Gary Leonard Mixed Media

"Refreshing Gelato Grid" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes combined with subtle tones and unique shapes that is both classy and fresh. The use of vivid colors on a white background reminds the beautiful vintage beach cabins...

Summer Bloom [2021] Original Flowers Mixed media on board Image size: H:45 cm x W:3 cm Complete Size of Unframed Work: H:45 cm x W:30 cm x D:30cm Framed Size: H:45 cm x W:45 cm x D:3cm Sold Framed Please note that insitu images are purely an indication of how a piece may look Summer Bloom is an original painting by Natalie Bird...

Sekhar Kar - Untitled - 14 x 11 inches ( unframed size ) Mixed media on board ** Delivered in parcel form mounted but not framed. Style : Sekhar Kar paintings depict men and women...

Lambda c-print on acrylic glass; ready to hang. This is a combination of wet- and digital painting and photography.. I do have a name for my new works: Abstract Symbolic and mystica...

Farmhouse Horse Painting 48 x 36” inches, Mixed Media: Digital, Watercolor, Acrylic, Stucco, Crackle Paste, Gel Medium One-of-a-kind 2019 in Los Angeles SPECIFICATIONS: - Fine art c...

Ann Graves Tanksley, Untitled (Mother and Child), mixed media on Japan paper, c. 1960s. Signed 'A. Tanksley' in gold in the image, lower right. Linoleum cut in black ink on Japanese paper, with blue and gold brushed ink; cloth batik collage, and metallic gold star laid onto black construction paper. Created as a seasonal greeting. Inscribed on the inside panel is 'Merry Christmas and a Happy New Year. Love, John & Ann.' Archivally matted to museum standards. Unique. Image size 7 3/8 x 4 7/16 inches (187 x 113 mm); front panel size 8 11/16 x 5 3/4 inches (221 x 146 mm). ABOUT THE ARTIST “Her work reflects the influence of her travels, the residential colors, the simple work habits, the loneliness, and the love and devotion to one’s spiritual beliefs. There is a oneness of artist and concept. Her love of life, despite social barriers and frustrations, is promoted in her work for audiences to witness and accept... Her paintings evoke a spiritual awakening. One is drawn to the intensity of color that prevails and identifies the moods of feasts and celebrations. ...Life is full of anticipation and dedication, of acceptance and hope, of faith and survival. These are all present in the works of Ann Tanksley.” —Robert Henke, The Art of Black American Women: Works of Twenty-Four Artists of the Century, McFarland & Company, Inc., 1993. Ann Graves was born in 1934 and raised in the Homewood community in Pittsburgh, Pennsylvania. Drawn to art at an early age, Tanksley graduated from Carnegie Institute of Technology (now Carnegie Mellon University) in 1956 with a Bachelor of Fine Arts degree. Following graduation from college, she married fellow Homewood native John Tanksley, and the couple moved to Brooklyn, New York. He worked as a photo retoucher in the advertising industry. Tanksley devoted herself to raising her daughters while working as an art instructor before fully pursuing her artistic pursuits. She was an art instructor at Queens Youth Center for the Arts from 1959-62, the Arts Center of Northern New Jersey in 1963, and a substitute art instructor at Malvern Public Schools in 1971. She also served as an adjunct art instructor at Suffolk County Community College from 1973-1975. Tanksley continued her art education with studies at the Arts League of New York, The New School, the Paulette Singer Workshop in Great Neck, and the Robert Blackburn Printmaking Workshop, where she learned monotype printmaking. In addition to Blackburn and Singer, Tanksley studied with several renowned artists throughout her career, including Norman Lewis (artist), Balcomb Greene, and Samuel Rosenberg (artist). Tanksley was one of the first members of Where We At: Black Women Artists, Inc., a New York-based women’s art collective founded by artists Kay...

Original mixed media painting on canvas. Hand signed on front; signed, dated and titled on verso by James Coleman. Canvas size 8 x 24 inches. Frame size...

This work is made up of two photograms on archival quality photographic paper, representing Adam and Eve. Each photogram is 18X 24 cm. A photogram is a photographic image made witho...

In creating this artwork, I explored the juxtaposition of the vintage and modern, the real and the imagined. Using collage materials juxtaposed with delicate pencil and bold ink, I s...

Reminiscent of the Fauvist movement and Italian classicism, Italian artist Giuseppe Beddru’s bold outlines, dynamic brushstrokes and contrasting use of color make his work visually e...

"Melanated Queen" is more than just a painting; it's a tribute to the beauty that resides within melanin-rich individuals and an homage to the resilience of African queens throughout history. Odetomi expertly captures the essence of this woman, her features exuding confidence and pride. The warm, earthy tones used to depict her skin convey a sense of strength and natural beauty, while the rose flower ribbon symbolizes femininity and grace. The woman's posture in the painting is a testament to the empowerment of women, especially women of color. Her regal posture and unyielding gaze project an aura of self-assuredness, breaking free from the limiting stereotypes that have plagued the representation of African women in art for centuries. Odetomi's brushstrokes artfully depict the subtle yet powerful transformation of vulnerability into strength, revealing the queen-like qualities present within every woman. Central to the artwork is the rose flower ribbon adorning the woman's hair. The rose has long been associated with love, beauty, and passion, and its presence here infuses the painting with a sense of romance and elegance. Moreover, the rose flower ribbon serves as a symbol of the interconnectedness between nature and the woman's identity. It highlights the harmony she shares with the world around her, as well as her ability to nurture and cultivate beauty in her surroundings. Abayomi Odetomi...

These collages were created first in the presence of a model, working quickly, in charcoal and pastel, and again, later, alone, furiously tearing and pasting images from magazines, v...