Men Paintings

"Thad" by Zack Zdrale (US based) is an original oil on panel depicting a portrait of a male model with a beard. Zack Zdrale (b. 1977) takes a traditional approach to his work altho...

Artist/ School: David Wilkie Wynfield, (British 1837-1887) Title: Elegant Ladies in a Drawing Room interior scene Medium: oil on panel, framed Framed: ...

Artist: Anatoly Borisovich Tarabanov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Year: 2014 Style: Contemporary Art Title: Still Life Composi...

A charming interior scene depicting a mother reading to a baby in a darkened interior. The figures are softly lit by the glow of the fire which gently illuminates the scene. A fascin...

Frans Wouters was a Flemish Baroque painter who mainly created smaller cabinet pieces. He was initially apprenticed to Pieter van Avont in Antwerp, but then moved to Rubens‘ worksho...

This artwork presents a masterful blend of human form and intricate botanical patterns, creating a striking visual contrast. Dominating the piece, a reclining female nude is rendered...

Title: Cyclists Racing On Velodrome Track French Modernist Watercolor Gouache Artist: Pierre Neveu (French b.1929) Medium: Watercolour and Gouache on artists paper, unframed Size (H ...

Unidentified Artist – Interior Genre Scene (19th-20th Century) Medium: Oil on canvas Framed Dimensions: 99 x 82 cm Canvas Dimensions: 88 x 67 cm Signature: Not identified This evocat...

This exceptional American School watercolor portrait of President George Washington stands out as one of the finest we’ve encountered. The level of precision and care given to the fa...

Artist: Jeno Gussich, Hungarian (1905 - ??) Title: Rabbi with a Fur Hat Medium: Oil on Canvas, signed lower right Size: 24 x 20 inches Frame Size: 30.5 x...

The Artists Model Nude Lady Model French School, circa 1970's signed oil painting on card, unframed size: 18.5 x 25.5 inches condition: overall very good, a very few light markings t...

"Inglewood 6-4-2020" is a plein air painting of the artist's farm house in Louisiana, featuring hues of yellow, grey, blue and green. This work is framed in a natural wood frame wit...

"Blue Towel" is an artistic composition that demands our attention. The woman wrapped in the titular blue towel stands as a metaphor for the delicate nature...

Portrait of a Doctor with a Microscope Artist: Eduardo Gordigiani (Italy, 1866-1961) Date: Approximately 1940 Medium: Oil on canvas Signature: Signed in the upper right corner Dimens...

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

Antique Spanish painting from 18th century. Framework oil on canvas depicting a religious subject Piety, Virgin with deposed Christ, of good pictorial quality. Large size and impact ...

French painter Work on wood Silver wood frame 37 x 27 x 3 cm

Nathan Brad Hall's work comes together in this show to build an undeniably jaw dropping experience for viewers. “Undercurrents,” says Hall, “is about ...

Mango has always been my favorite fruit; it's soft and looks like a heart. I still love it. Two women hold on to it, and the trees around them spread like ribs. Sometimes, feelings t...

Original painting on canvas.. Hand signed on front; signed and titled on verso by Jozza. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity incl...

