Amy Sullivan Art

Bird. 2019, hardboard, oil, 41x28 cm

Dream birds. Cardboard, author's technique, 22x30 cm Ivars Zaikins (1942-2017) Zaikins Ivars - an artist. He was born in 1942. During of the Soviet Union period, he worked as an ar...

“Resonant Lines” is part of my Landscapes of the inner eye series of paintings which explore the memory of places that we carry in our imagination rather tha...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

A vibrant and expressive marine painting by Sula Repani, this artwork features a richly colored fish rendered in oil on wood. The brushwork is loose and atmospheric, blending bold re...

Lisa House – Contemporary Artist – Northeast UK Fields of Crimson 60 x 60 cm x 4 cm depth Original Oils/mixed media on board Fields of Crimson is a new piece from my Cottage Collect...

Abstract Expressionist Painting inspired by the Railway Arches & Bridges of the Industrial North of England by Contemporary British Artist, Angela Wakefield. This original is a rare,...

£975.00 ADD GIFT NOTE BEFORE YOU BUY ADD TO CART ABOUT THIS WORK OF ART Maria Floyd Echoes Original Abstract Expressionist Painting Mixed Media on Board Framed Size: H 41cm x W 125...

Abstract Landscape Seascape Art with Pink Blue & White Sky by British Painter, Angela Wakefield Art measures 18 x 14 inches Frame measures 24 x 20 inche...

Birds. 2003. Cardboard, author's technique, 19x27 cm Ivars Zaikins (1942-2017) Zaikins Ivars - an artist. He was born in 1942. During of the Soviet Union period, he worked as an ar...

Moonlight birds II 2003. Cardboard, author's technique, 17.6x12.7cm Ivars Zaikins (1942-2017) Zaikins Ivars - an artist. He was born in 1942. During of the Soviet Union period, he...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...