Carmen Tyrrell Art

Perky Tabby In this lively portrait of a tabby cat, the composition is both charming and dynamic. The cat, with its peach-coloured body and bold brown markings, strikes an alert pose...

"Tuscan Moon" Nocturnal Landscape in Acrylic on Masonite Serene nocturnal seascape by Richard M. Bacon (American, 20th Century). The viewer stand atop a hill above the coastline, wi...

Substantial period Berkeley School figurative study of a woman with a wineglass by listed Berkeley artist Marjorie Cathcart (American, 1918 - 2014). Ci...

America Martin "Woman Learns the Names of Plants" Oil & Acrylic on Canvas 49.5" x 44" Framed Exploring the identity of both her namesake and country, LA-based America Martin draws i...

Vintage Figurative of a Nude Black Female Model posed under the sawhorse Wonderful example of a figurative of a nude black female model by Katherine Kallick (American, b. 1952). Me...

ITEM DETAILS The edges are painted Some parts of the picture glow under blue light The painting was part of an exhibition 'Ancestral call' in Switzerland ABOUT THE ARTWORK On this canvas is the portrait of a woman deeply immersed in her inner emotions. Her thoughts not only accompany her but also shape the world around her, infusing it with explosive passion and glow. This woman doesn't just exist in her space - she creates it, reflecting her deepest emotions and thoughts. The inspiration for this artwork comes from an intimate moment of experiencing feelings of love and uncertainty. It's a time of sweet longing for a loved one when the heart is filled with anticipation of meeting and dreams of a future together. The artist behind this painting invites the viewer not only to observe what's on the canvas but also to experience these emotions with the protagonist. It's an invitation to rediscover those warm feelings of budding love, to feel love and empathy, and to embrace the possibility of being sensitive and open to the world. ABOUT ARTIST Olha Vlasova...

Maura Petersen (American, born 1956) "Lounging Figure" 2019 Acrylic Paint, Canvas, Stretcher Bars The artist signed the back of the painting. In "Lounging Figure", Maura Petersen en...

"I was fascinated by the beauty of the female body on one of the beaches of the windy volcanic island of Fuerteventura in the Canary Archipelago." said Anna Shesterikova about this p...

Magdalena Morey Exploring Every Path 4 Original Cubist Inspired Landscape Painting Mixed Media on Canvas Canvas Size: H 30cm x W 30cm x D 3.5cm Sold Unframed (Please note that in sit...

A second in this series. The north east of England boasts an impressive coastline, Northumberland is blessed with outstanding natural beauty, the beaches are stunning with soft sand ...

As one of the last generation to remember a childhood lived in the desert hunting and gathering with her family, Walangkura Napanangka's paintings recall the stories of country and the location of specific sites in her traditional homeland west of the salt lake of Karrkurutinjinya (Lake Macdonald). Born around 1946, at Tjitururrnga west of Kintore, in the remote and arid country between the Northern Territory and Western Australia, she lived with her father Rantji Tjapangati and mother Inyuwa Nampitjinpa and later, while still a teenager, travelled by foot with her family over the hundreds of kilometres from their remote desert home eventually joining Uta Uta Tjangala's group as they walked in to the settlements of Haasts Bluff and then Papunya. The lure of settlement life with its promise of plentiful food and water belied the harsh conversion they would make to an alien lifestyle with its many problems and unfamiliar demands. The upheaval however, was ameliorated to some degree by the proximity of her immediate family including her mother Inyuwa, adoptive father Tutuma Tjapangati, and sister Pirrmangka Napanangka (now deceased) all of whom became artists. Relocated to the community of Kintore in 1981 when the outstation movement began, Walangkura participated in the historic women's collaborative painting project (1994) that was initiated by the older women as a means of re-affirming their own spiritual and ancestral roots. It was a time of specifically female singing, ceremony and painting, away from the gaze of outsiders and men folk. The huge and colourful canvases that emerged from the women's camp were 'alive with the ritual excitement and narrative intensity of the occasion' (Johnson 2000: 197). Within a year, Papunya Tula Artists, now established at Kintore, had taken on many of these women as full-time artists, revitalising the company after the deaths of many of the original 'painting men'. While individual women forged their own stylistic trajectory, these paintings were immediately distinguishable from the men's more cerebral and symmetrical style. They radiated an exuberant and vibrant energy, the felt heart-beat of women's affinity to country and spirit. Walangkura's early works, created from 1996 onward, are characterized by masses of small markings and motifs covering large areas of canvas. Her favorite colour, a deep sandy orange predominates, accentuated against more somber blacks and reds and dusky greens or yellows. More recent works show a gestural quality though still tightly packed with an intensity of geometric line work representing sandhills. In a sense this provides a strong visual and contextual link to the men's linear style as exemplified by the works of George Tjungurrayi...

The north east of England boasts an impressive coastline, Northumberland is blessed with outstanding natural beauty, the beaches are stunning with soft sand and endless seas. Dramati...