Two lovers, entangled in each others arms, enjoy a passionate kiss. This intimate moment is the subject of Bruno Surdo's painting entitled "Desire". The beautifully rendered skin tones and a light shinning just beyond our sight give a suppleness and sexiness to the painting. The artist has painted this artwork on paper and then affixed the paper to stretched canvas. This process creates a textural undulating surface echoed in the painting itself. This painting is unframed. Please contact the gallery for framing options. Bruno Surdo Desire oil on paper on canvas 40h x 30w in 101.60h x 76.20w cm BRS086 Bruno A. Surdo b. Chicago, 1963 EXHIBITIONS 2021 Ethos + Truth, Gallery Victor Armendariz, Chicago, IL 2020 Realities, Gallery Victor Armendariz, Chicago, IL 2018 Liberation, Gallery Victor Armendariz, Chicago, IL Blood Sport, Gallery Victor Armendariz, Chicago, IL Art on Paper 2018, Gallery Victor Armendariz, Pier 36, New York, NY SOFA Chicago 2018, Gallery Victor Armendariz, Navy Pier, Chicago, IL 2017 POP!ARAZZI, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2015 SOFA Chicago 2015, Ann Nathan Gallery, Navy Pier, Chicago, IL Bruno Surdo: Allegories, Ann Nathan Gallery, Chicago, IL 2014 Bruno Surdo: Respond, Ann Nathan Gallery, Chicago, IL Modern Metaphors, Rockford Art Museum, Rockford, IL 2013 Bruno Surdo: Revelations, Ann Nathan Gallery, Chicago, IL Vice + Virtue, Northern Illinois University Museum of Art 2012 Contemporary Realism Biennial, Fort Wayne Museum of Art, Fort Wayne, IN 2011 Bruno Surdo, University of St. Francis School of Creative Arts, Fort Wayne, IN Uncensored, Ann Nathan Gallery, Chicago, IL 2010 Art Chicago 2010, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2009 Art Chicago 2009, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Bruno Surdo, Art Institute of Indianapolis, Indianapolis, IN 2006 Context/Content: Making Meaning with the Figure, University of Arkansas, Conway, AR Creative Imaginings, Mobile Museum of Art, Mobile, AL Bruno Surdo: Cycles, Ann Nathan Gallery, Chicago, IL 2005 Art Chicago 2005, Ann Nathan Gallery, Chicago, IL 2004 Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Group Show, Arcadia Gallery, New York, NY Drawings VII, Koplin Del Rio Gallery, West Hollywood, CA Armory Show, New York Armory, New York, NY 2003 Paintings & Drawings, College of Lake County, Grayslake, IL The Art Show, New York, NY Bruno Surdo: New Work, Ann Nathan Gallery, Chicago, IL Art Chicago 2003, Ann Nathan Gallery, Chicago, IL 2003-10 International Show of Contemporary Artists, Chicago Art Open, Chicago, IL 2002 Bruno Surdo: Perception of Appearance, Frye Museum, Seattle, WA Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Bruno Surdo: Transcendence, Ann Nathan Gallery, Chicago, IL Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Tragedy, Memory, & Honor, Ann Nathan Gallery, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR 1998 Evanston and Vicinity Artists, Evanston Art Center, Evanston, IL 1996 Bruno Surdo: A Personal View, University of Wisconsin, Kenosha, WI 1995 Bruno Surdo: Recent Works, College of Lake County, IL AIDS in Our Society, Loyola University, Chicago, IL Bruno Surdo: Life, Struggle, and Hope, Chicago Cultural Center, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR Bruno Surdo: Dualities of Life, Ann Nathan Gallery, Chicago, IL 1999 Group Show, Ann Nathan Gallery, Chicago, IL 1998 Group Exhibition, Fine Arts Building Gallery, Chicago, IL 1995 Spiritual Inquiries, Struve Gallery, Chicago, IL 1994 Recent Works, The 14th Annual Juried Exhibition for Lake County Artists, Grayslake, IL Go Figure, Figurative Works on Paper, Chicago Printmakers Collaborative, Chicago, IL SELECTED COLLECTIONS The Re-Birth of Venus, Temporary Loan, Fort Wayne Museum of Art Arkansas Art Center, Little Rock, AR College of Lake County, Greyslake, IL Flashpoint Academy, Chicago IL John Robert Wiltgen Design Shoemaker Ruud Collection Julie & Thomas Danilek Michael Vozzella and Mike Silver Benjamin Fernandez Tom Braake Betsy Colburn Michael Diemand & Lor LaRose Michael Staab & Kathy Brock Bruce Leep Frank Tzurect Mary Foley Rosalyn Carlson Mimmy Turney Janet Long Halstead Billy Hunt Carol Galli Myles Kerrigan Honorable & Mrs. Edwin Berman Theodore Gage Northrop Art Museum Past Present & Future Company Dr. James & Peggy Kemmler Salvatore Monastero Nix & Virginia Lauridsen Joel Miller David & Marlene Zerkel Ann & Andy Abel Claudia Rush Marc Miller Leonard Goldberg Lawrence Pucci Howard Tullman Collection Susan & Manny Kramer James Rinnert Richar Interiors Michael & Nancy Colt Khalid Altijir Dr. Joe Grodman Beryl & Jack Gore Larry Wolf & Eric Naegle Chuck Wolandi Jack Schwab & David Sandelin Thomas Kaczmarek Marti Dinerstein Craig & Michael Golden...

French artist of the first half 19th century oil painting on canvas, unframed canvas: 12.5 x 9.5 inches provenance: private collection, France condition: overall very good - aging signs...

The Cornish Fisherman signed D.W Haddon (British, active 1884-1914 in Cornwall) oil on canvas on board, unframed board: 11 x 9 inches provenance: pri...

Hercules At The Funeral Pyre at Mount Oeta, 18th Century follower of GUIDO RENI (BOLOGNA 1575-1642) 18th Century Italian Old Master depiction of Hercules at his funeral pyre, Moun...

'Sunset' by artist Mimi Jensen, who uses bold colors to depict theatrically lit objects. The painting measures 30 x 40 inches and is professionally framed in a contemporary ebonized ...

