Annalise Neil

A Conceptually Surreal Watercolor on Cyanotype, "Jack o'Lantern Mushrooms, E..."

2021

A vertical diptych measuring 28" high and 12" long when put together with no space between. Toned and Traditional Watercolor Cyanotype with Shellac Ink executed by artist Annalise Ne...

A 13" x 17" Toned, Bleached and Traditional Watercolor Cyanotype with Pine Needles and Cotton Thread on Canson Montval 300g Paper Mounted on Wood Panel by artist Annalise Neil. A cer...

A one of a kind 12.25" x 16.25" Surreal Watercolor and Cyanotype on Hahnemuhle Platinum Rag and Sumi-E Papers. A certificate of authenticity of wil...

A one of a kind 12" x 9" Surreal Photographic Print executed by artist Annalise Neil. A certificate of authenticity will be provided upon its purchase or delivery. Neil’s cyanotype ...

Red Sun. Green Skyline, Nikon Advertising Campaign Inkjet Archival Print Signature: Signed dated ,numbered lower right recto. Printed Later, Unframed 2/15, other sizes available Nati...

This image from the imagination of Mitchell Funk was the cover photograph for Popular Photography Magazine, May 1978, It is signed and numbered on lower right, as well as titled ...

The City of Women from the serie Lollipop Edition: 8ex "Victoria Lykholot, an artist and lecturer from Ukraine. After graduating from the Faculty of Philosophy in 2007. For several...

Historically , newsstand magazines have used a standard set of practices when it came to choosing their cover image. Their goal was to use a image that people could instantly relate to. The idea being, if an image pops off the page it will attract more attention and then generate more newsstand sales. For editors, choosing a cover was first a marketing decision and then an aesthetic one. That is why most magazine covers and (that includes art magazines) pretty much looked the same. They used familiar images, mostly of celebrities, beauty people or news items of that would beckon and aggressively reach out to the prospect. In this Modern Photography Cover of August 1983, they chose a radical departure. Their cover image that was the opposite of the norm. Mitchell Funk’s Graphic Surreal Landscape...