Silhouette Art

Historically , newsstand magazines have used a standard set of practices when it came to choosing their cover image. Their goal was to use an 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. They used an image that was the opposite of the norm. Mitchell Funk’s Graphic Surreal Landscape breaks the rules of formula magazine cover art...

In this fast moving world, photographer Chris Leidy has found his inspiration within the depths of global oceans. Under water, Chris captures a vision – a flash in time – through his...

Back Study, woman's back, photographed by Howard Schatz. All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done and signed by...

Series: Provocateur Chromogenic Print on Kodak Endura Luster Paper All available sizes & editions: 18" x 18" 30" x 30" 45" x 45" 60" x 60" 70" x 70" Editions of 3 + 2 Artist Proofs ...

Archival Pigment Print Hand-signed by the artist, signed and numbered under the image on the front, featuring an official Timothy White embossed stamp under the signature. Includes ...

Moonrise, Hernandez, New Mexico, 1941 Signed in pencil on recto. Stamped, titled in ink on verso. Gelatin Silver Print Image - 15-1/4" x 19-1/2", Mount - 22" x 27-5/8", Matted - 24" ...

Humakura, 2023 Signed, titled, numbered and dated in ink on photographers label. Archival pigments on Kozo paper Image/Sheet: 12" x 8" Edition 4 of 10

Signed, titled, dated in ink on photographer's label. Archival Pigments on Kozo Paper 29-1/2" x 19-1/2",frame 32-3/4" x 23" Edition 1 of 5

Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper 10 1/2 x 7 7/8 " 26.67 x 20 cm AP2

Signed, titled, numbered and dated in ink on photographers label. Archival pigments on Kozo paper Image/Sheet: 12" x 9" Edition of 10

Signed, titled, dated in ink on photographer's label. Archival pigments on handmade Kozo paper Image/Sheet: 7-3/4" x 10-1/4", Frame: 11-1/4 x 13-3/4" AP 2

c. 1970s/2003 Signed and dated, recto Gelatin silver print (Edition of 50) 30 x 40 inches

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

Brian Alfred Maspeth, 2022 Acrylic on canvas 60 x 50 inches 152.4 x 127 cm Signed, titled and dated (verso) -- In his paintings, Brian Alfred captures a vast range of subject matt...

Made in 1941 by Ansel Adams, this print was printed in the 1970's. It was originally acquired through the Weston Gallery and has come back to us through a private collector. It is cu...

Signed Silver gelatin print, printed later 16 x 20 inches

A photograph of the legendary late Michael Jackson by Timothy White. All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done a...

Signed by the photographer

Signed by the photographer

Bill Jacobson, Song of Sentient Beings: #1138 1995 Gelatin silver print mounted to museum board in artist’s frame 36 x 28 inches Contact gallery for price.

Erik MADIGAN HECK (*1983, United States) Waterfall by Night, 2022 Chromogenic print 137.2 x 91.4 cm (54 x 36 in.) Edition of 5 plus 2 artist's proofs Print only Signed by the artist ...

Erik MADIGAN HECK (*1983, United States) Aberglasney Gardens, Wales, 2021 Chromogenic print 137.2 x 91.4 cm (54 x 36 in.) Edition of 5 plus 2 artist's proofs Print only Signed by the...

This artwork titled "venus Noir" from the suite "The Mujeres File" 1969 is an original colors lithograph on BFK Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is h...

RETNA (b. 1979) Basket Knots, 2023 Acrylic and crystalline on canvas 72 x 60 in Singed, titled, and dated on verso

A Binding Moment Archival Pigment Print Available Sizes: 16” x 20” Edition of 25 with 3 Artist Proofs 20” x 24” Edition of 10 with 3 Artist Proofs 30” x 40” Edition of 7 with 3 Ar...

Glowing Available Sizes: 16” x 20” Edition of 25 with 3 Artist Proofs 20” x 24” Edition of 10 with 3 Artist Proofs 30” x 40” Edition of 7 with 3 Artist Proofs Artist Poem on "Glow...

The Gold of the Moment Available Sizes: 16” x 20” Edition of 25 with 3 Artist Proofs 20” x 24” Edition of 10 with 3 Artist Proofs 30” x 40” Edition of 7 with 3 Artist Proofs Artis...

EXILE Archival Pigment Print Available Sizes: 16” x 20” Edition of 25 with 3 Artist Proofs 20” x 24” Edition of 10 with 3 Artist Proofs 30” x 40” Edition of 7 with 3 Artist Proofs...

