Ritu Sinha Art

"Relaxing at Camarillo" - Abstract Expressionism A man relines in a black hat and a green shape emulating the symbol of infinity, accented in bright canary yellow and gray, by Calif...

This work is full of gentleness and inspired by the observation of nature. It is a celebration of love, tenderness and passion between two beings. It could therefore be the ideal rom...

Remembrance #6 is a unique painting by contemporary artist Maho Maeda. This painting is made with acrylic, coloured pencil, ink and antique textile on cotton canvas, dimensions are 5...

SILHOUETTE - This artwork on paper captures a sense of understated glamour. The blending of a textile texture and delicate gold detailing around the waist creates a refined and elega...

This contemporary abstracted forest landscape, "Bright Summer Day", by artist Charles Emery Ross is a 30x30 acrylic painting on canvas featuring a colorful and whimsical foliage scen...

"Dove’s Dream" is a delicate, almost translucent composition that captures a state of complete trust in the world. The central figure — a sleeping bird nestled in a nest of warm oran...

This colorful and bold landscape, "Vibrant Day", by artist Charles Emery Ross is a 36x36 acrylic painting on canvas featuring trees catching the yellow-orange light of day with a vie...

Imaginary Horse, 2020, acrylic, oil, pastel and graphite on canvas. Spider, web, flower, blue, black, yellow, pink, abstract. Custom framed in a white floating frame

Josh Brown has had a lifetime interest in creating art, most notably through his depiction of animals. He swiftly captures the mood of his subjects and brings the personality of each...

The pronounced technique is the first thing that strikes you when viewing the works of Jan Grotenbreg (1946). It is innovative and unique. The result of his idiosyncratic working method can be compared to Roman and Medieval murals, the so-called fresco in which people paint directly in wet lime. At the time, fresco technique was a decorative art form in Europe. However, it is not the decorative element that inspires and interests Jan, but the weathered appearance of the surviving fresco paintings. That is what he wanted to see in his own work. In 2000 he started experimenting with cement on linen. This technique is so special, because cement is a building material and does not stick to canvas. After many attempts, Grotenbreg has found a solution to this problem with modern binders. An impressive series of animal studies followed. Jan Grotenbreg only paints animals he has an affinity with. Animals such as the horse, the cow and the bull, as well as lesser-known animals such as the protected bird of prey, the black-capped vulture, the Egyptian Nile bird Ibis and the endangered house sparrow, have been laid down on linen by Grotenbreg in a layer of gray cement with acrylic paint in black-brown color nuances. The texture and composition of the applied cement is a very important part of his work. That's what makes it intriguing. The way in which the cement is applied determines the decisiveness of the work even more than the image. The animals, especially the sparrows, sometimes only cover a very small part of the canvas. It is clear that the emphasis is on technology. The charm of Jan Grotenbreg's work lies in the imitation of that weathering. But the animals portrayed also play a role in this and are not exempt from rendered weariness. They give a beautiful antique impression...

Yannima Tommy Watson is a Pitjantjatjara artist born around the 1930s, in the bush some 44km west of the small isolated community of Irrunytju. Not yet very well known to the French public, despite his participation in the architectural project of the Musée du Quai Branly, Tommy Watson is nevertheless often considered the greatest living Aboriginal artist. Like many aborigines of his generation, he lived a traditional, nomadic or semi-nomadic life before his contact with Western civilization; then he will occupy the only jobs that the Aborigines find: herdsmen (until Yuendumu), laborers for the construction of infrastructures in the desert. Throughout this period he became familiar with his "country", a harsh region, and deepened his knowledge, both profane and sacred, relating to Dreams and Dreamtimes, to the connections between sacred sites and the Ancestors. He will even work in Papunya, where the artistic movement started. But the Pijantjarra are intransigent with tradition…no question at this time of revealing the motives and the secret stories. The North of South Australia, the region where he is from, was touched by the pictorial movement only at the very beginning of the 2000s. In 2001, Tommy began his career as an artist in Irrunytju (Wingellina). He is a young artist… He learns by observing other painters and draws on the experiences of a long life and on the exceptional knowledge he has stored up. But quickly he will find his way, a radically new style where color plays a major role. Very quickly, the iconography now well known by the artists of Yuendumu, or the Western Desert, Balgo or Lajamanu disappeared. The symbols are no longer there. As Rover Thomas, Emily Kame or Paddy Bedford had done before him, this is a real artistic revolution. For Tommy, it is not a question of describing his Dream (Caterpillar), the routes taken by the Ancestors. He concentrates on a site, a story, sometimes very profane, the memory of a meeting, of a hunting party, tries to condense his memories, the information of which he is the depositary, to add a poetic touch to it, sometimes melancholy, and this gives a painting with a very abstract aspect. It is a painting where the emotion is very present, undoubtedly less cerebral than the art of the neighbors of the north the Pintupi, like Ronnie Tjampitjinpa, George...

The pronounced technique is the first thing that strikes you when viewing the works of Jan Grotenbreg (1946). It is innovative and unique. The result of...