Realist Paintings

Angela Faustina's "Blood Orange" captivates viewers with its meticulous attention to detail and vibrant colors. This original still life painting, executed in oil on board, showcases...

"Eucalyptus 1" Oil Painting 39" x 28" inch by Sasha Sokolova Life Still "I produced this series in 2020 while mostly in lockdown due to the Coronavirus...

This piece, "The Forest in Red" by Miguel Peidro is an 20x20 original oil painting on canvas. This painting depicts a dirt path in peak autumn season, with bright orange an red foli...

This piece, "Rain in Autumn" by Miguel Peidro is an 18x26 original oil painting on canvas. This painting depicts a dirt path in peak autumn season, with bright orange an red foliage...

"Still Life with Oleander" by Helen Oh is a classic still life painting for the modern world. The beautifully rendered white Oleander flowers, coupled with t...

Shan Fannin's (US based) "1962 Ferrari 250 GTO" is an acrylic painting that depicts the closeup view of the hood an emblem of a bright red 1962 Ferrari...

Shan Fannin's (US based) "Love in a Tail Light" is an acrylic painting that depicts the closeup of taillight on a red sports car Born 1969 in California, a...

"Lucas" Oil Painting 15" x 15" inch by Jordi Diaz Alamà Oil, enamel and resin on canvas RED STUDIO series Alamà offers through this series of saturated, vivid and imposing reds, a privileged peek inside the universe of the painter’s studio, the practice of working with life models and the vast plurality in sensuality. Red Studio synthesizes the many layers of technical research the artist has acquired over the last decade. Academicism and abstraction coexist again on the canvas: a new aesthetic chapter carried out by an overwhelming expressive force in the form of a dance between the measured and the vigorous brushstroke. The work of any figurative painter is also the fruit of a dialogue with their models, a true collaboration. Every time the painter tries to capture the attitude and the pose of a model, we see a different character emerging. In this series, although some of the paintings represent the same model, we never see the same person twice. Only a slight change in posture, attitude or look is necessary to bring to life a whole new personality. A clear boldness emanates from each character in a different way, confronting the viewer with their unapologetic nudity and forward attitude. They are engaging but not plainly offered to the viewer. We are only allowed to be accomplices in their beauty, exploring their bodies without reservation or deception. Red Studio has been developed in parallel with another of Alamàs’s ambitious series of paintings illustrating scenes of Hell in Dante’s Divine Comedy. Both series have grown in the same space – the artist’s studio – a place that can too often become hell in itself. The fire of the Dantesque Hell seems to crawl into these classical anatomical studies and envelop the figures with an abrasive red enamel, the main unifying thread of the series. Similarly, the works from the #ClásicosDesollados series also make an appearance, engulfed in flames and hung at the bottom of the Red Studio‘s works. Albert Navales BIOGRAPHY Jordi Diaz Alamà, born in Granollers in 1986, graduated from the Fine Arts from the University of Barcelona. He has also trained in national and international classical art schools such as the Florence Academy of Art (Florence) where he learned the techniques used by the great masters of 19th-century painting. He consolidated his training during a series of stays with contemporary masters of realism such as the Norwegian painter Odd Nerdrum, Guillermo Muñoz Vera or Antonio López. His personal work involves an impressive display of pictorial resources with a refined and mannerism-free technique that responds to the canon of contemporary classical figuration, continuously investigating new concepts and plasticities. His artistic vision has also developed thanks to his teaching role at the Barcelona Academy of Art, which he founded in 2013. It is at the Academy where he grows, expands and shares his knowledge of classical methods, along with the idea that these need to continue to be valued as a tool that helps the interpretation and artistic representation of today's world. Alamà points out that classical figuration is not the only way but the most direct one to immerse yourself in the world of sensitivity and creative expression. In 2017, he faced one of the most important challenges of his career with the creation of the work ​The Cross of the Jubilee,​ a monumental commission for the Church of the Dolors in Vic (Spain). In his series #ClásicosDesollados, he merges his implacable technique with bursts of abstraction; cutting, tearing and literally skinning the most iconic works of the great masters from Velázquez to Rembrandt to highlight their inherent modernity. With the series inspired by Dante’s ​Divine Comedy,​ Alamà faces again a monument of universal history, anchored in collective memory, and reaffirms his commitment to contemporary realistic figuration. His works can be found in the collections of the European Museum of Modern Art and the Can Framis Museum in Barcelona and in private collections in Europe, the United States and Australia. ARTISTIC CV Solo Exhibitions 2020 'Red Studio'. El Claustre. Figueres 2019 ‘Red Studio’. El Claustre. Girona. 2017 ‘#ClásicosDesollados’. Museu Can Framis. Barcelona. 2015 ‘Reinas de la Noche’. El Claustre. Girona. 2013 ‘Artistas que se venden’. El Claustre. Figueres. 2012 ‘Mujeres modernas’. El Claustre. Girona. 2011 ‘Díaz Alamà: de la enseñanza académica a la obra personal’. Colegio de arquitectos. Mataró. Latest collective exhibitions 2019 '20 años en 20×20'. MEAM. Barcelona. 'The Wild & the Tame'. Misnoma. Galería Mutuo. Barcelona. 'El Retrato'. Galería Fermín Echauri. Pamplona. 'Spanish Realist Painting'. Saga Prefectural Museum. Japan. 'Spanish Realist Painting'. Hoki Museum. Japan. '20 años en 20×20'. Galería Artelibre. Zaragoza. ‘#ClásicosDesollados’. Palau de Casavell. Galeria Miquel Alzueta. Girona. 2018 ‘#ClásicosDesollados’. Pigment Gallery...

