Irene Stry Art

This floral still life scene by José Vives-Atsara, features yellow, orange, purple and green. The impressionistic abstracting style nearly gives the feeling that you are viewing the ...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Born in 1954, Susie Hyer creates diverse visual works spanning landscapes, seascapes, and still lives that embody her technical precision and compositional focus. Working profession...

Maybe it's just the chair with straw seat, or the vivid orange-brown tone, but this painting brings Van Gogh to mind, though technically it is fa...

Stilllife with dead Birds, Fruits and Vegetables Oil on Canvas, 101 x 84 cm signed (upper left) „G Libald “ (G and L ligated) Provenance: Private Collection, Brussels; Private Coll...

Calvert’s current paintings investigate the relationship between digital media and the reception and perception of images, and utilizes diverse technologies such as fresco, 3D modeling, AI and data manipulation through code. She is especially interested in the evolution of pictorial space. Today we view our screens and the world they occupy as a shallowly layered space of overlapping desktop windows. The picture plane has tilted up again from the flatbed to float in front of our eyes. Calvert’s paintings in turn depict an intermediate space, where the verticality of the still life paintings cohabitate with these digital panes. Dutch floral still life paintings encapsulate multiple concerns. Their subjects were botanical fantasies, emblems of an economic mirage that has contemporary corollaries. Most important to Calvert’s pictorial concerns, they depict ephemeral things in shallow and diagrammatic space - they are all foreground. They contain an abundance of visual information in overwhelming density, creating an allover resolution; a visual field that is equivalent to digital noise. By making painterly interventions into reproductions, Calvert attempts to dissolve the layer between the resolution of the source image and abstraction of the painted mark. ⎯⎯⎯⎯⎯ Tiffany Calvert has exhibited her work in the US and abroad including Lawrimore Project in Seattle, E.TAY Gallery in New York, the Speed Museum in Louisville and Cadogan Contemporary in London. Residencies include the Djerassi Resident Artists Program, I-Park, and ArtOmi International Arts Center where she received a Geraldine R. Dodge Fellowship. Calvert has received grants from the Great Meadows Foundation and the Pollock-Krasner Foundation. Her work was recently profiled by critic John Yau in the online journal Hyperallergic. Her curatorial projects include “Some Abstraction Occurs” at 65GRAND Gallery in Chicago and “Magic” at Mercer College (featuring work by Chris Martin, Karla Knight, and Sarah Peters...

Mikael Olson's (US based) "Long Shadows"(2024) is an original, handmade oil painting, which depicts three cyclists, biking down a path, with the evening sun casting three long shadow...

This painting is based on Rachel Ruysch’s, Vase of Flowers, 1700. The painting contains an example of the Dutch tulip most prized during Tulipomania: Semper Augustus...

Titled "Yellow Symphony", this abstract oil painting by Marcel Demagny depicts distinctive yellow color blocks emerging against various blue colors defi...

Calvert’s current paintings investigate the relationship between digital media and the reception and perception of images, and utilizes diverse technologies such as fresco, 3D modeling, AI and data manipulation through code. She is especially interested in the evolution of pictorial space. Today we view our screens and the world they occupy as a shallowly layered space of overlapping desktop windows. The picture plane has tilted up again from the flatbed to float in front of our eyes. Calvert’s paintings in turn depict an intermediate space, where the verticality of the still life paintings cohabitate with these digital panes. Dutch floral still life paintings encapsulate multiple concerns. Their subjects were botanical fantasies, emblems of an economic mirage that has contemporary corollaries. Most important to Calvert’s pictorial concerns, they depict ephemeral things in shallow and diagrammatic space - they are all foreground. They contain an abundance of visual information in overwhelming density, creating an allover resolution; a visual field that is equivalent to digital noise. By making painterly interventions into reproductions, Calvert attempts to dissolve the layer between the resolution of the source image and abstraction of the painted mark. ⎯⎯⎯⎯⎯ Tiffany Calvert has exhibited her work in the US and abroad including Lawrimore Project in Seattle, E.TAY Gallery in New York, the Speed Museum in Louisville and Cadogan Contemporary in London. Residencies include the Djerassi Resident Artists Program, I-Park, and ArtOmi International Arts Center where she received a Geraldine R. Dodge Fellowship. Calvert has received grants from the Great Meadows Foundation and the Pollock-Krasner Foundation. Her work was recently profiled by critic John Yau in the online journal Hyperallergic. Her curatorial projects include “Some Abstraction Occurs” at 65GRAND Gallery in Chicago and “Magic” at Mercer College (featuring work by Chris Martin, Karla Knight, and Sarah Peters...

This study takes inspiration from historical “reclining nude” paintings, most of which were painted through the perspective of the male gaze. The artist wanted to change the narrative and make the woman feel more empowered and dominant in her situation, aware of the power she holds. Samantha Van Heest...

Mikael Olson's (US based) "In The Woods" (2024) is an original, handmade oil painting, which depicts gondolas rowing down the canals of Venice, Italy. Artist Biography and Statement...