Bratin Khan Paintings

Jesse’s imagery often merges playful and gritty elements, blending floral patterns, vintage-inspired designs, and bold outlines with a touch of whimsy. His artwork exudes a sense of ...

The painting "The Oracle" from the "Echo of Harmony" series. This piece is my artistic expression of the idea that when a person is in a state of deep internal balance, all wisdom a...

The Road is a unique oil on canvas painting by contemporary artist Valérie de Sarrieu, dimensions are 160 × 160 cm (63 × 63 in). The artwork is signed, sold unframed and comes with a...

Shipping Procedure 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 Authenticity (Issued by the Gallery) About Artist Arobieke Tomiwa...

Downwind, 100x90 cm, oil, tempera, coal, canvas

Artists often are alone in their studios with little interaction with the outside world. Bruno is no exception. To ease this loneliness, Bruno brings his most trusted companion wit...

Beauty Galore is an original painting by Ganiyat Abdulazeez. Ganiyat created Beauty Galore with Oil on a 36W by 48H inches primed canvas. Beauty Galore depicts the beauty of a black woman gorgeously dressed in her ravishing cloth. This painting employs layers of narratives, personal experience, and people's relief involvement in my environment. Shipping Procedure 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 Authenticity (Issued by the Gallery) About Artist Abdulazeez Ganiyat Abosede is a visual artist based in Lagos, Nigeria. She graduated with a National Diploma from the prestigious Yaba college of technology in 2017 and went on to earn a Higher National Diploma in the same school in 2021. Ganiyat explores a diversity of media spanning pastels, graphites, charcoal, watercolors, acrylics, and oils (being her most favored). In her recent works, she incorporates a distinctive floral motif - believed to have a deep connection with her childhood experiences in her portraits. This reoccurring phenomenon in her work is called jatropha multifida ( coral plant...

Carrie Goller's (US based) "Butch (Floriferous Squirrel)" (2025) is an original, handmade oil painting on gallery canvas. This piece measures 10 x 8 inches and is framed at 11.8 x 9....

This is a framed original painting. Biography Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana. Artist Statement For a long time, the images in my paintings have been identifiably, even iconically, western-stagecoaches and false-front main streets, poker games and gun battles, cowboys, Indians, cavalry troopers and horses, all suspended in a choreographed matrix of dancing paint. Distinct from the traditional western genre-which inventories the minutia of cowboy gear or tells sentimental stories of rangeland romance-my paintings embody something more elemental and timeless, animated and abstract. The images tend to be stark, graphic, and charged with painterly energy. Though they are derived from fugitive television images, the paintings, as paintings, are still, silent and non-ephemeral. They register the technological transfer of primal shadows onto the electroluminescent screens of our collective consciousness, a shimmering blur of perception and memory transposed in an interchange of gesture and description, painted marks simultaneously arresting and embodying movement. I've always liked what a painter friend, Marc Vischer, wrote in 1988 about an early group of my western paintings. Now, I'm fourteen years closer to actualizing my vision for this work, and his astute remarks seem more pertinent today than they did then. He wrote in part, "For McConnell, a searing light emanates from a new desert: that of television. And from that most desolate backdrop, he salvages fragments from a movie world that spoke of honor in a land that was lawless. In a romantic sense, McConnell's works are a visual seance. Figures, like specters distorted through intense heat waves, are captured from their eternity of 24 frames a second. Their shapes and shadows are brought back into a radically different world and given substance and texture. It is an impossible attempt to freeze them, to arrest the present's ceaseless molestation of the past, to close off the continuum. Sometimes this is done darkly and thickly as an emphatic gesture of permanence. In other works a few light strokes quickly applied suggest the ephemeral nature of film and perhaps the fleeting nature of our own lives." I have been examining new imagery in my paintings, drawing subjects from Mexican graphic novelas, modern women and men of romance and mystery from the mid-20th century, motorcycles and airplanes. The end titles of movies, stated in several languages, have inspired me to begin a new series of cross-media translations in both acrylic and watercolor. My paintings have long begun where the movies have left off. The elements of water and light co-mingle in some pieces from this series and in others which take the viewpoint of a swimmer, watching other swimmers from the wet side of this aqueous membrane, looking up toward the light. My arrival in Montana in 1982 brought me into intimate contact with some of the most storied places of the historic West and also gave me the opportunity to study the paintings of two of the most influential codifiers of western imagery, Frederic Remington and Charlie Russell...

Oil and tempera on cardboard realized by Sirio Pellegrini in 1960s. Hand signed. Includes a beautiful wooden frame cm. 66x54.5.

This artwork from the series "Canvases of the Inner Master" is a manifesto of intuitive self-trust as a primary tool for creating one's own reality. At its core is the lightness of f...

Harriet Martin (American, 1949-2018) Untitled, 1994 Oil on canvas 22 x 21 3/4 in. Framed: 22 1/2 x 22 1/2 x 1 1/4 in. Signed and dated lower right Harriet was an artist in her spare...