Mural Art

Inspired by everyday life, his travels, current events and people he meets, Grégoire creates poignant abstract and figurative sculptures and paintings. In 2018 at the Dubai Global Ar...

Pepsi Cola Cap Homage with female theme. About the Artist: Drawing from the diverse cultural and geographic makeup of his Californian roots, Greg Miller explores his relationship with the space he inhabits to communicate a particular urban experience. Working with both paint and collage, he constructs and deconstructs exploring the contradiction, ambiguity, and truth between urban streetscape and history. Miller’s art is clever and cool. His abstracted backgrounds of drips, patterns, and phrases and the peeling back of layers provide a study in the impermanence of the things that surround us. His large-scale paintings and installations aim to make the most fleeting parts of American culture tangible. They grab us nostalgically, rousing us to enjoy the momentary beauty found in the impermanent parts of our lives. There is a fragile heroicness conveyed within the temporary nature of it all, especially within his construction of paper, wood, and natural materials, that gives Miller’s work liveliness and depth. Greg Miller’s work is featured in numerous museum and private collections that have traveled internationally including those organized by the Charles Saatchi Collection and the Frederick R. Weisman...

Running Men by Krzysztof Kokoryn, Polish (1964) Date: 2002 Oil on Canvas, signed and dated lower margin Size: 31 x 40 in. (78.74 x 101.6 cm) Frame Size: 37 x 45 inches

Man on Bicycle, Krzysztof Kokoryn, Polish (1964) Date: 2003 Oil on Canvas, signed lower left Size: 31 x 40 in. (78.74 x 101.6 cm) Frame Size: 37 x 45 in...

"Blue Tarp" depicts a simple small town scene. The affable subject matter is then contrasted by the abstract coloration and striking treatment of the medium, serving to imbue the wor...

"Kid Toy" infuses hot colors with temperate neutral hues to achieve a robust color scheme, as well as fostering an enigmatic tone within the work. Additionall...

Wide Ruins Morning, painting by Melanie Yazzie, blue, horse, Navajo, red, green

"Neighbors" depicts a simple small town scene. The affable subject matter is then contrasted by the abstract coloration and striking treatment of the medium, serving to imbue the wor...

Chambers transforms the pastoral into the extraordinary. Long before she puts paint to a canvas, her artistic process begins with the simple act of paying attention. From the outside looking in...

Bold, evocative, and eerie, "I Can't Forget About This" relies on its subject matter, a variety of strong colors, and a visceral application of paint, which...

This work’s strength comes from its range of abstract elements and coarse texture. In "Sunrise Park," Chambers draws upon a variety of mark making techniques and textures to imbue th...

Chambers transforms the pastoral into the extraordinary. Long before she puts paint to a canvas, her artistic process begins with the simple act of paying attention. From the outside looking in...

Vibrant, yet also subdued, this work’s use of color and line imbue ordinary subject matter with an uplifting sense of levity and beauty. Bolstered by a strong use of abstract elements and impressionist techniques, this oil on canvas painting is an excellent example of Chambers’ unique stylistic blend. Chambers transforms the pastoral into the extraordinary. Long before she puts paint to a canvas, her artistic process begins with the simple act of paying attention. From the outside looking in, she observes often overlooked aspects of life to discover an otherwise unseen beauty in the ordinary. Her paintings are vibrant compositions of color. She works in two distinct palettes, one bright the other subdued, each containing an incredible diversity of hue and value. Her insistence on variety furthers the idea that everything contains its own unique beauty, if only you stop to notice. Chambers skillfully uses lines and shapes to both break up the vibrancy of the canvas and to imbue her compositions with a narrative power. The line work introduces a tension to the color as the objects of her focus appear to pop and the details of each scene defiantly catch the viewer’s impatient eye. It is in this way that her paintings elevate above mere depiction to offer a lesson in the observation of art. Each painting has strong elements of abstract and impressionist techniques, as well as drawn forms that are cartoon like in character. The blend of the two adds dimension to the flat surface and provides visual anchors in the midst of the cacophony of color. Based in Belleville, Texas, Chambers is a “Texas Big 10 for Art” prize winner at KCAM, a recipient of the “Silver Award” from Art Forward, and the “Alexander Rutsch Painting Award” from the Pelham Art Center. Chambers’ art has been featured in numerous shows in galleries across the United States, including Houston, Lexington, Palm Beach, and New York. Select exhibitions include The Grace Museum in Abilene, the Dairy Arts Center in Boulder, Colorado, the McKinney Avenue Contemporary in Dallas, Texas, the Fort Worth Community Arts Center in Fort Worth, Texas, the Lawndale Art Center in Houston, Texas and the Pelham Art Center in New York. Lindy Chambers "Eyes of the Bayou...