Ed. of 25. As part of the artist's 2024 series American West, his latest works including "The Whipcracker" delve deeper into an ongoing exploration of the American cowboy culture of...

Justin Solomon "Wrestling Under the Sunset," sounds very romantic, 2018 Archival pigment print 26 1/2 x 40 inches (67.3 x 101.6 cm) Edition 1/5

Alex Katz was born in Brooklyn, New York in 1927. In 1928, at the outset of the Depression, his family moved to St. Albans, a diverse suburb of Queens that had sprung up between the two wars. Katz was raised in St. Albans by his Russian parents. His mother had been an actress and possessed a deep interest in poetry and his father, a businessman, also had an interest in the arts. Katz attended Woodrow Wilson High School for its unique program that allowed him to devote his mornings to academics and his afternoons to the arts. In 1946, Katz entered The Cooper Union Art School in Manhattan, a prestigious college of art, architecture, and engineering. At The Cooper Union, Katz studied painting under Morris Kantor and was trained in Modern art theories and techniques. Upon graduating in 1949, Katz was awarded a scholarship for summer study at the Skowhegan School for Painting and Sculpture in Maine, a grant that he would renew the following summer. During his years at Cooper Union, Katz had been exposed primarily to modern art and was taught to paint from drawings. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan’s plein air painting gave him “a reason to devote my life to painting.” Katz’s first one-person show was held at the Roko Gallery in 1954. Katz had begun to develop greater acquaintances with the New York School and their allies in the other arts; he counted amongst his friends’ figurative painters Larry Rivers and Fairfield Porter, photographer Rudolph Burckhardt, and poets John Ashbery, Edwin Denby, Frank O’Hara, and James Schuyler. From 1955 to 1959, usually following a day of painting, Katz made small collages of figures in landscapes from hand-colored strips of delicately cut paper. In the late 1950s, he moved towards greater realism in his paintings. Katz became increasingly interested in portraiture, and painted his friends and his wife and muse, Ada. He embraced monochrome backgrounds, which would become a defining characteristic of his style, anticipating Pop Art and separating him from gestural figure painters and the New Perceptual Realism. In 1959, Katz made his first cutout, which would grow into a series of flat “sculptures;” freestanding or relief portraits that exist in actual space. In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. In 1965, he also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut. After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. In the 1980s, Katz took on a new subject in his work: fashion models in designer clothing. In the late 1980s and 1990s, Katz focused much of his attention on large landscape paintings, which he characterizes as “environmental.” Rather than observing a scene from afar, the viewer feels enveloped by nearby nature. Katz began each of these canvases with “an idea of the landscape, a conception,” trying to find the image in nature afterwards. In his landscape paintings, Katz loosened the edges of the forms, executing the works with greater painterliness than before in these allover canvases. In 1986, Katz began painting a series of night pictures—a sharp departure from the sunlit landscapes he had previously painted, forcing him to explore a new type of light. Variations on the theme of light falling through branches appear in Katz’s work throughout the 1990s and into the 21st century. At the beginning of the new millennium, Katz also began painting flowers in profusion, covering canvases in blossoms similar to those he had first explored in the late 1960s, when he painted large close-ups of flowers in solitude or in small clusters. More recently Katz began painting a series of dancers and one of nudes, which was the subject of a 2011 exhibition at the Kestnergesellschaft in Hanover. Katz’s work continues to grow and evolve today. Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. In 2010, Alex Katz Prints was on view at the Albertina Museum in Vienna, which showed a retrospective survey of over 150 graphic works from a recent donation to the museum by Katz of his complete graphic oeuvre. The National Portrait Gallery in London presented an exhibition titled Alex Katz Portraits. In June 2010, The Farnsworth Art Museum in Rockland, Maine opened Alex Katz: New Work, exhibiting recent large-scale paintings inspired by his summers spent in Maine. Katz was also represented in a show at the Metropolitan Museum of Art, New York, curated by Marla Prather, entitled Facing the Figure: Selections from the Permanent Collection, 2010. In 2009-2010, Alex Katz: An American Way Of Seeing was on view at the Sara Hildén Art Museum, Tampere, Finland; Musée Grenoble, Grenoble, France; and the Museum Kurhaus Kleve, Kleve, Germany. In 2007, Alex Katz: New York opened at the Irish Museum of Modern Art, Dublin, Ireland. The show, which included approximately 40 paintings and aquatints, was the first exhibition to concentrate primarily on Katz’s relationship with his native city. The Jewish Museum, New York, presented Alex Katz Paints Ada in 2006-2007, an exhibition of 40 paintings focused on Katz’s wife, Ada, dating from 1957 to 2005. It coincided with an exhibition devoted to Katz’s paintings of the 1960s at PaceWildenstein, Alex Katz: The Sixties, on view from April 27 through June 17, 2006 at 545 West 22nd Street. Alex Katz in Maine, an exhibition of landscapes and portraits made over six decades, opened at The Farnsworth Art Museum and Wyeth...

