Pop Art Portrait Paintings

"Womb" Painting 36" x 48" inch by Ty Joseph From 7 L's series 2017 * * * The meaning of L series * * * Although influenced by Pop Art, with its bold, eye...

"Star Hailing L's" Painting 48" x 48" inch by Ty Joseph From 7 L's series 2017 * * * The meaning of L series * * * Although influenced by Pop Art, with i...

"Kicking Up Heels in a Dumpster" Painting 36" x 36" inch by Ty Joseph From 7 L's series 2017 acrylic on canvas 36" x 36" inch * * * The meaning of L series * * * Although influenc...

This sculptural painting by Natasha Lelenco, created on a wooden circle with a thickness of two centimeters and a diameter of 26 centimeters, is one of the recent works from the Curr...

This sculptural painting, part of Natasha Lelenco's Currency Exchange series, depicts the figure of an anonymous wooden face inscribed with a Dutch phrase, "Nu ik een beetje mijn ple...

This piece belongs to the "Exchange Currency Series" created by Natasha Lelenco in 2024, starting from the concept of the "face" on coins. It is a unique work consisting of a meticul...

This piece is one of the latest additions to the "Exchange Currency Series" created by Natasha Lelenco in 2024, inspired by the concept of the "face" on coins. It is a unique work co...

ANJA VAN HERLE "Bubble Bliss" Acrylic on Wood 40 x 40 inches Born in Belgium in 1969, Anja Van Herle combines a European sense of high fashion in her artwork with an American sense ...

ANJA VAN HERLE "Sunset Style" Acrylic on Wood 40 x 60 inches Born in Belgium in 1969, Anja Van Herle combines a European sense of high fashion in her artwork with an American sense ...

ANJA VAN HERLE "Mrs. Hisses" Acrylic & Swarovski Crystal on Wood 72 x 35 inches Born in Belgium in 1969, Anja Van Herle combines a European sense of high fashion in her artwork with...

This piece, crafted on a 26cm wooden panel with blue and maroon tones, represents an invented portrait that refers to the extreme situation that migrants sometimes experience in thei...

This piece belongs to the "Exchange Currency Series" created by Natasha Lelenco in 2024, starting from the concept of the "face" on coins. It is a unique work consisting of a portrai...

This sculptural painting belongs to the "Exchange Currency Series" created by Natasha Lelenco in 2024, starting from the concept of the "face" on coins. It is a unique work consistin...

This piece is one of the most news artworks of the "Exchange Currency Series" created by Natasha Lelenco in 2024, starting from the concept of the "face" on coins. It is a unique wor...

This piece is one of the most recent in the "Exchange Currency Series" created by Natasha Lelenco in 2024, inspired by the concept of the "face" on coins. It is a unique work consist...

This piece belongs to the "Exchange Currency Series" created by Natasha Lelenco in 2023, starting from the concept of the "face" on coins. It is a unique work executed on a treated c...

"Wild and Free" Oil Painting 47" x 39" inch by VIQA Wild and free, she is like a whirlwind of passion, indomitable and daring. Her heart beats to the rhythm of freedom and her soul ...

James Wolanin’s paintings transport the viewer to an effervescent, candy coated world inspired by vintage advertisements, photographs, and the artist’s own personal history. The Russ...

James Wolanin’s paintings transport the viewer to an effervescent, candy coated world inspired by vintage advertisements, photographs, and the artist’s own personal history. The Russ...

"My Ex" is a painting by Maestro Pancho Malezanov. About the painting: TECHNIQUE: Acrylic, painting on canvas STYLE: POP ART, Contemporary Edition : Unique, signed Weight: Approx...

Artist: Peter Max, German/American (1937 - ) Title: Profile Year: 1986 Medium: Acrylic on Canvas, signed u.r. Size: 40 in. x 30 in. (101.6 cm x 76.2 cm) Frame Size: 49.5 x 39.5 inches

Unique acrylic painting and silkscreen on canvas. Hand signed and dated by Andy Warhol on verso. Martin Lawrence provenance label on verso. Canvas size 20 x 20 inches. The artwor...

