Aircraft Paintings

On April 4, 2022 I painted the airplanes landing into Burbank airport from my backyard. 25 canvas panels mounted on a wood frame. :: Painting :: Contemporary :: This piece comes with...

Represented by George Billis Gallery, NYC & LA -- Trevor Young is a quintessentially American painter. He makes no bones about his affection for the trappings of car culture, lif...

Represented by George Billis Gallery, NYC & LA --Trevor Young is a quintessentially American painter. He makes no bones about his affection for the trappings of car culture, life on the road, and 1960s West Coast art. His main subject is modernism’s footprint on the outposts of Americana—places typified by harsh artificial light and hard shadows on concrete. The show makes clear that for Young, despite the contemporary art world’s preferences for irony, disjunction, and tongue-in-cheek intellectual gamesmanship, painting is at its best when it attempts to offer an unpretentious accounting of where and how we live our day-to-day lives. The celebrations of urban sprawl offered by artists like Ed Ruscha—who famously took no-nonsense aerial photographs of thirty four LA parking lots in 1967, and created sleek, stripped down paintings of Standard Oil stations—are an obvious point of reference in Young’s work. But Young’s choices seem more personal than Ruscha’s, and his technique is certainly more painterly: His images of gas stations are uneasy amalgamations, cobbled together from his own memories of road trips, photographs, and pure invention, and rendered with a sense of atmosphere and drama seemingly at odds with his use of hard lines and simple geometric shapes. Painters today tend to lean on pastiche, on art-historical mashups and code-switching. This typically results in images with no unified style and no concern for pictorial space, illusionistic or otherwise. For many contemporary painters, the picture plane is simply a flat, delimited arena in which different types of visual syntax collide, floating freely. This is a non-strategy in which artists make an end run around some of the thornier problems of composition, perception, and cognition. Young bucks this trend. He activates every square inch of his canvases, blocking in large passages of negative space with skeins of scruffy countervailing strokes. He is not a fussy painter, nor is he out to prove his own mastery to an audience. Like Edward Hopper, Young tends to eschew a lot of paint’s seductive properties, preferring to create hard edges and large, gently undulating planes of subdued color. He draws the viewer into an unpopulated, uncluttered world with a clear horizon line—but one that is also filled with hiccups, discontinuities, and compromises. In Service in the Rear, for example, a shelter for gas pumps in the foreground—closest to the viewer and, therefore, logically a dominant compositional element—is rendered as a hazy silhouette that flagrantly disobeys the rules of linear perspective. This is intentional: The structure is only important to Young in the way that it draws the viewer’s eye below and past it, to the glowing, low-slung building dominating the lefthand side of the picture. Thus Young shows his talent for creating visual tension and drama—and for sidestepping the viewer’s expectations. Young understands that some might regard his brand of painting as obsolete. He also understands the troubled legacy of modernism, and what the triumph of universal technology has meant for cultures around the globe. Still, for Young, the cold comfort offered by outposts of convenience—gas stations, airports, cheap hotel rooms—is not so easily dismissed. Young shares the strange buoyant optimism of his hero, Jonathan Richman, who, in his early ‘70s proto-punk single, Roadrunner, exults in the simple act of driving past the Stop’n’Shop with the radio on...

This is a happy painting of 19th century people having a nice day out on the river while watching the ballooners fly by. This painting has been created ...

Oil on wood panel. Meditation on beauty, passage of time, luminosity, space and escapism. :: Painting :: Realism :: This piece comes with an official...

Depicting a Mohawk Airlines airplane in flight Signature: Signed Lower Right and Dated ’97

Signed Lower Left

Isca Greenfield-Sanders Prop Plane, 2016 Mixed media oil on canvas 35 x 35 inches 88.9 x 88.9 cm Signed, titled and dated (verso) -- Greenfield-Sanders’ l...

'le Aeroship' by Claude Venard is a beautiful chromatic, black, white, grey and blue painting of the Paris Skyline. Featuring the Sacre Coeur, Eiffel Tower, Montmartre, Notre Dame and of course the incredible powerful Biplane. If you are looking for a powerful demanding work then thes pice is most definitely that. Claude Venard is known for his vibrant, semi-abstract works that often-explored structure and colour, aviation was a fascination for Venard. Although, if we imagine ‘Le Aeroship’ within his creative world, it might symbolise freedom, innovation, and the power of human imagination. Venard’s bold use of geometry and texture in this piece could easily translate into a fantastical vision of air travel, with an aeroship designed not for practicality but as a work of art. Using his signature style and cubist influences, Venard used mechanics to create an aesthetic celebration of line, and form. Although he loved to use bright and bold colours, Venard also enjoyed painting with a very muted pallet, often using dark tones to capture a mood or moment in time. This is presented clearly in this monotone city scape. The whimsical biplane which was fascinating for Venard. He had a large collection of tin plate toys...

This artwork titled "Douglas World cruiser, 1924 World Flight" c.1970is an acrylic painting on hardboard by artist Edward (Ed) Diffenderfer b.1928 It is signed at the lower left corner by the artist. The artwork size is 20.25 x 27 inches, framed size is 23.35 x 30.25 inches. Custom framed in a wooden distressed veneer and silver frame. It is in excellent condition, the frame has a very small scratch restoration, practically invisible. The Subject: Four of these Army Air Service planes left Seattle in April 1924, attempting an around-the-world flight. The Chicago was one of two planes to complete the historic flight after covering 26,345 miles in under six months. About the artist: Ed Diffenderfer was born in 1928 in Stockton, California. Education: Berkeley Schools, California College Of Arts And Crafts. Experience: Instructor Of Illustration, Freelance Illustrator And Painter. Memberships, Collections, Awards: Society Of Illustrators (San Francisco) Bohemian Club; New York, San Francisco, Los Angeles and Chicago Art Shows, The Pentagon, Library Of Congress, Smithsonian Institution and Air Force Academy...

oil on canvas

Oil on panel by Richard Whitten