J. Battenfield Art

Oil on canvas. Signed, titled, and dated on verso. 36.25 x 42 in. 37.25 x 43.25 in. (framed) Custom framed in maple. Provenance Marcia Wood Gallery, Atlanta Yoshishige Furukawa...

Solent No.25 is an oil on canvas showing a section of the landscape, painted from an aerial perspective by Artist & Musician John Illsley. The artwork comes signed and framed. As th...

Walking Man is an oil on canvas painting of a figure - formed in a geometric abstracted manner by Artist & Musician John Illsley. The artwork comes signed and framed. As the foundi...

Oil on canvas

Oil on canvas

Untitled Geometric Abstraction, an original oil on masonite by Juliette Steele, is a piece for the true collector. Steele's use of color and patterns immediately captivates the viewe...

Oil on linen

Mars Base, 2020 Signed, titled and dated 2020 Bishkek, Kyrgyzstan Acrylic oil enamel and oil on linen 52 x 52 in

Oil on paper

Momen is the creator of the Metaphor: The Tree of Utah, an 87-foot (27 m) sculpture resembling a tree in the Bonneville Salt Flats off of Interstate 80. He financed the project himse...

Artist: Lloyd Martin Title: Large Alloy Size: 92 x 130” Year: 2013 American artist Lloyd Martin, known internationally for his rhythmically constructed abstract painting, continues ...

1986-1992 PIXEL FIELD In 1986, Nassos Daphnis was 71 years old when he booted up the computer for the first time and he was soon conversant enough with the machine’s capacity to use it fluently in his work. He was launched as a pioneer — one of the very first artist to adopt the resources of the new technology into the hitherto slow developing processes of paintings. It was the winter of 1985. Nassos Daphnis was getting an idea down on paper for a new abstract work in his West Broadway studio. The idea was burning bright, but his work processes were painstaking, indeed finicky. He complained to his son, Demetri, about the endless frustration of being unable to render this Eureka! moment as swiftly as required. The son introduced the father to an Atari ST computer. Call this Eureka moment, Part II. Daphnis was seventy-one years old when he booted up a computer for the first time and he was soon conversant enough with the machine’s capacities to use it fluently in his work. He was launched as a pioneer — one of the veryfirst artists to adapt the resources of the new technology into the hitherto slow-developing processes of painting. Pixel Fields, a show of a body of work made between 1987 and 1992, which marks the repre-sentation of the Estate of Nassos Daphnis by the Richard Taittinger Gallery...