Angela Fraleigh Portrait Paintings

Ksenya Istomina 'Midday Nap' 60 x 80 cm ( Frame is included in price, size framed in a black frame form the pictures is: Oil on linen, framed Painted after life, the artist always ...

Dimensions variable: medium oval 7.5cm x 9.5cm; large oval 9cm x 11cm. Derrick Guild is a Scottish artist whose paintings fragment Old Master works to explore the social fabric bene...

Rooted in introspection and emotional nuance, Xenia Gray’s figurative mixed media works capture the quiet tension between solitude and connection. Her paintings often depict the huma...

Feu de Joie 1970 hand signed and dated. Measurements: 25.75 X 25.75 Framed. Image is 23.75 X 23.75 Emilcar Similien, known as Simil was born in 1944 in St. Marc. He finished elementary school in St. Marc and high school in Port-au-Prince. From 1965 until 1971 he studied at the Academy of Beaux-Arts in Port-au-Prince, where he took courses in painting, sculpture, and art history. Simil uses his images of women only as means for displaying patterns, color, and the sparkle of gold jewelry on black skin. He paints with acrylics on Masonite of any size. His surfaces are smooth and polished. Simil delights in beauty, elegance, and grace. This is done in a silhouette style reminiscent of Kara Walker. Emilcar Simil (Similcar) is known for Acrylic painting in high colors of black skinned female figures. He is of the generation of Haitian artists that include Bernard Sejourne, Prospere Pierre-Louis, Levoy Exil, Louisiane Saint Fleurant, Henri Calixte, Paul Dieuseul, Laurent Casimir, Frantz Zephirin, Denis Smith, Philton Latortue, Philome Obin, Préfète Duffaut, Fernand Pierre...

A solitary figure, head bowed, stands in a field in contemplation of what has just taken place or what is about to take place. "A Great Battlefield" channels the spirit of Winslow Homer's war imagery, bringing it into the contemporary world, asking us to contemplate the decisions forced to be made in wartime, some of which will never leave us. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This piece is unframed. Please contact the gallery for framing options. A Great Battlefield oil on linen 60h x 35w in 152.40h x 88.90w cm WIL029 Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War reenactments, the reanimation of the past encourages a review of history and aids in its continuous revision. For his second exhibition with Gallery Victor Armendariz, William Blake presents A Great Battlefield, a collection of new paintings depicting US Marines...

The patient waiting for Bresson's “decisive moment” characterizes the pictures of the young Polish painter Marzena Slusarczyk. The compositions of her works have the magic of a successful photography. Often with a powerful neckline, they use expressive foreshortened perspectives and unusual versions and they take us into an intimate dimension of the women portrayed. However, Slusarczyk's pictures are mainly emotions captured on canvas, and this is what makes her works so special. The women she paints perform normal, banal activities in everyday life. But they are the key to reading the feelings of the female figures lost in thought. The lack of clarity in the artist's pictures allows the viewer to make their own interpretations. As the painter herself emphasizes, the aim of playing with the audience is to awaken the viewer's imagination and imagination so that they notice the seemingly invisible. This mystery and the unspoken are reminiscent of the paintings by Michelangelo Caravaggio...

Hugh Goffinet stares out from the canvas in the dress of a soldier, without being one. He is a reenactor of an African American volunteer in the Abraham Lincoln Battalion. His inspiration is the Lincolns—the battalion’s volunteers—but they are pictured only symbolically, in his dress. Their inspiration was Lincoln, who many decades earlier helped give meaning to the American Civil War, but who is invisible in the painting except by implication—the pose of Hugh Goffinet—which carefully emulates Lincoln’s pose in the celebrated presidential portrait by George Healy. Entirely hidden, at the deepest layer of history, is the true source of inspiration: the human desire for equality and freedom. To understand, honor, and preserve it requires remembrance, in this case with history animating reenactors who animate art that animates memory. "No Pasaran" - an expression of determination to defend a position against an enemy - channels the spirit of Winslow Homer's war imagery, bringing it into the contemporary world, asking us to reflect upon the decisions forced to be made in wartime, some of which will never leave us. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This piece is unframed. Please contact the gallery for framing options. William Blake No Pasaran oil on linen 48h x 30w in 121.92h x 76.20w cm WIL047 Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War reenactments, the reanimation of the past encourages a review of history and aids in its continuous revision. For his second exhibition with Gallery Victor Armendariz, William Blake presents A Great Battlefield, a collection of new paintings depicting US Marines at the Gettysburg National Military Park. A Great Battlefield, takes its title from Lincoln’s Gettysburg Address which poetically looks to the battlefield as a site of rebirth. Following the tradition of nineteenth-century American history painting...

Caravaggio painted "The Incredulity of St. Thomas" with Christ looking down as he pilots Thomas’ hand to his side. Not looking at Thomas or the others, but to his wound. He seems interested in the proof of his embodiment. He wants to know that this is real. He too, questions his body, his life and death. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This artwork is unframed. Contact the gallery for framing options. Reenactment is a material culture where the feel of authentic wool has transformative power. The closer you can recreate the “kit” of the authentic soldier the closer you are to that past. In the pursuit of touching the past there are questions- Is this real? Did this happen? Is this me? Is this us? The gesture of piloting a finger into the side represents these repetitive questions. - William Blake Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War...

"Aurora" by William Blake is a tribute to the Civil War scenes painted by Winslow Homer depicting women playing croquet. Often thought of as paintings that were lacking in closure during war time, a haunting scene of the marriage between play and sadness. Here Blake takes that subject matter depicting Aurora with a croquet mallet. Her painterly style is beautifully rendered in broad brushstrokes and a deep color palette. Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War...

Ksenya Istomina 'Sweet Dreams in the Moonlight' 100 x 80 cm Oil on linen Painted after life, the artist always works with a real scenery. Her realistic but impressionistic paintings...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

Ksenya Istomina 'Watching her sketchbook'' 75 x 75 cm Oil on linen Painted after life, the artist always works with a real scenery. Her realistic but impressionistic paintings look...