/₈ inches) Signed lower right Lélia Pissarro. Executed in 2020 This work is ...

The Virgin of Kataphyge with Saint John the Evangelist, after a Bulgarian Byzantine icon of the 14th Century. Egg tempera and gold leaf on gesso and wood. Author: Oliver Samsinger...

Marco’s background is in engineering and architecture, making him familiar with mathematical design and the awareness of geometry.

Marco’s background is in engineering and architecture, making him familiar with mathematical design and the awareness of geometry.

"Christ Pantocrator". After an Icon in the style of the Moscow school (15th century). Somewhat similar to that of Rublev. Author: Oliver Samsinguer Egg tempera and gold leaf on gesso and on wood. Dimensions; (H) 42 x (W) 33.5 x (D) 3.5 cm. (H) 16.54 x (W) 13.19 x (D) 1.38 in. 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, 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...

Marco’s background is in engineering and architecture, making him familiar with mathematical design and the awareness of geometry.

Acuarela. Measurements in centimeters: 122 x 48 x 0.5 cm. // In inches: 48.03 x 18.9 x 0.2 " Framed: 144 x 70 x 4.5 cm. // In inches: 56.69 ...

Child - Angelo Granati Italia 2013 -This is his reinterpretation of a greatest old master painting Le Goûter (Just a Taste) by W.A.Bouguereau. Oil on canvas cm. 110x90. Silver leaf...

Painting attributed to the venetian artist Michele Giambono of a Virgin and Child. Free professional shipping to any part of the world is included.

Greenfield's versions are rendered in the Byzantine style of their art historical predecessors, with the black Virgin Mother and Baby Jesus as the central focus within circular compositions, or tondos. These tondos float amongst abstract discs, set within fields of lustrous, gold leaf. The Madonnas predominate before a variety of backgrounds, which were traditionally innocuous. Greenfield, however, presents these backdrops as various revenge fantasies, where white supremacists are cast in the role of victims, suffering the fates...

With a background in engineering and architecture, Marco Araldi is demonstrably comfortable with both mathematical design and geometry. Naturally drawn t...

Virgin of Tijvin, after a Russian icon of the 17th century. Egg tempera, gold leaf on gesso over a wooden board. Measurements in centimeters: 44 x 33 x 3 cm / In inches: 17.32 x 12.99 x 1.18 " Author: Oliver Samsinger...

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...

Saint John, The Forerunner, after a Russian Icon from the 16th Century. Tempera and gold leave on gesso over a wooden board. Dimensions: (H) 33 x (W) 25,5 x (D) 4 cm. John, The Forerunner, is depicted as an ascetic desert saint with a tousled beard and a coat made from camel hair. The expression that transmits his beautiful face is very intense. 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. Afterward, 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...

Califia (c. 1510) is the mythical Black warrior Queen and inspiring character in Garci Rodríguez de Montalvo’s 16th century epic poem, Las Sergas de Esplandián (The Adventures of Esplandian). In Montalvo’s tale, Queen Califia rules on the fabled island of California, a utopia brimming with pearls and gold and inhabited solely by her menacing army of black Amazon women...

This is my adaptation of Gustav Klimt’s "Judith and the Head of Holofernes.” Klimt’s painting depicts the biblical character of Judit...

Halo presents an amazing cast of historical black figures, most of whom were legendary and mythic characters in their time, but have been nearly lost to the vagaries and biases of history as seen through a white lens. With Halo, Greenfield brings the stories of Black folk-saints, martyrs, freedom-fighters, survivors, magicians, and visionaries back into view. Many of the figures are from the 1400-1800s, a timeframe that corresponds with Europeans beginning to use racial distinction as a tool to justify slavery. Greenfield honors their simultaneously disturbing and astounding lives by bestowing them with halos, traditionally seen as reverential symbols of adoration and respect. “I am reimagining what a saint is,” Greenfield says. “Maybe in studying their stories, they can inform us on better ways to live.” Thought to have been a descendent of central African royalty...