This work utilizes a gentle complementary color scheme in concert with a range of hues and values. Additionally, combined with the treatment of the medium, this colorful composition ...

In his "Effect" series, we see how Plusch gives location - places and spaces resembling the world around us - the same treatment once reserved for his abstract human forms. Effective...

In this work, the horizontal flowing of paint alongside material possessions seems to insinuate some connection with notions of ownership. Household objects before morbid symbolism d...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents, but in one wholeness. Fomin is a fairy-tale artist, a romance teller, who is choosing never ending life stories for a viewer. He is telling these stories with realistic language of the artist, citing the language of Bruegel sentimental sincerity of Chagall, but also a precise coloristic scheme, that was a signature of French Art in the second half of XX century. The fantastic World of the artist is perfectly detailed that makes it truthful. This artistic language principle defined the style of the artist long before he entered the Art World market...

Dong Kingman "Chinese Theater, Los Angeles" 1965 Watercolor on Paper Sheet Size: 15 x 22 inches Framed Size: approx 19 x 26 inches Dong Kingman, the world-renowned artist and teacher, died in his sleep on May 12, 2000 at age 89 in his home in Manhattan. The cause was pancreatic cancer. Long acknowledged as an American watercolor master, he has received an extraordinary number of awards and honors throughout his 70-year career in the arts. Included are two Guggenheim fellowships in 1942 and 1943; the San Francisco Art Association First Purchase Prize, 1936; Audubon Artist Medal of Honor, 1946; Philadelphia Watercolor Club Joseph Pennel Memorial Medal, 1950; Metropolitan Museum of Art Award, and the National Academy Design 150th Anniversary Gold Medal Award, 1975. In 1987, the American Watercolor Society awarded Dong Kingman its highest honor, the Dolphin Medal, "for having made outstanding contributions to art especially to that of watercolor." His work is represented in the permanent collections of 50 museums and universities, including the Boston Museum of Fine Arts, M.H. deYoung Memorial Museum of Art, the Metropolitan Museum of Art, the Whitney Museum, Museum of Modern Art, Art Institute of Chicago, Pennsylvania Academy of Fine Arts, Sheldon Memorial Art Gallery and Sculpture Garden, Des Moines Art Center, Columbus Museum of Arts and Crafts, Brooklyn Museum and Hirshhorn Museum. Born in Oakland, California in 1911 of Chinese descent, Kingman moved to Hong Kong at age five. He studied art and calligraphy in his formative years at the Lingnan School. The painting master Szeto Wai had recently studied art in Paris and took a keen interest in young Dongs precocious talents. He taught him both Chinese classical and French Impressionist styles of painting. Kingman returned home to Oakland when he was 18 at the height of the Depression. He worked as a newsboy and dishwasher to make ends meet. When he was employed as a houseboy for the Drew family in San Francisco, he painted every spare moment. In a year, he created enough pictures to have a one-man show at the Art Center. It attracted the attention of San Francisco art critics who raved about Kingmans unique style. Wrote Junius Cravens of the San Francisco News: "That young Chinese artist