"Stupid Game" is one of the pieces from the "Fetishes" series created by moldovan-spanish artist Natasha Lelenco in 2022. This artwork talks about peace and about the stupid game of ...

Contemporary figurative acrylic on canvas painting by Polish artist Joanna Woyda. Painting is in minimalistic, pop art style. The artwork depicts a girl playfully running on a beach....

"The Pirate And Those Tiny Problems" is one of the pieces from the "Fetishes" series created by Natasha Lelenco in 2022. Man and nature become one in artist Natasha Lelenco's surreal...

"Blue Flower" is one of the pieces from the "Fetishes" series created by Natasha Lelenco in 2022. Conceived as a portrait emerging from an intense fluorescent pink, the piece contain...

"Vian 13" is one of the pieces from the "Fetishes" series created by Natasha Lelenco in 2022. A suggestion of a face comes to sight in artist Natasha Lelenco's surrealist yellow and ...

"The Point of View" is one of the pieces from the "Fetishes" series created by Natasha Lelenco in 2022. This piece originated as a commission for the exhibition "Imaxinaria, Mostra I...

This piece depicts famous artist, Jean-Michel Basquiat. Done with beautiful expressive colors and a distinctive street art design, this piece pops with energy and romantic beauty. It...

This piece depicts famous Italian-French singer-songwriter and former model Carla Bruni, married to former French president Nicolas Sarkozy. Done with beautiful expressive colors and...

A bold and elegant piece depicting Audrey Hepburn's Breakfast At Tiffany's juxtaposed with a Chanel perfume bottle holding Tulips on an elegant light blue background. With impasto pa...

Angie&Brad is art belonging to Love. Reincarnation series by Oksana Tanasiv , featuring most famous couples in history, and this painting is capturing couple's dance moment, by Ange...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Original acrylic painting on canvas. Hand signed on front by Peter Max. Canvas size 24 x 30 inches. Frame size approx 28 x 34 inches. In 2012, Ken Hendel, the owner of Gallery A...

Original acrylic painting on canvas. Hand signed on front by Peter Max. Canvas size 20 x 24 inches. Frame size approx 24 x 28 inches. In 2012, Ken Hendel, the owner of Gallery A...

Original acrylic painting on canvas. Hand signed on front by Peter Max. Canvas size 24 x 30 inches. Frame size approx 28 x 34 inches. In 2012, Ken Hendel, the owner of Gallery A...

Original acrylic painting on canvas. Hand signed on front by Peter Max. Canvas size 28 x 22 inches. Frame size approx 32 x 26 inches. In 2012, Ken Hendel, the owner of Gallery A...

Original acrylic painting on canvas. Hand signed on front by Peter Max. Canvas size 24 x 30 inches. Frame size approx 28 x 34 inches. In 2012, Ken Hendel, the owner of Gallery A...

Animated cartoon comic--like portrait oil painting on paper by Matt Straub. Signed on back by artist. Offered framed. Paper size: 7 x 6 inches Frame size: 11 x 9 inches. Matt Strau...

Stars & Stripes Painting entitled 'A Bit Rich' by British Urban Graffiti Artist, Chris Pegg, using red, white, black & blue. Chris Pegg is a self-taught Street Artist producing artwo...

Mixed media (household paint swatches) 32 x 16” x 2 inches 2023 Framed in white with Optium museum quality non-reflective Plexiglass The artist uses (Home depot household paint...

'Fractured Mind' - Abstract Painting on Board by British Urban Graffiti Artist, Chris Pegg, using red, black & golden yellow. Chris Pegg is a self-taught Street Artist producing artw...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

"Sparkling Rosé", Modern Pop Art Painting in Pink, 2022 Sparkling Rosé is Modern Pop Art Painting by Addison Jones. Introducing the iconic Andy Warhol style print with neon colors ...

"Angela" Oil painting 47" x 33" inch by Alina Shimova 2021 Alina Shimova is Russian born Miami based artist. Her creative journey began at an early age. Alina entered an art sch...