Alex Katz was born in Brooklyn, New York in 1927. In 1928, at the outset of the Depression, his family moved to St. Albans, a diverse suburb of Queens that had sprung up between the two wars. Katz was raised in St. Albans by his Russian parents. His mother had been an actress and possessed a deep interest in poetry and his father, a businessman, also had an interest in the arts. Katz attended Woodrow Wilson High School for its unique program that allowed him to devote his mornings to academics and his afternoons to the arts. In 1946, Katz entered The Cooper Union Art School in Manhattan, a prestigious college of art, architecture, and engineering. At The Cooper Union, Katz studied painting under Morris Kantor and was trained in Modern art theories and techniques. Upon graduating in 1949, Katz was awarded a scholarship for summer study at the Skowhegan School for Painting and Sculpture in Maine, a grant that he would renew the following summer. During his years at Cooper Union, Katz had been exposed primarily to modern art and was taught to paint from drawings. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan’s plein air painting gave him “a reason to devote my life to painting.” Katz’s first one-person show was held at the Roko Gallery in 1954. Katz had begun to develop greater acquaintances with the New York School and their allies in the other arts; he counted amongst his friends’ figurative painters Larry Rivers and Fairfield Porter, photographer Rudolph Burckhardt, and poets John Ashbery, Edwin Denby, Frank O’Hara, and James Schuyler. From 1955 to 1959, usually following a day of painting, Katz made small collages of figures in landscapes from hand-colored strips of delicately cut paper. In the late 1950s, he moved towards greater realism in his paintings. Katz became increasingly interested in portraiture, and painted his friends and his wife and muse, Ada. He embraced monochrome backgrounds, which would become a defining characteristic of his style, anticipating Pop Art and separating him from gestural figure painters and the New Perceptual Realism. In 1959, Katz made his first cutout, which would grow into a series of flat “sculptures;” freestanding or relief portraits that exist in actual space. In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. In 1965, he also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut. After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. In the 1980s, Katz took on a new subject in his work: fashion models in designer clothing. In the late 1980s and 1990s, Katz focused much of his attention on large landscape paintings, which he characterizes as “environmental.” Rather than observing a scene from afar, the viewer feels enveloped by nearby nature. Katz began each of these canvases with “an idea of the landscape, a conception,” trying to find the image in nature afterwards. In his landscape paintings, Katz loosened the edges of the forms, executing the works with greater painterliness than before in these allover canvases. In 1986, Katz began painting a series of night pictures—a sharp departure from the sunlit landscapes he had previously painted, forcing him to explore a new type of light. Variations on the theme of light falling through branches appear in Katz’s work throughout the 1990s and into the 21st century. At the beginning of the new millennium, Katz also began painting flowers in profusion, covering canvases in blossoms similar to those he had first explored in the late 1960s, when he painted large close-ups of flowers in solitude or in small clusters. More recently Katz began painting a series of dancers and one of nudes, which was the subject of a 2011 exhibition at the Kestnergesellschaft in Hanover. Katz’s work continues to grow and evolve today. Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. In 2010, Alex Katz Prints was on view at the Albertina Museum in Vienna, which showed a retrospective survey of over 150 graphic works from a recent donation to the museum by Katz of his complete graphic oeuvre. The National Portrait Gallery in London presented an exhibition titled Alex Katz Portraits. In June 2010, The Farnsworth Art Museum in Rockland, Maine opened Alex Katz: New Work, exhibiting recent large-scale paintings inspired by his summers spent in Maine. Katz was also represented in a show at the Metropolitan Museum of Art, New York, curated by Marla Prather, entitled Facing the Figure: Selections from the Permanent Collection, 2010. In 2009-2010, Alex Katz: An American Way Of Seeing was on view at the Sara Hildén Art Museum, Tampere, Finland; Musée Grenoble, Grenoble, France; and the Museum Kurhaus Kleve, Kleve, Germany. In 2007, Alex Katz: New York opened at the Irish Museum of Modern Art, Dublin, Ireland. The show, which included approximately 40 paintings and aquatints, was the first exhibition to concentrate primarily on Katz’s relationship with his native city. The Jewish Museum, New York, presented Alex Katz Paints Ada in 2006-2007, an exhibition of 40 paintings focused on Katz’s wife, Ada, dating from 1957 to 2005. It coincided with an exhibition devoted to Katz’s paintings of the 1960s at PaceWildenstein, Alex Katz: The Sixties, on view from April 27 through June 17, 2006 at 545 West 22nd Street. Alex Katz in Maine, an exhibition of landscapes and portraits made over six decades, opened at The Farnsworth Art Museum and Wyeth...