is showing 20 of the freshest and most satisfying watercolors that have been seen hereabouts in many a day Kingman already has developed that universal quality which may place a sincere artist work above the limitations of either racial characteristics or schools. Kingmans art belongs to the world at large today." Dong Kingman became an overnight success. From 1936 to 1941, he was a project artist for WPA and became a pioneer for a new school of painting, the "California Style." His two Guggenheim fellowships enabled him to travel the country painting American scenes. His first one-man show in New York at Midtown Galleries in 1942 was well received in the media, including Time, Newsweek, the New Yorker and American Artist. M.H. de Young Memorial Museum in San Francisco held a major exhibit of his watercolors in 1945. In 1951, Midtown presented a 10-year retrospective of his work. Time Magazine wrote, "At age 40, Kingman is one of the worlds best watercolorists." Other retrospectives, including Corcoran in Washington,D.C. an d Witte Memorial Museum in San Antonio, were held for the artist. Kingman moved to Wildenstein (1958-1969) where he had successful exhibits in New York, London and Paris. Hammer Galleries exhibited his paintings in the 70s, and then the artist expanded his venues to the West Coast and Far East. During World War II, he served with the OSS in Washington, D.C. where he was a cartographer. After his honorable discharge, Kingman moved to Brooklyn Heights from San Francisco when he became a guest lecturer and then art instructor at Columbia University (1946-1958). Hunter College also appointed him instructor in watercolors and Chinese Art (1948-1953). His teaching career continued with the Famous Artists School, Westport, CT in 1953, joining such distinguished artists on the faculty as Will Barnet, Stuart Davis, Norman Rockwell and Ben Shahn. He also became a teaching member for 40 years for the Hewitt Painting Workshops, which conducts worldwide painting tours. He taught at the Academy of Art College in San Francisco, was a member of its board, and received an honorary doctorate from the Academy. In 1954, the U.S. Department of State invited Kingman to go on a cultural exchange program tour around the world to give exhibitions and lectures and to meet local artists. When he came home, he presented the State Department with a 40-foot long report on a scroll, which later appeared in LIFE Magazine. One of Kingman's most treasured experiences was his invitation by the Ministry of Culture of the Peoples Republic of China to exhibit in that country in 1981. He was the first American artist to be accorded a one-man show since diplomatic relations resumed. More than 100,000 visitors attended his exhibitions in Beijing, Hangzhou and Guangzhou and the retrospective received critical acclaim from the Chinese press. Noted the China Daily Mail, "Just as the master painters of the Song Dynasty roamed about mountain and stream to capture the rhythm of nature, Dong Kingman traveled the world capturing the dynamism of modern lifefamiliar scenes have been transformed into a vibrant new vision of life through color schemes with rhythms that play over the entire surface of the picture. The wind swept skies which enliven his watercolors remind us of the pleinairism of the French Impressionists." Kingman, who has been fascinated with movies since seeing his first film "The Thief of Baghdad...

