Gillie Cawthorne Landscape Drawings and Watercolors

This artwork "Haitian Village" 1996 is a watercolor on paper by noted Haitian artist Martino Dorce, b.1943. It is signed and dated at the lower right cor...

Gouache, coloured pencil and graphite on paper Signed lower right Unique work 1 / Hélène DUCLOS, 2016 – Artist Statement “Questioning the human condition and the position of being ...

Award winning artist David Walker works in both oil paints and watercolours. Before concentrating on illustration and fine art painting David trained and practiced as an architect. A...

Landscape of Southwest style buildings by Karen Druker (American, b. 1945). Signed "Druker" in the lower right corner. "Fete #2" (festival) is written on verso. Presented in a black ...

Jane Starks immerses herself in the history and archaeology of the places she loves to paint: wilderness areas of Texas, New Mexico, and Utah. The paintings are begun and completed o...

'Fall Fog, Approaching'. Contemporary landscape painting, Cornwall Original Artwork, Unframed _________________ Heavy skies moving in over the autumnal landscape of West Cornwall: a ...

This mountain landscape painting by Aleksandra Strokina captures the serene beauty of a sunny winter day in the heart of Norwegian nature. The artwork features snow-covered peaks bat...

There is something compelling about drawings and sketches made by architects. Loose and full of life this delicious little study, made on the spot, beautifully captures the essence of place. Made during one of Patterson's early tours to India it shows the gloriously majestic Palace Museum in Udaipur, Rajasthan, which sits on the highest point overlooking Lake Pichola and the City. The delicate wash of terracottas, pinks and reds offers us the feel of sun on the old stones. India Palace Museum (Udaipur), watercolour & pencil on paper, image 9.5cm x 14cm, framed 21.5cm x 24.5cm, Artist Stamp, signed in pencil bottom left, 1990 Doug Patterson...

The paper size is 30 1/8 x 44 inches

In POSSIBLE, IMPOSSIBLE, POSSIBLE, Peña combines representational elements of a bright green landscape in the background with a more abstracted silhouette of a house in the middle gr...

'Ebren Ha Dor, September, Softening'. Contemporary landscape painting, Cornwall Original Artwork. Framed ready to hang _________________ The dancing light and rapidly changing skies,...

In BOOM BUST REPEAT17, Peña creates a silhouette of house and fills it with sharpe-edged shapes that contain gradients and saturated hues of red, green, and violet. He balances these colors with muted tones of orange and yellow . The viewer can create a house that is yet to be built in between the gaps here. In "Boom, Bust, Repeat", Peña remarks on a house and landscape that has yet to take place. The painting is created with watercolor and acrylic paint on paper. In the foreground we see Sintra board or flattened PVC that has been CNC routed. In the "soil" beneath the house are small circular lines that have been hand drawn with India ink. The Sintra board has been cut to reveal arrows in the negative space pointing upwards as to hint at a boom in the market. Peña’s works range from painting to multimedia installations that question the ever-changing psychological landscape of America; asking the viewer to re-examine their perceptions of the “American Dream” and the affects that pursuit has on our environment and national psyche. The realization that both the idealistic pursuit of happiness and the relevance of painting in a technologically driven world informs his practice. With each composition the labor begins with digital composites of a fragmented American landscape in peril —where tension lies in the contrasts between past and present, analog and digital, representation and abstraction, and stability and instability. In his most recent series the American home (stability) and fragmented and shifting landscape (instability) are veiled by a digitally produced mat. Traditionally a mat is, by definition, a flat, thin piece of paper based material included within the picture frame and serves as additional decoration when framing artwork. He activates this commonly overlooked material by using a non-traditional material, Sintra (flattened sheet of PVC), that has a negative digitally drawn image cut-out. This cut-out might, at first glance, look hand cut however, a more astute viewer would realize the precision is mechanical. The mat has been transformed from inactive decoration to digitally produced veil that represents the technologically anxious precision we surround ourselves with. Nick Peña...