Figure and Solitary Wave, Iceland, 2018 (Printed 2023) Signed and numbered in pencil on recto. Stamped, titled, dated and numbered on verso. Platinum/Palladium Print Image - 12"x12",...

Charline von Heyl Hawk Moths, 2016 Lithograph with pochoi 47 1/4 x 31 1/2 inches (120 x 80 cm) Edition 8/30

Diego Benéitez began his career in the world of urban art. He pursued artistic training and since 2010 has focused on painting, exhibiting widely both n...

Erik MADIGAN HECK (*1983, United States) Not Titled Yet, 2023 Chromogenic print Sheet 152.4 x 122.6 cm (60 x 48 1/4 in.) Edition of 9 plus 2 artist's proofs (#1/9) print only Origin...

Signed in pencil on verso Archival pigment print on Hahnemühle Bright White Paper Paper: 23" x 23"; Image: 20" x 20" Edition 1 of 25

Signed in pencil on verso Archival pigment print on Hahnemühle Bright White Paper Paper: 23" x 23"; Image: 20" x 20" Edition 1 of 25

Brought up in the foothills of the Rocky Mountains of Colorado, Heidi Jung as an artist has naturally been drawn to a subject matter most timeless and familiar to her.Through draught...

EMMA SUMMERTON (*1970, Australia) Messages 04:19, 2023 Archival pigment print on Hahnemühle paper in white distance frame Sheet 23.2 x 27.4 cm (9 1/8 x 10 3/4 in.) Frame 24.6 x 28.7 ...

Sarah Moon 1941 John Galliano for Dior, 2022 Signed, titled and numbered in pencil on verso Platinum print Image 19-1/2" x 15-1/2", Paper 24" x 20", Mat 30"...

Estate Stamped from the Motion Picture & Television Photo Archive on the verso Please inquire about additional limited sizes and editions

Signed by the photographer on the verso Please inquire about additional limited sizes and editions

Signed by the photographer on the verso Please inquire about additional limited sizes and editions

All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done and signed by the artist. The collector receives an additional certific...

All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done and signed by the artist. The collector receives an additional certific...

Signed, titled, dated, & numbered in pencil on print recto; Titled, dated, & numbered in pencil with artist's stamp on matte verso Platinum/Palladium Print Image 11x14", Mat 20x22" E...

"Beauty 5" is from Alex Katz' Beauty series. The topic "beauty" is a very important one for Katz. His whole body of work is due to beauty and it is a reminiscence to his wife Ada, to...

"Flags" is a stunning woodcut from 2013. It is a very stylized view over a wide flower meadow. Typically, Katz is using a clear and straight color palette. It is beautiful to see how...

Signed, titled, dated and numbered in ink on recto Gelatin Silver Print Paper - 11"x14", Matted - 16"x20

Erik MADIGAN HECK (*1983, United States) Not Titled Yet, 2022 Chomogenic print Sheet 152.4 x 101.6 cm (60 x 40 in.) Edition of 9 plus 2 artist's proofs (#2/9) Print only Originally...

Signed in pencil on verso Gelatin Silver Print Paper Dimensions: 11 x 14 inches Matted Dimensions: 16 x 20 inches

Lake Patzcuaro, Mexico, 1973 (Printed 1970's) Signed in pencil on mount recto Gelatin Silver Print Image - 16"x20", Matted - 24"x30"

Pentti Sammallahti Numazama Lake, Fukushima, Japan 2005 Gelatin Silver print

Signed and stamped on verso Gelatin Silver Print Image - 7.5 x 9.5", Paper - 13 x 15", Mat - 16 x 20"

Size 45 x 45 in Additional Sizes Available: 18 x 18 in 30 x 30 in 60 x 60 in This work is sourced directly from the artist. About Tyler Shields Tyler Shields has made a name for hi...

Signed by the photographer One of less than 10 prints made in this size and signed

Other sizes and price on request. Available in 80 x 120 cm as well. PREISS FINE ARTS is one of the world’s leading galleries for fine art photography representing the most famous co...