Oil on canvas Matteo Nannini is an Italian artist born in 1979 in Bologna who lives and works in Cento, Ferrara, Italy. He studied at the Academy of Fine Arts in Bologna. Painter by...

Fabrizio Lavagna was born on December 18, 1971 in Savona. Began to frequent the circles of artistic contemporaries since 2004, when he enrolled at the Academy of Fine Arts in Carrara by attending the painting course by Omar Galliani. In 2006 he was the winner of the Erasmus scholarship from the University of Bellas Artes de Murcia, an experience that will affect his entire artistic production. In 2008, he graduated with a thesis entitled "Pictorial materials in their epochal mutability" obtaining a score of 110 with honors. In the same year he was invited to participate in a master's degree in sacred art Stauros at the Museum of Sacred Art and the contemporary island...

A series of four paintings - acrylic on stretched canvas - unframed, by Canadian artist Damien Smith (born 1969). This unique series depicts four characters in a New York City erotic gay bar...

Edouard Dumoulin (1898 - 1973) Lady Chatterley Oil on canvas 100 x 65 cm (110 x 75 cm with frame) 39.37 x 25.59 in (43.31 x 29.53 in with frame) Inscription from left to right : L...

Illustrated in "Joseph Barrett, The Prime Years 1970s - 1990s", pg. 41, plate #047 Jim’s of Lambertville is proud to offer this artwork by: Joseph Barrett (1936 – ) Joseph Barrett was born in Midland, North Carolina, in 1936 and studied at the Massachusetts College of Art in Boston and at the Tyler School of Art in Philadelphia. Barrett, now of Lahaska, Pennsylvania, has been painting his entire adult life. His favorite subjects include the landscape surrounding New Hope and many local landmarks often encompassing figures into his compositions. Barrett utilizes a heavy impasto and his palette bears similarities to that of Fern Coppedge and George Sotter. Barrett’s paintings are always found in unique and somewhat charming handmade frames designed by the artist and finished in metal leaf. A living contemporary of the no longer living “New Hope School” impressionist painters, Joseph Barrett resides outside of New Hope above his old-fashioned antique shop and studio. Entering Barrett’s shop is like taking a step back in time. Inside this cluttered and dusty haven of treasures from the past, is a studio spanning only four by eight feet. This little studio, containing cans of old brushes and hundreds of used paint tubes...

Artist: Oksana Kalenyuk Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on canvas Year: 2021 Style: Impressionism Title: In the shade of Willows Size: 6" ...

A charming rural portrait of a rambler resting on a log, captured with loose brushwork in an impasto style. The sitter is dressed in a brown waistcoat, blue blazer and wide-brimmed h...

Roger Bonafe (French b. 1932) signed oil painting on thick art paper, inscribed verso Size 29.75 x 20 inches Bonafe was born in the town of Caux (Her...

Lonnie Powell All Out 2009 Pastel on Paper Size: 27x40.5in Frame: 36x50x1.5in Signed and dated by hand COA provided Ref.: 924802-1752 ----------- Tags: Women in Sports, Female Ath...

America Martin "The Pitcher" Oil & Acrylic on Canvas 111 x 48.25 inches 112.5 x 49.5 inches framed Signature located in the lower left of the painting. Exploring the identity of bo...

An atmospheric scene depicting an angler on the Reie fishing before the distinctive medieval buildings of Bruges. Unsigned. Well presented in a gilt frame with a wooden slip. Artist ...

3 Figures by Josine Vignon (French 1922-2022) ink/watercolour/pencil drawing on thin paper, unframed paper: 13 x 10 inches stamped verso very good condition provenance: from the ar...

America Martin "Song For The Animals" Oil & Acrylic on Canvas 61.5 x 41.5 in. Framed Exploring the identity of both her namesake and country, LA-based America Martin draws inspirati...

Secrets, oil painting on canvas after Norman Rockwell The original painting was used for the cover of a 1942 Saturday Evening Post. Hand-painted edition after the Painting of Secre...

in FAKE, three cowboys stand side by side, dressed in dusty, timeworn attire, they exude an air of quiet contemplation, perplexed with their hands resting on their hips as they gaze ...

Marylin Cavin is a French-Swiss artist who completed her art studies in Paris, where she lived for about thirty years. For the past 25 years, she has regularly exhibited in galleries...