Artist: Jessica Rice, Belgian (1941 - 2016) Title: Couple with Bouquet Year: 1985 Medium: Oil on Canvas, signed and dated Size: 70 x 48 inches Frame Size: 74 x 51 inches

Dong Kingman "New York Harbor" c. 1940s watercolor on paper Signed *This is fully illustrated in the book, "Dong Kingman An American Master" (see attached images). Sheet Size: 22 x 30 inches Framed Size: approx. 33.5 x 40.5 inches This is a wonderful painting by the legendary artist, Dong Kingman (1911-2000). Great period for the artist, with his bold color and whimsical approach. The following obituary is from Dong Kingman Jr., son of the artist: Dong Kingman, the world-renowned artist and teacher, died in his sleep on May 12, 2000 at age 89 in his home in Manhattan. The cause was pancreatic cancer. Long acknowledged as an American watercolor master, he has received an extraordinary number of awards and honors throughout his 70-year career in the arts. Included are two Guggenheim fellowships in 1942 and 1943; the San Francisco Art Association First Purchase Prize, 1936; Audubon Artist Medal of Honor, 1946; Philadelphia Watercolor Club Joseph Pennel Memorial Medal, 1950; Metropolitan Museum of Art Award, and the National Academy Design 150th Anniversary Gold Medal Award, 1975. In 1987, the American Watercolor Society awarded Dong Kingman its highest honor, the Dolphin Medal, "for having made outstanding contributions to art especially to that of watercolor." His work is represented in the permanent collections of 50 museums and universities, including the Boston Museum of Fine Arts, M.H. deYoung Memorial Museum of Art, the Metropolitan Museum of Art, the Whitney Museum, Museum of Modern Art, Art Institute of Chicago, Pennsylvania Academy of Fine Arts, Sheldon Memorial Art Gallery and Sculpture Garden, Des Moines Art Center, Columbus Museum of Arts and Crafts, Brooklyn Museum and Hirshhorn Museum. Born in Oakland, California in 1911 of Chinese descent, Kingman moved to Hong Kong at age five. He studied art and calligraphy in his formative years at the Lingnan School. The painting master Szeto Wai had recently studied art in Paris and took a keen interest in young Dongs precocious talents. He taught him both Chinese classical and French Impressionist styles of painting. Kingman returned home to Oakland when he was 18 at the height of the Depression. He worked as a newsboy and dishwasher to make ends meet. When he was employed as a houseboy for the Drew family in San Francisco, he painted every spare moment. In a year, he created enough pictures to have a one-man show at the Art Center. It attracted the attention of San Francisco art critics who raved about Kingmans unique style. Wrote Junius Cravens of the San Francisco News: "That young Chinese artist is showing 20 of the freshest and most satisfying watercolors that have been seen hereabouts in many a day Kingman already has developed that universal quality which may place a sincere artist work above the limitations of either racial characteristics or schools. Kingmans art belongs to the world at large today." Dong Kingman became an overnight success. From 1936 to 1941, he was a project artist for WPA and became a pioneer for a new school of painting, the "California Style." His two Guggenheim fellowships enabled him to travel the country painting American scenes. His first one-man show in New York at Midtown Galleries in 1942 was well received in the media, including Time, Newsweek, the New Yorker and American Artist. M.H. de Young Memorial Museum in San Francisco held a major exhibit of his watercolors in 1945. In 1951, Midtown presented a 10-year retrospective of his work. Time Magazine wrote, "At age 40, Kingman is one of the worlds best watercolorists." Other retrospectives, including Corcoran in Washington,D.C. an d Witte Memorial Museum in San Antonio, were held for the artist. Kingman moved to Wildenstein (1958-1969) where he had successful exhibits in New York, London and Paris. Hammer Galleries exhibited his paintings in the 70s, and then the artist expanded his venues to the West Coast and Far East. During World War II, he served with the OSS in Washington, D.C. where he was a cartographer. After his honorable discharge, Kingman moved to Brooklyn Heights from San Francisco when he became a guest lecturer and then art instructor at Columbia University (1946-1958). Hunter College also appointed him instructor in watercolors and Chinese Art (1948-1953). His teaching career continued with the Famous Artists School, Westport, CT in 1953, joining such distinguished artists on the faculty as Will Barnet, Stuart Davis, Norman Rockwell and Ben Shahn. He also became a teaching member for 40 years for the Hewitt Painting Workshops, which conducts worldwide painting tours. He taught at the Academy of Art College in San Francisco, was a member of its board, and received an honorary doctorate from the Academy. In 1954, the U.S. Department of State invited Kingman to go on a cultural exchange program tour around the world to give exhibitions and lectures and to meet local artists. When he came home, he presented the State Department with a 40-foot long report on a scroll, which later appeared in LIFE Magazine. One of Kingman's most treasured experiences was his invitation by the Ministry of Culture of the Peoples Republic of China to exhibit in that country in 1981. He was the first American artist to be accorded a one-man show since diplomatic relations resumed. More than 100,000 visitors attended his exhibitions in Beijing, Hangzhou and Guangzhou and the retrospective received critical acclaim from the Chinese press. Noted the China Daily Mail, "Just as the master painters of the Song Dynasty roamed about mountain and stream to capture the rhythm of nature, Dong Kingman traveled the world capturing the dynamism of modern lifefamiliar scenes have been transformed into a vibrant new vision of life through color schemes with rhythms that play over the entire surface of the picture. The wind swept skies which enliven his watercolors remind us of the pleinairism of the French Impressionists." Kingman, who has been fascinated with movies since seeing his first film "The Thief of Baghdad...

Nguyen Xuan Tien uses the traditional lacquer on wood but brings a modern contemporary look with the use of greens and hint of red/organge.