"Abril" Oil Painting 37" x 37" inch by Jordi Diaz Alamà Oil, enamel and resin on canvas RED STUDIO series Alamà offers through this series of saturated, vivid and imposing reds, a privileged peek inside the universe of the painter’s studio, the practice of working with life models and the vast plurality in sensuality. Red Studio synthesizes the many layers of technical research the artist has acquired over the last decade. Academicism and abstraction coexist again on the canvas: a new aesthetic chapter carried out by an overwhelming expressive force in the form of a dance between the measured and the vigorous brushstroke. The work of any figurative painter is also the fruit of a dialogue with their models, a true collaboration. Every time the painter tries to capture the attitude and the pose of a model, we see a different character emerging. In this series, although some of the paintings represent the same model, we never see the same person twice. Only a slight change in posture, attitude or look is necessary to bring to life a whole new personality. A clear boldness emanates from each character in a different way, confronting the viewer with their unapologetic nudity and forward attitude. They are engaging but not plainly offered to the viewer. We are only allowed to be accomplices in their beauty, exploring their bodies without reservation or deception. Red Studio has been developed in parallel with another of Alamàs’s ambitious series of paintings illustrating scenes of Hell in Dante’s Divine Comedy. Both series have grown in the same space – the artist’s studio – a place that can too often become hell in itself. The fire of the Dantesque Hell seems to crawl into these classical anatomical studies and envelop the figures with an abrasive red enamel, the main unifying thread of the series. Similarly, the works from the #ClásicosDesollados series also make an appearance, engulfed in flames and hung at the bottom of the Red Studio‘s works. Albert Navales BIOGRAPHY Jordi Diaz Alamà, born in Granollers in 1986, graduated from the Fine Arts from the University of Barcelona. He has also trained in national and international classical art schools such as the Florence Academy of Art (Florence) where he learned the techniques used by the great masters of 19th-century painting. He consolidated his training during a series of stays with contemporary masters of realism such as the Norwegian painter Odd Nerdrum, Guillermo Muñoz Vera or Antonio López. His personal work involves an impressive display of pictorial resources with a refined and mannerism-free technique that responds to the canon of contemporary classical figuration, continuously investigating new concepts and plasticities. His artistic vision has also developed thanks to his teaching role at the Barcelona Academy of Art, which he founded in 2013. It is at the Academy where he grows, expands and shares his knowledge of classical methods, along with the idea that these need to continue to be valued as a tool that helps the interpretation and artistic representation of today's world. Alamà points out that classical figuration is not the only way but the most direct one to immerse yourself in the world of sensitivity and creative expression. In 2017, he faced one of the most important challenges of his career with the creation of the work ​The Cross of the Jubilee,​ a monumental commission for the Church of the Dolors in Vic (Spain). In his series #ClásicosDesollados, he merges his implacable technique with bursts of abstraction; cutting, tearing and literally skinning the most iconic works of the great masters from Velázquez to Rembrandt to highlight their inherent modernity. With the series inspired by Dante’s ​Divine Comedy,​ Alamà faces again a monument of universal history, anchored in collective memory, and reaffirms his commitment to contemporary realistic figuration. His works can be found in the collections of the European Museum of Modern Art and the Can Framis Museum in Barcelona and in private collections in Europe, the United States and Australia. ARTISTIC CV Solo Exhibitions 2020 'Red Studio'. El Claustre. Figueres 2019 ‘Red Studio’. El Claustre. Girona. 2017 ‘#ClásicosDesollados’. Museu Can Framis. Barcelona. 2015 ‘Reinas de la Noche’. El Claustre. Girona. 2013 ‘Artistas que se venden’. El Claustre. Figueres. 2012 ‘Mujeres modernas’. El Claustre. Girona. 2011 ‘Díaz Alamà: de la enseñanza académica a la obra personal’. Colegio de arquitectos. Mataró. Latest collective exhibitions 2019 '20 años en 20×20'. MEAM. Barcelona. 'The Wild & the Tame'. Misnoma. Galería Mutuo. Barcelona. 'El Retrato'. Galería Fermín Echauri. Pamplona. 'Spanish Realist Painting'. Saga Prefectural Museum. Japan. 'Spanish Realist Painting'. Hoki Museum. Japan. '20 años en 20×20'. Galería Artelibre. Zaragoza. ‘#ClásicosDesollados’. Palau de Casavell. Galeria Miquel Alzueta. Girona. 2018 ‘#ClásicosDesollados’. Pigment Gallery...