Victor Wang's subject is a female seemingly caught in a contemplative moment yet a war rages behind her. She dons a hat shaped as a boat and carries and oar as if to "Dream Away" these other thoughts. Wang uses a blend of luminous colors and buttery textures to evoke these enigmatic moments of meditation. Influence by the Renaissance Masters Titian and Rembrandt for their glazing and layering techniques respectively, the artist builds the surface using heavy paint, swirling and mixing the color on the canvas. The end result is a poetic and emotionally powerful representation of the human form. Victor Wang Dreaming Away, 2017 oil on canvas 42h x 56w in 106.68h x 142.24w cm VWG009 My path through life has been adventurous, exciting, and dream-like. My experience of settling into America in search of better opportunities has been both challenging and inspiring. I use the human face as a vehicle to paint human experiences - worry and wonder, sadness and pleasure - which reflect the emotional stage directly tied to my immigration experiences. I grew up amongst the sunflower fields in northern China. In my childhood years, I played under the bright, yellow sunflowers with my brothers everyday. China’s Cultural Revolution played an important part in my life. During that time, sunflowers were used as political allegories to depict how citizens of China should follow Mao who represented the sun, since sunflowers follow the sun’s movements. People eventually inferred the deception that this symbol masked. After graduating from high school, I was sent to a labor camp in the country for ‘reeducation’ during China’s Cultural Revolution. There, I was subject to grueling farm work. Often, I worked in corn and sunflower fields from sunrise to sunset. Thus, for me, sunflowers evoke both personal joy and sadness. Therefore, to deliver my complex feelings, I use sunflowers as a metaphor to connote my background and emotional stage. My incorporation of collages of figures from China’s Tang Dynasty represents my Chinese heritage and is a constant reminder of where I came from. The texture and earthiness on the canvas’s surface are inspired by the texture of the soil on the farm where I worked in China. Although I often gain great pleasure from the process of painting, it is most important to unfold expressively those feelings within myself. Wang belongs to a generation of immigrant painters from China, whose artistic background was defined by socialist realism but took advantage of their skills and broke away from that tradition to create new subjects in the U.S. “When I was a student during Cultural Revolution, Soviet realism art was among the dominant source of influence and it grabbed us like lightening rod...

This artwork titled "Clown, Medrano Circus, France" c.1960 is an oil painting on canvas by noted American artist Benton Scott, 1907-1983. It is signed at the lower left side by the a...

original painting of "Man with an umbrella" by Sean Durkin. Sean uses very toned colours but draws attention to his bag and trousers, as well as uses white tones in his socks and shi...

Philosopher - Ciro De Rosa Italia 2008 - Oil on canvas cm. 26x26 Gold leaf gilded wooden frame available on requestThe evocative portrait of Ciro De Rosa portrays an elderly man with...

Work on canvas Golden wooden frame 73 x 105.5 x 5 cm

Portrait Contemporary art, Original oil Painting, One of a Kind Artist: Varvarov Anatoly Viktorovich Title: Self Portrait, Sise: 31.5x35.5 inches, (80x90 cm) Medium: Oil on Canvas Ha...

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...

A dynamic 1930s, WPA era industrial scene watercolor of a steel mill factory worker by notable Chicago Modern artist, Harold Haydon. A wonderful example of early Twentieth Century a...

Nude Model Reading a Book French School, Early 20th Century Oil painting on canvas, unframed Canvas size: 17.5 x 14.75 inches This exquisite nude painting is absolutely beautiful. The pale green backdrop to the painting has faint coral pink flecks...

Signed to the lower right. Presented in a part gilt frame. On canvas.

Medium: Oil on Board Signature: Signed Lower Left Sight Size 27.00" x 23.75;" Framed 34.50" x 37.50" Original cover illustration for The Saturday Evening Post, September 12, 1959. ...

Rizaldy Celi Jr (American, Filipino-Vietnamese, born 1983) "Survey of the Narcissist" 2025 Oil Paint, Varnish, Canvas, Stretcher Bars The artist signed the back of the painting. “Su...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

French Harbour by Josine Vignon (French 1922-2022) signed on front and back oil painting on canvas, unframed canvas: 25.5 x 18 inches Colors: Green colors, blue, yellow, beige, ora...

[Bruce Sargeant (1898-1938)] Man in Towel Looking to the Side n.d. Signed in red, u.l. Oil on canvas 14 x 11 inches (35.6 x 27.9 cm) $3,000 + $125...

German School, oil on canvas. A busy tavern interior with gentlemen enjoying a tankard of ale and a story between friends. Well presented in an elaborate gilt-effect frame with elega...

This artwork throws three impeccably dressed figures into the middle of a vast, sun-drenched desert—because nothing says "existential crisis" like wearing all black under the scorchi...

Artist/ School: French School, mid 20th century, signed lower corner Title: Fishermen in Marseille Harbour, painted with wonderfully rich impasto oil creating a beautiful textured s...

A romantic 19th-century oil painting depicting a nobleman courting a lady of high standing beside a waterfall. The noblewoman's lady-in-waiting presents her with a small harp as she ...