Hand painted acrylic on canvas - lives and works out of Brooklyn NY and is represented by Krause Gallery in Manhattan NY. signed on edge of canvas Painter and illustrator Wizard Skull’s humorous and often raunchy riffs on cartoon characters and mascots poke fun at pop culture and commercialism. Wizard Skull transforms recognizable characters from Homer Simpson and Mickey Mouse to Gumby and SpongeBob SquarePants into hybrid mashups, and squiggly portraits. Best known for his street art, Wizard Skull creates wheatpaste posters and murals that have become fixtures throughout New York City and beyond. One of his most famous wheatpastes —Sexy Ronald (2011–present), which depicts a strapping Ronald McDonald...

One of the originators of the Western pop art movement, Billy Schenck incorporates techniques from photorealism with a pop art sensibility to both exalt and poke fun at images of the...

Vintage American modernist portrait of iconic artist Peter Max. Signed. Framed. Original oil on canvas.

Ceravolo's just completed Mono Print with iridescent acrylic hand work is titled "RED POW" with YELLOW burst. based on his "Batman and the Movie Star" original painting on canvas. This canvas measures approx. 28x40" framed. Ceravolo has created several unique monoprints based on his "Batman and the Movie Star" painting all with different "POW" and burst colors. This one is RED POW with a Yellow burst. All of these monoprints have an iridescent painted Bat Signal in the sky hand painted by Ceravolo. One of The Hampton's most popular urban Pop artists Ceravolo's work has been exhibited alongside Warhol and Peter Max for years, his paintings are collected by Elton John, Rod Stewart, and Alice Cooper among others. He has been call the "Rock and Roll Painter" and "Painter of the Stars of Rock" by the media. This Monoprint features Batman driving his Batmobile with a sultry Movie Star sitting next to him while at the same time there is a "Bat Call" signal in the night sky signaling him that there is a need for his help in Gotham City. Along with those two distractions the gopher "G" is standing next to Batman on the side of the Bat Mobile. While this is all going on Batman is thinking...."I must concentrate on driving" Maybe this is a typical night for Batman in Gotham City. We have included in this listing an image of Ceravolo with some of his famous collectors. His paintings can be found in many influential corporate and private collections, including: ELTON JOHN, ROD STEWART, HUGH M. HEFNER, DAVID BRENNER, MONIQUE VAN VOOREN, WARNER BROS., RCA RECORDS AND SCHENLEY INDUSTRIES to name a few. Ceravolo's art came to popular attention when he was commissioned to create five large scale paintings for the lobby of The Palladium Theatre in New York City of Jackson Browne, Linda Ronstadt, Frank Zappa, Neil Young and Hall and Oates.

Crafted as an accumulation of representations of floral elements surrounding a square vinyl record, this vibrant and colorful unique piece by Natasha Lelenco is simultaneously an ant...

In bold, acrylic line paintings, US artist Hilary Bond depicts the heads and torsos of women, often repeating the image in overlapping compositions. Her contemporary groups of pop culture portraits and figures are creatively rendered in a palette of transparently layered colors on canvas. This soft palette 36 inch high by 18 inch wide pop-figurative artwork is wired and ready to hang. The sides of this modern artwork are painted. It does not require framing. The painting is signed by the artist on the front and back. Affordable Continental U.S. and worldwide shipping available. A certificate of authenticity issued by the art gallery is included. Abstract Expressionism, Pop Art, American culture, and childhood influence Hilary Bond’s choices in color, brush work, material, and composition. "I was searching for inspiring female figures and a female ideal, archetype, and muse. I started painting models, in particular, Kate Moss. The composition and line quality influence my color choice and ultimately the overall emotion of the work. I want my paintings to be mysterious, beautiful, assertive, and to have their own inner dialog. The artists who inspire me change with each piece, but I was substantially influenced by Manet’s Olympia, de Kooning, Schiele, and Warhol." Hilary Bond was born and raised in Baltimore, Maryland. After attending the Baltimore School for the Arts she went to The Cooper Union and received a BFA in 2007. Hilary’s artworks are represented by Artspace Warehouse...