Items Similar to Moose Tracks
Want more images or videos?
Request additional images or videos from the seller
1 of 2
Beth SistrunkMoose Tracks
About the Item
Candy with blue clouded background
- Creator:Beth Sistrunk (1978, American)
- Dimensions:Height: 5 in (12.7 cm)Width: 5 in (12.7 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Denver, CO
- Reference Number:1stDibs: LU130826323512
About the Seller
5.0
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1990
1stDibs seller since 2019
524 sales on 1stDibs
Typical response time: 1 hour
- ShippingRetrieving quote...Ships From: Denver, CO
- Return PolicyA return for this item may be initiated within 7 days of delivery.
More From This SellerView All
- "Raquel" Original Oil and Acrylic PaintingLocated in Denver, CO"Raquel" by Conrado López is a delicate yet expressive 2023 artwork, utilizing acrylic and oil on a canvas sized at 5 x 5 inches (12.70 x 12.70 cm). With the addition of its frame, t...Category
2010s Realist Figurative Paintings
MaterialsOil, Canvas, Acrylic
- "Alba's Mirror" Original Oil and Acrylic PaintingLocated in Denver, COPlease note: If you live outside of the United States, we will ship the painting in a tube. Presenting "Alba's Mirror" by Conrado López, an original handmade painting created in 20...Category
2010s Realist Portrait Paintings
MaterialsOil, Canvas, Acrylic
- "Onyx" Mixed Media PaintingBy Aiden KringenLocated in Denver, COAiden 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...Category
2010s Surrealist Portrait Paintings
MaterialsOil, Canvas, Acrylic
- "Sergio in the Pool" Original Oil and Acrylic PaintingLocated in Denver, COConrado López presents "Sergio in the Pool," a notable 2023 composition rendered in acrylic and oil on a canvas measuring 116 x 89 cm (45.67 x 35.04 inches). This primary market artw...Category
2010s Realist Portrait Paintings
MaterialsCanvas, Oil, Acrylic
- "Opulence 12" Mixed Media PaintingBy Aiden KringenLocated in Denver, COAiden 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...Category
2010s Surrealist Portrait Paintings
MaterialsCanvas, Oil, Acrylic
- "Detail of Alba" Original Oil and Acrylic PaintingLocated in Denver, COConrado López's "Detail of Alba," a 2023 primary market artwork, is an exemplary display of the artist's proficiency in blending acrylic and oil on canvas. This original 5 x 5 inches...Category
2010s Realist Figurative Paintings
MaterialsOil, Canvas, Acrylic
You May Also Like
- Large Contemporary Oil Portrait of Party People Smoking, Laughing, and DrinkingBy Nancy LambLocated in Fort Worth, TXThe Menthol Mood, 2009, Nancy Lamb, Oil on canvas, 48 x 85" Nancy Lamb (American, born 1956), sculptor and painter. Formally trained at Texas Christian Un...Category
2010s American Realist Figurative Paintings
MaterialsCanvas, Acrylic, Oil
- "I Identify As You" (Sensual, Feminine, Romantic, LGBTQ, Figure Painting, Wood)By Nicholas EvansLocated in Paris, IDF"I IDENTIFY AS YOU AND I'M OBSESSED WITH MYSELF" 2024 Paris, France A commentary on narcism and vanity, identity and obsession. The viewer is presented with two figures, sexually a...Category
21st Century and Contemporary Abstract Figurative Paintings
MaterialsWood, Acrylic, Oil
- Untitled by Anton Kushaev - Surrealist painting, oil and acrylic on canvas, 2022Located in Basel, BSThe Untitled is part of the series "Frame of Sorrows" created by Anton Kushaev for the installation at Voskhod Gallery's showcase in Basel in 2022. This painting was exhibited in the...Category
2010s Surrealist Figurative Paintings
MaterialsCanvas, Oil, Acrylic
- SirenLocated in Nashville, TNAlison Underwood's work evokes various emotions of desires as her artwork proves to display the ideas of temptation and anticipation. These profound feelings are demonstrated in the ...Category
2010s Surrealist Figurative Paintings
MaterialsOil, Acrylic, Oil Crayon
- MinimeBy Wencke UhlLocated in Bonn, NWOriginal painting. Oil and acrylic on raw linen canvas and mounted on a high quality stretcher frame. Finished off with a soft glossy varnish. 80 x 100 cm 31.5 x 39.4". The sides ...Category
2010s Contemporary Figurative Paintings
MaterialsOil, Acrylic
- RootsBy Wencke UhlLocated in Bonn, NWoriginal painting; acrylic and oil on high quality canvas stretcher. 70 x 90 cm 27.5 x 35.4''. Sides painted and ready to hang.Category
2010s Pop Art Figurative Paintings
MaterialsAcrylic, Oil
Recently Viewed
View AllMore Ways To Browse
Moose Art
Moose Painting
Moose Oil Painting
Golden Rays
Russian Vintage Paintings
Theatre Antique Paris
Early Byzantine
Large Scale Vintage Painting
Victorian Figurative Oil
Allegory Of Time
Poster Framed Acrylic
Medalion Cross
In Search Of Reason
Indian Texas
Biking Painting
Little Boy Painting
Bike Painting
Virgin Mary Art