Scott Fraser's "Square, Circle, Square" is an oil painting created in 2019 depicting a delightfully playful and bold still life of crackers caught in the grasp of clothes pins. About the artist: I have had an interest in painting since I was young. My parents framed a small painting of roses that I did at age 3. It now hangs in my studio as a reminder of my early aspirations. I remember going to the Chicago Art Institute frequently as a boy, especially enjoying the works of Picasso. I went off to art school at the Kansas City Art Institute which was also pivotal. There they set me free to experiment with concept in a rich, dynamic environment. After leaving KCAI, I started out slowly, painting, learning and finally selling my work. I call these my basement years, since I moved back in with my parents, until I could afford to move out on my own. This took a number of years. At age 27 I went away to Europe which turned out to be one of the most influential periods in my life. At this time, I had the opportunity to view first-hand the artwork that I had always admired in books. The Flemish artists spoke to me, especially Vermeer – his Woman Pouring Milk was breath-taking. Seeing this work altered my path as a realist painter, and was a catalyst for me changing from the figure and landscape to still life. Van Eycks alter piece in Ghent, made a lasting impression, and I was greatly inspired by a small work by Gerard ter Borch titled Gallant Conversation. I was also able to see a Francis Bacon show at the Tate Gallery, and Las Meninas at the Prado, both of which I will never forget. It was during this time that I developed a more personal narrative style which found a voice in Still Life painting. I am still growing and developing this voice, and am never at a loss for what to paint next since the possibilities within the genre are endless. There are many artists and genres that interest me and have influenced my progression as an artist, and I appreciate both historical and contemporary works. Van Eyke...

MAREK OKRASSA. Born in 1975, he studied painting in the studio of professor M. Swieszewski and drawing in the studio of Maria Targonska. Okrassa was twice awarded with a grant from ...

The inherently beautiful sand dollars and sea shells are arranged on a silver tray and flanked by coins and a reflective orb. The background is a vibrant red reflecting itself on the edge of the silver tray. This artwork is framed in a simple walnut wood frame measuring H 13 x W 10 inches. Helen Oh Seashell Still Life...