Halo presents an amazing cast of historical black figures, most of whom were legendary and mythic characters in their time, but have been nearly lost to the vagaries and biases of hi...

One of the three biblical ‘magi’ or ‘wise men,’ King Balthazar gave the highly prized gift of liquid myrrh to Jesus upon his birth. Balthazar was an African King...

This unique artwork is created through interweaving strips of painted fabriano paper in order to create a complex composition with depth and texture. The artwork is framed and floate...

Halo presents an amazing cast of historical black figures, most of whom were legendary and mythic characters in their time, but have been nearly lost to the vagaries and biases of hi...

Halo presents an amazing cast of historical black figures, most of whom were legendary and mythic characters in their time, but have been nearly lost to the vagaries and biases of hi...

Alirio Palacios Versiones, 2012 Mixed media and gold leaf on cardboard (intervened by the artist) 145 x 134 cm 57 x 52.7 in. The artwork is signed and...

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...

Marco Grassi Grama's "Giulia" is an expressive female portrait. Grama paints his subject in washes of colorful oil paint on an aluminum base. He covers the background in gold leaf, p...

Genevieve May's "Before They Go" is an original, handmade oil painting that depicts a Black female model with blue and yellow butterflies landing on her face as gold and black foliag...

Aixa Oliveras' "I Bloom, and Now Feel" is an original, handmade oil painting that depicts a female model wearing lace as she caresses orchids that grow f...

Aixa Oliveras' "Bring Forth Miracles" is an original, handmade oil painting that depicts a female model in a black dress with upturned hands as Orchids a...

Very fine quality, rare and important early Italian Master painting depicting the Madonna and Child with Saints in attendance. The painting is ...

Shiro Utafusa is best known of “Kuru Kuru Atama” ( Curly Hair Boys ) which is an adorable series of paintings to share love and happiness with people. "White Dragon" highlights his long-term study of Japanese dragons and also signifies an artist’s talent to transform culture traditions into new forms. Dragon has been illustrated differently in many civilisations. In Japan, dragons are symbols of deities who protect mountains and water areas. Dragons have scary images and majestic status in Japan. For artists, it is not an easy task to portray dragons if their minds and skills are not ready. Shiro Utafusa has spent many years in studying Zen and Buddhism which keep his mind peaceful to depict perfect dragons. He also produces dragon paintings for shrines to improve his skills in illustrating different types of dragons. "White Dragon" is painted on octagon-shaped wood and gold leaf that manifests the artist’s best wish of fortune and health to people who see this painting. He explored and learnt different styles of paintings, experimented contemporary western painting...

Untitled 2, 2016

A. Laurenti has been exhibiting since 1984 universal, visionary and contemporary paintings. His images bring back to us through his colors, landscapes and personalities that have exi...

Beautiful Portrait by Atlanta based Artist, Tracy Sharp Framed in white modern simple frame Artist signs her art on the back of the paper piece BIO: Artist Statement "I was raised ...

Roland Strasser (1895-1974) "Japanese Geisha" Signed lower right Oil and gold leaf on canvas, measures: 76 x 46 cm In fine white-wash wood frame. ...

Rhonda Libbey's "The Unicorn's Garden" is an original, handmade oil painting that depicts a grey unicorn in a lush garden of cat faced flowers and rollin...

Rhonda Libbey's "We're all Mad Here" is an original, handmade oil painting that depicts an Alice in Wonderland figure with the Cheshire Cat smiling coyly...

Brian O'Neill's (US based) "Exhale" is an original, handmade oil painting that depicts a nude male figure stooped over and keeling on the ground, with his back exposed and bowing his...

Genevieve May's (US based) "Fear Not" is an original, handmade oil painting that depicts a lone African American woman with a white snake coiled around her neck and floating gold & orange mycelium around her form. Raised in a renovated tobacco barn...

Brian O'Neill's (US based) "Emergence" is an original, handmade oil painting that depicts a floral robe slipping from a female figure's shoulders and expos...